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How to do a close-knit cultural experience in Immersive Art


Immersive art can be said to be the typical content expression of current culture + technology. From the product itself, this exhibition brings a completely immersive experience to the audience with closed-loop, full-sensory content design; formally, the expression of culture + technology further narrows the viewer's readability to the work. The understanding transcends the gap between readers and works in traditional art exhibitions; from the perspective of the market, the unique content of the works constitutes a new IP brand, and also breaks through the gap between the layers of culture, and expresses the profound oriental aesthetics from an international perspective.

The immersive art exhibition is in turmoil, and it implies some kind of ambition—it intends to transcend the drawbacks of traditional art exhibitions such as monotony, bluntness, veneer, and high acceptance threshold, and practice a new relationship between the exhibition and the reader. In essence, the immersive art exhibition is the best carrier for the dissemination and exchange of aesthetic information through the display of artistic works. The reason why it can surpass the drawbacks of traditional art exhibitions is the directness of popular art acceptance. This directly includes two characteristics: presence and interactivity.

In other words, the interaction between the reader and the work is more spiritual and indirect. We always emphasize that when we participate in art exhibitions, when we appreciate art works, we must perceive, observe, understand, and understand the language of art works through the appreciation, communication, and communication of works. Semantics, images, symbols, and even information and content that the author wants to express. The ideal state is that the appreciator perceives, understands, experiences, recollects the art works and the process of artistic appreciation to achieve aesthetic pleasure.

But can this process be simpler, more direct, and more solid, allowing the viewers to immerse themselves in the sensory world of the work and get a better artistic appreciation experience?

This is the starting point for immersive art exhibitions.

On-the-spot: the immersion of content design

One of the most important features of immersive art is the immersive experience of the audience during the exhibition. If at its root, the immersion theory was first proposed by the University of Chicago psychology professor Mikhail Zixen Michal, who found that when people concentrate on doing something, they forget their existence and lose because of their concentration. The sense of time is accompanied by a high sense of excitement and fullness, which is called an “immersive experience”.

There are three main conditions for this kind of experience: clear and focused purpose; timely and effective feedback; and a deeper level of experience. By telling the audience the starting point and the end point of the journey through a clear purpose, the meaning of the overall exhibition is implied, and the in-depth content links and timely feedback guide the audience to immerse themselves step by step.

The whole process is gradually guided in the careful design of the scene, gradually from “participation” to “immersion”, from “audience” to “avatar”. In the role identity, scene guidance to achieve co-existence, forming a complete experience of intervention, sinking, immersing, exiting the closed loop, thus to appreciate the designer's original oriental aesthetics.

Interactivity: the functional space built by technology

In the on-the-ground immersion experience, the most important means is interaction. To mobilize the audience's immersive experience, it is necessary to use technology tools to interact at three levels: the sensory level, the content level, and the emotional level.

At the sensory level, technology is one of the most effective factors in stimulating audience faculty. In the current immersive art exhibition, it is a common feature of this kind of exhibition to make full use of scientific and technological means to create a full-featured experience that mobilizes the audience's sense of hearing, sight, smell and even touch and taste. The interaction at the content level is the biggest difference between the immersive art exhibition and the traditional exhibition, and it is also the most advantageous part. We mentioned at the beginning that the immersive art exhibition attempts to construct a new relationship between the work and the reader – the direct interaction between the work and the reader, from the traditional “contemplation” to the current “placement”.

On the basis of the sensory and content levels, the interaction of emotional and speculative levels occurs. The higher-level experience in the aesthetic experience is to form a deep experience of empathy, resonance and common beauty through the perception of the works of art. The further advantage of the immersive art exhibition is that after the stimulating and content immersion, it is more conducive to the audience to immerse in the works. In the symbolic system, we then think about and feel the meaning speculation and emotional understanding brought by this symbolic system.



Mass: Extension of cultural groups

To achieve the empathy, resonance and common understanding of the oriental aesthetic culture, the group extension of the circle culture will follow. This kind of extension includes two forms, one is the exhibition of centripetal force; the other is the divergence centered on the exhibition.

The culture of the exhibition as a centripetal force can be expressed as a group of people with the same aesthetic interest gathered in the exhibition, with the cultural meaning of the exhibition and the exhibition as the core, attracting a group of audience. In the spread of "New Heaven in Pot·Taoyuan", we found that the most interesting point is that it is welcomed by ancient folk lovers, Hanfu lovers, traditional culture lovers, cosplay enthusiasts, and the centripetal force of oriental aesthetic culture is agglomerate. A group of exhibition audiences provide a good foundation.

On the other hand, the cultural divergence centered on the exhibition is centered on the cultural connotation expressed by exhibitions and exhibitions, maximizing the radiation to other cultural circles, breaking through cultural barriers, and spreading the value symbol system and culture of the exhibition. Aesthetic significance.

However, we emphasize the extensibility of cultural groups. It is necessary to pay attention to the importance and role of art exhibitions in the context of commercial markets. Based on the premise of cultural intrinsic and cultural value symbolism, the audience should be focused on the exhibition. The interaction, behavior and communication forces laid a foundation for the success of the exhibition.

If the art exhibition ignoring the audience's commanding heights and neglecting the audience, the high and the widow may be a better ending, and the most likely outcome may be a broken bone. Furthermore, in the commercial economy, how the art exhibition combines the long-term accumulation of high-value elite culture with the easy-to-understand and popular popular culture is still worth discussing.

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