Immersive Digital Experiences - A New Form of Exhibit

To set the stage, when we talk about immersive digital experiences (here on IDE) we refer to digital exhibitions that captivate audiences by surrounding and engaging them. These artworks can be encountered either in person or virtually, presenting participants with environments designed to stimulate multiple senses through use of projection mapping, auditory elements, tactile sensations, vibrations, mixed media, and even fragrances.

A recent visit to both Teamlab Planets in Tokyo and NXT museum in Amsterdam (as well as seeing the noticeable rise in IDE’s in damn near every city) was the catalyst for this insight piece, when we started to wonder about the rise and impact of such exhibits. As part of a larger creative group spanning both physical (Office Twelve) and digital (Neon Bloom) consumer experiences, we naturally felt drawn to the subject and started with an analysis of some of their strengths and weaknesses.

PROS

Accessibility

One of the most significant advantages of immersive digital exhibitions is their ability to democratize art and make it more accessible to a broader audience. Unlike traditional galleries, which may be limited by physical space or geographical location, IDE’s can often be on a more grander scale using large projection machines and other technology built more for scale. Not only this, but by nature of the more contemporary medium, IDE’s can also be perceived as much less intimidating than "stuffy old-fashioned" museums, and feel more accessible to an audience that may normally avoid the perceived institutionalized setting of more traditional museums. This accessibility opens up new possibilities for engagement, allowing individuals from diverse backgrounds to explore and appreciate art in their own way.

Dialogue between exhibitor and visitor

Because of the more digital nature of immersive experiences, by nature they tend to produce more organic content on social media. To take things futher, lets be honest and touch upon the fact that some IDE’s are essentially poorly veiled Instagram content farms. But this deeper connection with social media can be an advantage. Social media platforms offer exhibitors a direct line of communication with their audience, enabling them to solicit feedback, answer questions, and foster meaningful dialogue around exhibitions. Exhibitors can use social media analytics to gauge audience reactions and engagement levels, allowing them to refine their curation strategies and tailor future exhibitions to better meet the needs and interests of their audience. By actively engaging with followers and responding to feedback, exhibitors can create a more dynamic and responsive cultural experience that reflects the evolving tastes and preferences of their audience. However this can also be a double edged sword as we will touch upon further down.

Pushing Boundaries and Inspiring Innovation

IDE’s encourage experimentation and innovation, pushing artists and technologists to explore new creative frontiers. From large-scale multimedia installations to intimate virtual environments, these exhibitions challenge traditional notions of presentation and storytelling. By harnessing the power of technology, artists can transcend the limitations of the physical and traditional art and create immersive experiences that resonate on a deeply emotional and sensory level without asking viewers to stretch their imagination.

CONS

Tech based art

Dependence on technology means that technical glitches can disrupt the experience. Poor connectivity, hardware malfunctions, or software bugs can negatively impact visitor satisfaction. Visitors may need time to adapt to new technologies. This can be a barrier for less tech-savvy individuals, reducing the inclusivity of the exhibit. Not to mention potential high maintenance costs and requirements for full time technicians on hand. 

High Initial Costs:

Setting up immersive digital exhibitions can be expensive due to the cost of advanced equipment, software, and technical expertise required for development and maintenance. Whole teams are required for the conceptualization and realization of IDE’s including pricey technical experts. Once the exhibit is up and running, these costs don’t disappear either as regular maintenance and support teams are required to ensure that the show goes on, which can be expensive.

Quality Control:

The goals of traditional art museums is many fold, but theoretically it’s partly to educate the public, expose them to new things, broaden horizons, and essentially curate the body of existing work for their audiences. For better or for worse, there is a sense that traditional museums hold an institutional responsibility to teach, expose, and broaden the minds of the public. Sometimes this incudes exhibitions which may be controversial, dividing, or challenging. With IDE’s this aspect plays a significantly less (or non-existent) part. Once could argue that IDE’s, by nature of their existence will continue to push the boundaries of what is possible with every technological advancement, but the reality is that more often than not IDE’s goal is to surprise, delight, amaze, and immerse audiences with an eye more on sensation than on education. This difference in goals means that IDE’s have an incentive to be as mainstream appealing as possible and are less likely to push comfort zones or audience boundaries. The experience, albeit engaging, runs the risk of therefore ultimately being hollow and meaningless, with no clear message or takeaway. 

Conclusion

The influence of social media and technology on museum and exhibition curation is undeniable. From amplifying audience engagement to fostering dialogue and co-curation, social media has fundamentally transformed the way museums approach the presentation of art and culture. By embracing digital connectivity and leveraging user-generated content, exhibitors can create more immersive, inclusive, and dynamic exhibitions that resonate with audiences both online and offline. However, finding a balance between catering to the likes and algorithm economy vs monitoring social platforms for useful data is a line that must be tread carefully. And just like galleries and museums, not all IDE’s are created equally. 

It becomes apparent that as dynamic and engaging as the results of a succesful IDE can be, this myriad of inputs and ingredients make for a careful balancing act. Multidisciplinary talents and skill sets reflecting the "phygital" nature of the medium are required to create a truly engaging and thought-out experience. Furthermore, wowing audiences with something they have never seen before is great, but leaving lasting takeaways through meaningful experiences takes more work and consideration.

Luckily feedback mechanisms and review sites are abundant, helping to filter and rank exhibitions accordingly. In this way, consumers can regulate and QC exhibitions hopefully leading to more cutting edge and wonderful experiences and less cash-grab digital Scottish Willy Wonka factories 😉