What is it about the topic of immersion and art that simultaneously raises so much enthusiasm and suspicion? Not only is immersion arguably a central feature of the human ability to imagine, it has also been – as far as history permits us to ascertain from images and written words – an evolving apparatus for the imagination itself. From Plato’s Cave to the head-mounted display, the pursuit of experiences that transcend reality has been the driving force of cultural production and a myriad of related technologies.
This dossier comprises a series of diverse and sometimes divergent perspectives on the subject, responding to some of the contradictory and controversial claims that the it has generated. It combines reflections on creativity, theory and technology with concrete examples of recent films and installation artwork, bringing together contributions by theorists and practitioners who consider immersive technologies in terms of their aesthetics and reception, and also their social and political reach.
Screen, Volume 61, Issue 4, Winter 2020, https://doi.org/10.1093/screen/hjaa054
Open access to the introductory text at: https://academic.oup.com/screen/article/61/4/586/6146281?login=true
Table of content/Table des matières :
- Absorbed in experience: new perspectives on immersive media Introduction
Martine Beugnet, Lily Hibberd
Pages 586–593, https://doi.org/10.1093/screen/hjaa054 - Towards an-iconology: the image as environment
Andrea Pinotti
Pages 594–603, https://doi.org/10.1093/screen/hjaa060 - Interview with Alejandro G. Iñárritu
Martine Beugnet, Lily Hibberd
Pages 604–614, https://doi.org/10.1093/screen/hjaa056 - ‘Real-time’ virtual reality and the limits of immersion
Richard Misek
Pages 615–624, https://doi.org/10.1093/screen/hjaa058 - Togetherness?
Adrian Martin
Pages 625–634, https://doi.org/10.1093/screen/hjaa059 - Prosthetic architectures of the senses: museums and immersion
Sarah Kenderdine
Pages 635–645, https://doi.org/10.1093/screen/hjaa057