I am pleased to announce that the book “Cultural immersive experiences. Trends and formats”, has been published!
This book is the result of research carried out together with the architect and museum designer Joan Sibina.
When we started writing it, in the summer of 2019, our main objective was to study the phenomenon of immersion, which at that time was in full swing. Experts from very diverse cultural areas spoke of immersion and its future. When we began to collect the information, we realized that very often, immersion was associated with the use of immersive technologies and was described from a single discipline. For this reason, we considered it to be important to open the field of analysis.
We came to the conclusion that immersion is a much more complex concept, which goes beyond the use of technologies and, even more importantly, that the most immersive experiences do not use technologies, but are based on other resources and media.
The multidisciplinary vision has allowed us to identify 12 formats of cultural experiences in which immersion is more present and has led us to develop tools that allow us to measure the experiential and immersive degree of cultural projects.
The book was written before the coronavirus and the edition was delayed due to the new conditions of the pandemic. The new post-COVID situation has changed the landscape of cultural projects and the field of immersion is no exception. However, despite restrictions on cultural visits and limited use of resources and media, immersion will remain relevant.
I would like to take the opportunity in this post to thank Oleg Afanasiev, Stefano Fake and Greg Richards for sharing their views on the different immersive experiential formats and Conxa Rodà for her words of welcome.
The link to buy the book is https://www.bod.com.es/libreria/experiencias-inmersivas-culturales-irina-grevtsova-9788413262277
Immersive experiences are a recent, and in many ways, complex phenomenon. They appeared at the beginning of the 21st century in the frame of the experience economy society, in which the consumption of emotions and entertainment prevail. Almost all industries dedicated to culture have been restructured. Particularly, changes have affected the design of cultural experience products.
Theaters have started creating immersive shows, cinema has developed new narrative languages in 360° format. Pop-ups, digital art exhibitions and escape rooms were born, and museums, faced unexpectedly with a new situation, have rethought their role and, in a transforming sense, have begun to integrate experiences into their spaces.
One of the key indicators that largely determines the overall acceptance and success of a visit is its degree of experience and immersion.
The objective of this book is to analyze the range of immersive cultural experience formats and identify those that contain high doses of immersion. We are not presenting a theoretical treatise, but rather a manual or a practical guide that helps managers and creatives linked with cultural heritage to spot new horizons, and IT professionals and experts in technology to understand the needs of the public. Also, this book will guide students in the vast world of new trends and will serve as a thermometer for measuring the experiential and immersive level of their creations.