One of the most compelling effects of digitally enhanced and digitally enabled immersive exhibitions is their paradoxical dematerialization of “analog” experience. What leads exhibition visitors to accept that immersion is a state achieved only through technological mediation? Are we not already perceptually immersed in the world, as the phenomenologists asserted? This essay explores how digital enhancement disengages self-awareness by masquerading as immersion. In contrast, contemporary artists Karin Sander, Janet Cardiff, and Chris Salter employ desynchronizing and dislocating tactics to challenge naïve notions of what comprises an aesthetic experience, in order to requaint viewers with their own perceptual and ethical agency.

中文翻译：

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增强现实与体验艺术的非物质化

数字增强和数字启用的沉浸式展览最引人注目的效果之一是它们对“模拟”体验的自相矛盾的非物质化。是什么让展览参观者接受沉浸感是一种只有通过技术中介才能达到的状态？正如现象学家所断言的那样，我们是否已经感性地沉浸在世界中？这篇文章探讨了数字增强如何通过伪装成沉浸感来解除自我意识。相比之下，当代艺术家卡琳·桑德 (Karin Sander)、珍妮特·卡迪夫 (Janet Cardiff) 和克里斯·索尔特 (Chris Salter) 采用去同步化和错位的策略来挑战关于审美体验的天真观念，以便让观众重新认识他们自己的感知和伦理机构。