The coupling of museums and immersion is the focus of Alison Griffiths’s book Shivers Down Your Spine: Cinema, Museums and the Immersive View.1¹ Her central thesis is that one cannot really talk about the ‘immersive view’ or immersion without dealing with the museum, since the idea of the museum experience also arguably aspires to ‘stimulate a rush of interest, prompt user participation, [and] foster immersion in an extraordinary environment’.2² Both museums and public cultural spaces are situations of ‘civic seeing’ that have evolved through centuries of remaking the viewing experience.3³ There is, moreover, no singular optical lineage: the history of spectatorship is marked by a diversity of forms of seeing that have allowed for a multiplicity of optics and technologies and immersive strategies. The museum is also synonymous with many sensorial attributes, not only vision but also a range of acoustical, tactical and somatic characteristics.

中文翻译：

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感官的假肢建筑：博物馆和沉浸式建筑

博物馆和浸泡的耦合是艾莉森·格里菲思的书的重点颤抖到脊椎：电影院，博物馆和沉浸式观0.1 ¹她的中心论点是一个不能真正谈论的“身临其境的观点”或浸泡无需处理与博物馆，因为体验馆的理念也可以说是渴望“激发兴趣，提示用户参与匆忙，[和]培育沉浸在平凡的environment'.2 ^2个两个博物馆和公共文化空间是的情况下，‘公民眼见’那通过改造观看experience.3的世纪已经进化³此外，没有奇异的光学世系：观看比赛的历史以各种各样的观看形式为特征，这些形式允许多种光学和技术以及沉浸式策略。博物馆也是许多感官属性的代名词，不仅视觉，而且还有一系列声学，战术和躯体特征。