In the 20th century, the conventional norm and design of the museum and exhibition spaces had undergone a significant scrutiny and change due to the most unprecedented impact of the COVID-19 outbreak. For years, the new innovations in the museum spaces questioned the traditional the “white cube” ideal. It also puts more focus on the economic worth of the experience. These exhibition spaces have new designs and modes of experience and consumption of artefact and arts are being introduced through technology and commercialization. The “user focused” designs for new museums, in response to the new technological advancement form the forefront of the study. This technological consumption was further accelerated by the global pandemic. Thus we find ourselves in a new social structure that is ready to experience new innovation after coming back from the isolation and global economic crisis due to pandemic. The "experience economy" also generates new demands from a broad art and history appreciative audience, for whom the exhibiting space at museums must adapt and innovate. In such situations, art venues and museums are forced to rethink their functions by placing people at the centre of curatorial focus and by being commercially driven while maintaining social and political relevance. Digital, immersive art displays are one of the cutting-edge improvements in art venues that are thought to stimulate the mind and the heart in a special and distinctive exhibition setting. This study aims to investigate immersive museum and exhibition as cultural experience commodities that aim to engage visitors and assist future museums in the provision of "experience services" in light of this new demands. By introducing already developed technologies like augmented and virtual reality and new technology like mixed reality and artificial intelligence, the new curated spaces give more than just a visual gain of knowledge. The study demonstrates that immersive displays were positively perceived, they met various expectations, and they stimulated "leisure learning" through escapist experiences that encourage people to visit. On the other hand, it also indicated that as the immersive technology, due to developing stage faces issues of isolation, overpriced tickets due to machinery and setting up expenses, lack of knowledge in advance technology for the various range of generations and the amount of additional staffing required to guide the visitors etc. However, it is claimed that the immersive presenting techniques might be utilized to address various consumption patterns, enhance current demand, and conceptualize the cultural value of the institution especially in the post pandemic scenario and the digital era. The immersive museum experiences, which aim for inclusivity and engagement, would also fit in a democratic atmosphere that permits variety, active participation, and techniques for creating meaning in the exhibition environment.
Nel 20th secolo, la norma e il design convenzionale degli spazi museali ed espositivi sono stati sottoposti a un esame e a un cambiamento significativi a causa dell'impatto senza precedenti dell'epidemia di COVID-19. Per anni, le nuove innovazioni negli spazi museali hanno messo in discussione il tradizionale ideale del "white cube". Inoltre, pongono maggiore attenzione al valore economico dell'esperienza. Questi spazi espositivi hanno un nuovo design e nuove modalità di esperienza e di consumo degli artefatti e delle arti, introdotte attraverso la tecnologia e la commercializzazione. I progetti "incentrati sull'utente" per i nuovi musei, in risposta ai nuovi progressi tecnologici, costituiscono l'avanguardia dello studio. Questo consumo tecnologico è stato ulteriormente accelerato dalla pandemia globale. Ci troviamo quindi in una nuova struttura sociale pronta a sperimentare nuove innovazioni dopo essere uscita dall'isolamento e dalla crisi economica globale dovuta alla pandemia. L'"economia dell'esperienza" genera anche nuove richieste da parte di un vasto pubblico che apprezza l'arte e la storia, per il quale gli spazi espositivi dei musei devono adattarsi e innovarsi. In queste situazioni, i luoghi d'arte e i musei sono costretti a ripensare le loro funzioni, ponendo le persone al centro dell'attenzione curatoriale ed essendo guidati dal punto di vista commerciale, pur mantenendo la rilevanza sociale e politica. Le esposizioni d'arte digitali e immersive sono uno dei miglioramenti all'avanguardia nei luoghi d'arte, che si pensa possano stimolare la mente e il cuore in un contesto espositivo speciale e distintivo. Questo studio si propone di analizzare i musei e le mostre immersive come beni di esperienza culturale che mirano a coinvolgere i visitatori e ad assistere i futuri musei nella fornitura di "servizi di esperienza" alla luce di queste nuove esigenze. Introducendo tecnologie già sviluppate come la realtà aumentata e virtuale e nuove tecnologie come la realtà mista e l'intelligenza artificiale, i nuovi spazi curati offrono più di una semplice conoscenza visiva. Lo studio dimostra che i display immersivi sono stati percepiti positivamente, hanno soddisfatto diverse aspettative e hanno stimolato l'"apprendimento nel tempo libero" attraverso esperienze di evasione che incoraggiano le persone a visitarli. D'altra parte, ha anche indicato che la tecnologia immersiva, a causa della sua fase di sviluppo, si trova ad affrontare problemi di isolamento, biglietti troppo costosi a causa dei macchinari e delle spese di allestimento, mancanza di conoscenza della tecnologia avanzata per le varie generazioni e quantità di personale aggiuntivo richiesto per guidare i visitatori, ecc. Tuttavia, si sostiene che le tecniche di presentazione immersiva potrebbero essere utilizzate per affrontare i vari modelli di consumo, migliorare la domanda attuale e concettualizzare il valore culturale dell'istituzione, soprattutto nello scenario post-pandemico e nell'era digitale. Le esperienze museali immersive, che mirano all'inclusività e al coinvolgimento, si inserirebbero anche in un'atmosfera democratica che consente varietà, partecipazione attiva e tecniche di creazione di significato nell'ambiente espositivo.
Virtual immersive design in cultural enjoyment: analysis of digital experience in museum and exhibition spaces after Covid-19
Kannankulangara, Abhilash
2022/2023
Abstract
In the 20th century, the conventional norm and design of the museum and exhibition spaces had undergone a significant scrutiny and change due to the most unprecedented impact of the COVID-19 outbreak. For years, the new innovations in the museum spaces questioned the traditional the “white cube” ideal. It also puts more focus on the economic worth of the experience. These exhibition spaces have new designs and modes of experience and consumption of artefact and arts are being introduced through technology and commercialization. The “user focused” designs for new museums, in response to the new technological advancement form the forefront of the study. This technological consumption was further accelerated by the global pandemic. Thus we find ourselves in a new social structure that is ready to experience new innovation after coming back from the isolation and global economic crisis due to pandemic. The "experience economy" also generates new demands from a broad art and history appreciative audience, for whom the exhibiting space at museums must adapt and innovate. In such situations, art venues and museums are forced to rethink their functions by placing people at the centre of curatorial focus and by being commercially driven while maintaining social and political relevance. Digital, immersive art displays are one of the cutting-edge improvements in art venues that are thought to stimulate the mind and the heart in a special and distinctive exhibition setting. This study aims to investigate immersive museum and exhibition as cultural experience commodities that aim to engage visitors and assist future museums in the provision of "experience services" in light of this new demands. By introducing already developed technologies like augmented and virtual reality and new technology like mixed reality and artificial intelligence, the new curated spaces give more than just a visual gain of knowledge. The study demonstrates that immersive displays were positively perceived, they met various expectations, and they stimulated "leisure learning" through escapist experiences that encourage people to visit. On the other hand, it also indicated that as the immersive technology, due to developing stage faces issues of isolation, overpriced tickets due to machinery and setting up expenses, lack of knowledge in advance technology for the various range of generations and the amount of additional staffing required to guide the visitors etc. However, it is claimed that the immersive presenting techniques might be utilized to address various consumption patterns, enhance current demand, and conceptualize the cultural value of the institution especially in the post pandemic scenario and the digital era. The immersive museum experiences, which aim for inclusivity and engagement, would also fit in a democratic atmosphere that permits variety, active participation, and techniques for creating meaning in the exhibition environment.| File | Dimensione | Formato | |
|---|---|---|---|
|
2023_07_Kannankulangara_Abhilash.pdf
accessibile in internet solo dagli utenti autorizzati
Descrizione: Virtual Immersive design in cultural enjoyment: Analysis of digital experience in museum and exhibition spaces after COVID-19
Dimensione
4.48 MB
Formato
Adobe PDF
|
4.48 MB | Adobe PDF | Visualizza/Apri |
I documenti in POLITesi sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
https://hdl.handle.net/10589/210224