Immersivity in Art: Theoretical Principles and Practices of Implementation
DOI:
https://doi.org/10.32461/2226-3209.4.2025.351867Keywords:
immersive art, media art, virtual reality, augmented reality, cultural and museum practices, viewer participation, Ukrainian art, metamodernism, phenomenologyAbstract
The purpose of the work is to generalise theoretical approaches in the study of immersiveness in art and to highlight key practices of implementing this phenomenon in the cultural and artistic sphere. The research methodology: the work is based on systemic analysis and an interdisciplinary approach, combining phenomenological and post-structuralist analysis, media archaeology, art and cultural studies, cognitive and psychological concepts, narratology. Scientific novelty lies in the systematisation of the main theoretical approaches to understanding immersiveness in art, the distinction between the concepts of ‘immersion’, ‘presence’, ‘interactivity’, the identification of aesthetic and communicative functions of immersive environments, as well as in the isolation of varieties of immersive artistic practices. Conclusions. It is substantiated that immersiveness in art is not simply the use of the latest technologies or a temporary fashion, but a profound transformation of the relationship between art, space and the viewer. It is based on the philosophical concepts of perception, embodiment and communication, and at the same time is actualised in practices where experience plays a key role. This is a natural stage in the evolution of artistic practices, aimed at overcoming the distance between the work and the viewer, the transformation of a passive observer into an active participant and co-creator of aesthetic experience. Research in the field of culture and art demonstrates that immersiveness is becoming a new paradigm of artistic thinking. It combines technological innovations with cultural memory, promotes the development of interactive forms of communication between the work and the audience, and also opens up new opportunities for the preservation and popularisation of national heritage. Thus, the humanitarian aspect of immersiveness develops in two vectors – aesthetic (creation of new meanings) and communicative (creation of a space for dialogue between humans and digital culture).
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