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In many ways, the entrepreneurial bent of the art-stack model dovetails with long-running trends in the art world. Art works are seen as financial assets, and flashy, \u201cstarchitect\u201d-designed museum buildings, with airy, open gallery spaces, demand work of a certain size and scale. There is also the long-standing popularity of experiential, environmental art.<\/p>\n\n\n\n
The new immersive art also reflects the rise of consumer digital technologies, and the behaviors and expectations that they cultivate. In \u201cContemporary 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\u00a0replaced<\/em>\u00a0by the internet, increasingly is being\u00a0reconfigured<\/em>\u00a0after it.\u201d<\/p>\n\n\n\n We live, supposedly, in the age of \u201cexperiences\u201d; the term evokes the tired trope that millennials\u2014the most indebted generation in history\u2014value travel and ephemeral encounters over material goods. In a 2018\u00a0Times<\/em>\u00a0article<\/a>\u00a0titled \u201cThe Existential Void of the Pop-Up \u2018Experience,\u2019 \u201d the cultural critic Amanda Hess toured a range of temporary, ticketed experiences in New York City\u2014the Ros\u00e9 Mansion, Candytopia, the Color Factory, the Museum of Ice Cream\u2019s Pint Shop\u2014and concluded that the real experience on offer was posting to social media. Twenty years earlier, in an\u00a0article<\/a>\u00a0for the\u00a0Harvard Business Review<\/em>\u00a0titled \u201cWelcome to the Experience Economy,\u201d the business scholars B. Joseph Pine II and James H. Gilmore proposed that commercial services aim to engage people \u201con an emotional, physical, intellectual, or even spiritual level.\u201d\u00a0<\/p>\n\n\n\n Immersive art experiences are rarely very educational in themselves, but they might tempt people into education-oriented institutions.\u00a0\u201cSchool groups love coming into our experiences,\u201d \u201cThey can run about, they can get enveloped with the color and the audio. They\u2019re not necessarily learning anything, but we\u2019re just introducing them in a different way, in some way. Hopefully, they\u2019ll get something from it that would engage them further.\u201d<\/p>\n\n\n\n Are art stacks, commercial or prestige, primarily an economic idea\u2014a business structure in search of practitioners? The principle features of the model\u2014scalability, financialization, vertical integration\u2014are financial. It seems inevitable that these values will infuse the work, in the same way that N.F.T. art, born of a technological possibility, has its own visual culture, one that appears to emphasize algorithmic generation and proficiency in graphic-design and rendering software. The work looks commercial, because it is fundamentally about commerce.<\/p>\n\n\n\n Immersion is the hot new thing! Companies everywhere are leaning into the virtual and augmented reality technology that is quickly washing over the world. The art world is no exception, but when this expansion into new technology leaks into corporate involvement, the whole system begins to buckle under the pressure. Consistently, soulless recreations of the master’s classic works are popping up around the world, advertising to the faux-socialite millennial crowd desperate for attention. The thing is, this audience doesn’t exist – it’s always been a stereotype – and the consumer can tell when it’s commercial. The people we design for and commission art to are not stupid, they are just as (if not better) perceivers of the artistic world as oneself. Yet these exhibits and experiences similar keep popping up. Why?<\/p>\n\n\n\n Perhaps the answer is in the disconnection of it all, the higher ups not understanding what draws people to art or what people appreciate about the masters. Recent years have seen the world shift to a more visual way of thinking, and of course we overdid it, so now we are bombarded by an overstimulating tsunami of graphics, masterpieces, advertisements, and more. So how can we understand this phenomenon and implement the findings into the system of the HYVE-3D? As an immersive piece of tech, what can we do to wear our heart on our sleeve, show the consumer our intentions, and offer them an immersive experience that doesn’t exhaust them?<\/p>\n\n\n\n![\"\"](\"https:\/\/desis.osu.edu\/seniorthesis\/wp-content\/uploads\/2022\/09\/c-1024x535.png\")
Reflexive Analysis<\/h2>\n\n\n\n