\u00a0<\/p>\n
Oliver Grau has stated that immersion \u201cis characterized by diminishing critical distance to what is shown and increasing emotional involvement in what is happening\u201d [Grau, Virtual Art<\/em>, 2003, p13]. In that sense, any artwork might be thought of as a potentially immersive experience, inviting a level of engagement best described as a kind of absorption, engrossment or \u201cimmersion\u201d. Does a large-scale installation or virtual reality environment offer greater \u201cimmersion\u201d than the experience of being transfixed by a small painting on a wall? Arguably, immersion is a condition that exists between the viewer and the work, rather than an inherent quality of the work alone. And if the wall-space between two paintings becomes valuable contemplative terrain in competition with the adjacent art [Stephen Little, \u2018Painting in Transit\u2019], it is apparent that no space is neutral, just as no space is inherently immersive.<\/p>\n \u00a0<\/p>\n Various contemporary installation practices and the repurposing of non-galleries for site-specific exhibitions evince a shift away from the \u201cwhite cube\u201d museum space. Thomas Demand\u2019s exhibition \u2018The Dailies\u2019 (CTA building, Sydney, 2012), offers a kind of \u201ccontaminated immersion\u201d. Demand has spoken about discovering \u201cconstellations\u201d [in conversation with Sylvia Lavin, AGNSW, 23\/3\/12], which expand the image beyond the frame and blur distinctions between art and \u201cnon-art\u201d, emphasising the viewer\u2019s agency to locate hidden or unanticipated connections in the surrounding environment. This paper considers Demand\u2019s project as a point of reflection on strategic interferences that could be revealed via the contamination of immersion, exposing new meaning and value in the space between.<\/p>\n","protected":false},"excerpt":{"rendered":" Contaminated immersion: art and the space between. \u00a0 Oliver Grau has stated that immersion \u201cis characterized by diminishing critical distance to what is shown and increasing emotional involvement in what is happening\u201d [Grau, Virtual Art, 2003, p13]. In that sense, any artwork might…<\/p>\n","protected":false},"author":538,"featured_media":0,"parent":1081,"menu_order":10,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-1138","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages\/1138","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/users\/538"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/comments?post=1138"}],"version-history":[{"count":4,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages\/1138\/revisions"}],"predecessor-version":[{"id":1251,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages\/1138\/revisions\/1251"}],"up":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages\/1081"}],"wp:attachment":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/media?parent=1138"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}