Immersivity is a TOTAL dimension, one that brings each individual into play as a real person and places him or her at the center of a spatial narrative, a physical experience as much as an immaterial one..
We want to map the expressive currents that are designing new modes of creation, of expression, as well as new ways of engaging the public, including for the enhancement of cultural heritage.
We come out of the technocentric view and discover that technological development chases a design from the point of view of art history that of the TOTAL WORK , from the economic point of view that of GAMING . The market that has grasped the ongoing societal change and explores and proposes different technological solutions to meet and capture its ” customer.”
The audience however has changed in the way of fruition….
The physical and ” connected” ( phigital) body is at the center of all experience, in interpersonal behavior and lifestyle.
New digital technologies accelerate cognitive processes, stimulate different neuronal levels simultaneously, and introduce action, time, and speed into the fruitive experience…
There is a need for new languages to communicate.
It is no longer time for captions for example: to convey information requires connection but with more sophisticated, articulated, individual-friendly narrative modes.
Throughout history, since the 1960s, and since the exploration of the latest technologies carrying new languages, artists have always proposed various directions and interpretations in the search for a “digital experience” that is increasing:
- Polysensory (the total work)
- Participatory (interaction)
Over the years, different types and technologies have taken turns but all are inspired by these principles.
To the point of disrupting narrative and perceptual patterns and evoking novel narrative forms (see blue study), outside the box.
There are different declinations of immersive art, and synaesthetic narrative forms that are based on different languages: from the first quarries to VR, AR, XR installations – with or without interface tools – to the transfiguration of space through video mapping, data visualization, and Artificial Intelligence, to the creation of works and environments for METAVERSI, i.e., the latest declination in the social sense of RV.
We want to explore this territory that is reconfiguring the experience of the user and their different participation in cultural processes.
— Adriano Abbado Artist, Italia
— Chiara Bertini Curator Fondazione MAXXI, Italia
— Mario Canali Artist, Italia
— Antonio Carloni Vice Director Gallerie d’Italia, Italia
— Simona Casonato Media, ICT & Digital Culture Collection Curator Museo Nazionale Scienza e Tecnologia Leonardo da Vinci, Italia
— Andrea Concas Cultural Entrepreneur, Italia
— Stefano Fake Curator, Italia
— Luigi Ferrara Dean at George Brown College, Canada
— Fabio Giampietro Artist, Italia
— Horst Hörtner CTO & Managing Director of Ars Electronica Futurelab, Austria
— Alejandro Martin Head of Innovation at Espronceda Barcellona, Spain
— Mauro Martino Artist, Italia/USA
— Marco Negroni Professor Accademia di Belle Arti di Brera, Italia
— Livia Nolasco-Rozsas Curator at ZKM Karlsrhue, Germany
— Luca Pozzi Artist, Italia
— Claudio Prati Videomaker e Regista, AIEP Ialia/Switzerland
— Italo Rota Architect, Italia
— Anna Tardivel Curator at La Gaîté Lyrique, France
— Ariella Vidach Choreographer, Dancer & Teacher AIEP Italia/Switzerland
— Giorgio Vitale Founder Synthesis Gallery, Germany
— Julie Walsh Digital Art Curator, USA