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. The pairing of art and immersion is hardly new, yet from the 19th century onwards the increasing combination of art with technology has given immersion a progressively more fundamental and structural dimension.1¹ With the aid of computer-generated imaging and an array of interactive and 3D technologies, immersive art has also become markedly more architectural in nature.2² Immersion now typically offers itself in the form of various enfolding, multisensorial environments to be entered and experienced, in contrast to the traditional ‘bounded’ (framed, screened) image to be watched or looked at from a distance. Sound in the cinema can take on the characteristics of immersive art forms too, particularly when distributed through a large, synchronized audio system. But the conventional cinema image is always circumscribed by the screen. As spectators, we retain the possibility of looking elsewhere and reconnecting with the surrounding reality, beyond the film’s fictional world. At the same time, we still need to place ourselves and stay in a particular pre-determined field of view in order to see the image properly. In an immersive environment the frame, as a material threshold between the virtual world and reality, disappears. What remains are the peripheral boundaries of my own vision, which in virtual reality (VR), for instance, I can expand by moving my head and body around to shift the horizon of my view. VR and 360-degree film3³ thus produce seemingly self-contained milieux through which I, as an ‘experiencer’ rather than a spectator, can apparently move, and with which I can sometimes interact.4⁴ As such, immersive art has the potential to make us experience things anew, to rethink how we perceive and use our bodies, and how we relate to other technology-saturated and mediated surroundings.

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丰富经验：沉浸式媒体的新视角简介

关于沉浸和艺术的话题又引起了极大的热情和猜疑？沉浸不仅可以说是人类想象能力的中心特征，而且，就历史所允许我们从图像和文字中确定的角度而言，沉浸也是一种不断发展的想象力工具。从柏拉图的洞穴到头戴式显示器，对超越现实的体验的追求一直是文化生产和众多相关技术的驱动力。艺术和浸泡的配对并不是什么新鲜事，然而，从19世纪起，随着科技技术的日益结合给沉浸逐渐更根本和结构性dimension.1 ¹与计算机生成的成像的辅助和互动和3D技术的阵列，身临其境领域也成为显效nature.2更建筑²与通常要在远处观看或观看的传统“有界”（有框，已屏蔽）图像相比，沉浸现在通常以各种可折叠的多感官环境的形式进入和体验。电影院中的声音也可以具有沉浸式艺术形式的特征，尤其是在通过大型同步音频系统进行分配时。但是传统的电影影像总是被屏幕所限制。作为旁观者，我们保留了将目光投向电影虚构世界之外的其他地方并与周围现实重新建立联系的可能性。同时，我们仍然需要摆放自己并停留在特定的预定视野中，以便正确看到图像。在身临其境的环境中，框架是虚拟世界与现实之间的物质门槛，消失了。剩下的就是我自己视野的外围边界，例如，在虚拟现实（VR）中，我可以通过移动头部和身体来扩大视野范围，从而扩大视野。VR和360度胶卷3³因此产生了看似独立的环境，作为“体验者”而不是旁观者，我可以通过它明显移动，并且有时可以与之互动^。44因此，沉浸式艺术具有使我们重新体验事物的潜力。 ，重新思考我们如何感知和使用我们的身体，以及我们如何与其他技术饱和且介导的环境联系起来。