ABSTRACT Little has been written about the possibility of artistic immersive experiences to push us out of our habits of perception and into a mode of critical reflection. The article starts with the space of the body and its phenomenological engagement within immersion. Merleau-Ponty’s notion ofpre-reflection is introduced. This serves as the starting point for accessing and evaluating artistic experiences. I argue that this pre-reflective state is a perception sensitive mode of embodied subjectivity. Accordingly, this is achieved by immersion in two fold; the first is separation, a frame delineating enclosure, whereas the second is an act of connection and re-establishment. Therefore, the encounter between the subject and the art object is laden with affective qualities that possess the ability to create an opening up into a novel phenomenological experience of subjectivity and being in the world. This opening up is elucidated by way of Martin Heidegger’s notion of einräumen. This act of einräumen affords the participants strong room for reflection. This is achieved by simply requiring the participants to accept their experience as an event through which they open up and improve their capacities to feel, reflect, and act.

中文翻译：

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身临其境的体验作为情感间隔的可能性条件

摘要 关于艺术沉浸式体验将我们从感知习惯中推向批判性反思模式的可能性很少有人写到。文章从身体的空间及其在沉浸中的现象学参与开始。介绍了梅洛-庞蒂的预反射概念。这是获取和评估艺术体验的起点。我认为这种前反射状态是具身主观性的感知敏感模式。因此，这是通过浸入两方面来实现的；第一个是分离，一个框架划定围栏，而第二个是连接和重建的行为。所以，主体和艺术对象之间的相遇充满了情感品质，这种品质能够打开一种新的主​​体性和存在于世界的现象学体验。这种开放通过马丁·海德格尔 (Martin Heidegger) 的 einräumen 概念得到阐明。这种 einräumen 的行为为参与者提供了强大的反思空间。这是通过简单地要求参与者接受他们的经历作为一个事件来实现的，通过这个事件他们打开并提高他们的感受、反思和行动的能力。