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Aesthetics of Immersion in Interactive Immersive
Environments:Towards Phenomenological Research
a paper by Jinsil Seo,
Simon Fraser University
Seo's research aims
to question the nature of aesthetics in interactive immersive environments
to explore the MEANING of immersion shared between an artist and a participant
Components & Background
minimal components were adopted, for light and sound, with interactive elements
Seo's paper based on prior exhibits, nite_aura & Light Strings
Scope of research
Seo limited research to interactive physical art installations, eschewing VR, gaming, architecture and athletics.
Literature & prior art review
Historic origins in frescoes & cave paintings through works by Char Davies (Osmose & Ephemere) and metaphorical submersion
Also works of Myron Krueger, Camille Utterback & Romy Achituv
Definition of Immersion
Seo's possible definition:
“any sensory experience where integrated conscious and pre-conscious states thoroughly interrelate mind, body and environment.”
Cultural background
Seo is Korean and feels a “natural” link with her philosophy and her country's spiritual practice of “Ki,” in particular the notion of “flows” between the skin and the internal body
Research Methods
move from traditional scientific positivist approaches
emphasis on phenomenological methods of Merleau-Ponty, after Varela
Works
Tactile threads of light Side-glowing fibre optic lights Beams responding to visitors' touch Number of modes of aesthetic interaction
Data collection & Analysis
1st person data - the researcher's experience recorded through journals
2nd person data – the participants' experience, questioned in the above journals (drawings, writing, photos)
3rd person data – video recordings of experience
All for future analysis.
Validity
Seo mentions a post-positivist phase, with no hypothesis, just a phenomenological hermeneutic approach
However, this leads to charges of “modernism” and “semiotic” experiment.