{"id":11295,"date":"2022-09-20T11:40:17","date_gmt":"2022-09-20T15:40:17","guid":{"rendered":"https:\/\/desis.osu.edu\/seniorthesis\/?p=11295"},"modified":"2022-09-20T11:40:37","modified_gmt":"2022-09-20T15:40:37","slug":"the-rise-of-immersive-art","status":"publish","type":"post","link":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/2022\/09\/20\/the-rise-of-immersive-art\/","title":{"rendered":"The Rise of Immersive Art"},"content":{"rendered":"\n<p>In 2020, the Serpentine Galleries, in London, released a report titled \u201cFuture Art Ecosystems.\u201d It surveyed emerging practices among artists who work with \u201cadvanced technologies\u201d: everything from gene-editing to blockchains. The report, which was co-produced by a consultancy and framed as a strategic document, identified the trend of tech companies acting as art patrons, and advanced the idea of the \u201cart stack\u201d\u2014a vertically integrated, artist-led system of production that operates at \u201cunprecedented scale,\u201d bypassing the art establishment through centralization. In software engineering, a \u201ctech stack\u201d usually refers to a system\u2019s foundational software components, and a \u201cfull-stack\u201d engineer is fluent in both front-end and back-end development. A full-stack art studio would own the process from beginning to end, employing both artistic and technology teams and controlling its own revenue streams and gallery spaces. Like movie studios, record labels, fashion houses, and video-game companies, studios that mastered the art stack could someday adopt an \u201cindustrialized\u201d model, the report suggested; to monetize their offerings, they could broker corporate sponsorships, partner with real-estate developers, offer nonartistic technical services, or operate \u201clike circuses and theme parks,\u201d going direct-to-consumer with mass-market, ticketed experiences. There could be art-stack I.P.O.s.<\/p>\n\n\n\n<p>The new immersive art also reflects the rise of consumer digital technologies, and the behaviors and expectations that they cultivate. In \u201c<a rel=\"noreferrer noopener\" href=\"https:\/\/www.amazon.com\/Contemporary-Art-Digitization-Everyday-Life\/dp\/0520303911?ots=1&amp;slotNum=0&amp;imprToken=e8c1adc1-b190-69eb-95b&amp;tag=thneyo0f-20&amp;linkCode=w50\" target=\"_blank\">Contemporary Art and the Digitization of Everyday Life<\/a>,\u201d published in 2020, Janet Kraynak, an art historian and professor at Columbia University, argues that the museum, \u201crather than being\u00a0<em>replaced<\/em>\u00a0by the internet, increasingly is being\u00a0<em>reconfigured<\/em>\u00a0after it.\u201d Museums now treat visitors as if they are the \u201cusers\u201d of a consumer product, and thus cater to their preferences, creating \u201cpleasurable, nonconfrontational\u201d environments, and emphasizing interactivity. She suggests that, instead of striving to be places of pedagogy, museums are growing \u201cindistinguishable from any number of cultural sites and experiences, as all become vehicles for the delivery of \u2018content.\u2019 \u201d Kraynak told me that she thinks the user-friendliness of museums is making them less challenging and interesting. \u201cThat friendliness is kind of pernicious,\u201d she said. \u201cThey\u2019re not equipping the beholder to go outside of oneself, outside of one\u2019s comfort zone.\u201d In this fashion, she went on, museums have assumed a therapeutic function.<\/p>\n\n\n\n<p><strong>Analysis:<\/strong><\/p>\n\n\n\n<p>Immersive art is on the up-and-up. It is increasingly more popular as the average person has access to an immersive object on their person everyday, their phone. People got a glimpse of the power they could have over media and art and it is harder and harder to feel fulfilled now just looking at art. Everyone wants to be the artist. This especially applies to kids. Some of the first interactive and immersive exhibits in museums existed in the &#8220;kids areas&#8221;. Kids like what they like and hate what they hate. Their attention span is short and their opinion is strong. When designing for kids I believe it is important to accommodate some level of choice and play into the design.<\/p>\n\n\n\n<p><strong>Source:<\/strong><\/p>\n\n\n\n<p>Wiener, A. (2022, February 10). <em>The rise of &#8220;Immersive&#8221; art<\/em>. The New Yorker. Retrieved September 20, 2022, from https:\/\/www.newyorker.com\/news\/letter-from-silicon-valley\/the-rise-and-rise-of-immersive-art<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In 2020, the Serpentine Galleries, in London, released a report titled \u201cFuture Art Ecosystems.\u201d It surveyed emerging practices among artists who work with \u201cadvanced technologies\u201d: everything from gene-editing to blockchains. The report, which was co-produced by a consultancy and framed as a strategic document, identified the trend of tech companies acting as art patrons, and [&hellip;]<\/p>\n","protected":false},"author":83,"featured_media":11296,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21],"tags":[],"class_list":{"0":"post-11295","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts"},"_links":{"self":[{"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/posts\/11295","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/users\/83"}],"replies":[{"embeddable":true,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/comments?post=11295"}],"version-history":[{"count":1,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/posts\/11295\/revisions"}],"predecessor-version":[{"id":11297,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/posts\/11295\/revisions\/11297"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/media\/11296"}],"wp:attachment":[{"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/media?parent=11295"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/categories?post=11295"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/tags?post=11295"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}