ISSUE 6

By Marco E. Bruscoli, Scholar-in-Residence, WolfBrown

There is evidence to suggest that the immersive paradigm is starting to take on a more defined structure concerning the production and distribution of new content. Much like the growing nervous system of a young child, this steady evolution is forging new kinds of spaces, formats, and communities…..This transition will require more than just refurbishing these rooms and installing projectors, however. At its core, this is interdisciplinary artistic work requiring a high level of scholarship and artistry in concept, design, and production. Technology can play a major role, or no role at all. Even with a strong artistic concept, success will ride on the quality of the user experience.

ISSUE 5 • JUNE 2023

By Marco E. Bruscoli, Scholar-in-Residence, WolfBrown

In transforming the performing arts for the digital space, we’ve managed to broaden access. However, the quality and emotional depth we’re accustomed to in physical spaces doesn’t translate as well digitally. For example, think about the last time you streamed classical music. Did it provide an intense, uninterrupted emotional experience, or was it just background music? Were you listening intently, or dividing your attention between multiple activities? Unfortunately, the consumption of streamed content tends to be very passive and tends to allow for distraction. 

As we grapple with this challenge, two key questions arise for artistic institutions: How can we extend our digital offerings to provide a more enriching artistic experience? And, how can we strengthen our connection with digital natives?

To address these questions, we must consider the third evolution of the internet (Web 3.0).

ISSUE 4

By Marco E. Bruscoli, Scholar-in-Residence, WolfBrown

As my research into the immersive paradigm goes deeper and deeper, I’m continually reminded that we are three-dimensional human beings. We do not inhabit a flat, two-dimensional world; instead, we live in a three-dimensional environment, experiencing life through movement and interaction with our surroundings. Our senses have evolved to allow us to engage with the world, developing a sense of balance, depth, smell, touch, and more—a complex array of perceptions that help us understand our position and the world around us. We make choices and possess free will, the primary driver of our “sense of presence” in the here and now. We communicate and receive external input constantly. However, many of the narratives we experience, particularly the majority of mass media we unconsciously rely on, are two-dimensional or have adapted to two-dimensionality, which does not reflect how we interact with the world as human beings.

ISSUE 3

By Marco E. Bruscoli, Scholar-in-Residence, WolfBrown

Throughout history, technological breakthroughs have opened up arts experiences for new audiences, from the spectral illusions of “Pepper’s ghost” (mid-19th century, the antecedent to contemporary holograms) to theater binoculars/opera glasses, projected supertitles, seatback caption displays, and now smartphone apps.

At every step, new technologies have been rejected as disruptive and antithetical to the live experience. Despite the best efforts of ushers, house managers, and sometimes artists, it seems increasingly impossible to stop audience members from using their phones during live performances. With digital natives now entering the marketplace for live arts programs, we are on a crash course with the expectations and norms of the next generation of theatergoers. How can nonprofit arts organizations safeguard their cherished norms of distraction-free experiences while embracing a new generation that expects increasingly immersive, interactive, and mediated experiences?

ISSUE 2

By Marco E. Bruscoli, Scholar-in-Residence, WolfBrown

The interpolation of classical repertoire into the immersive paradigm surely evokes strong emotions, cries of “foul” and even a sense of loss. In the words of Joe Pine, the father of the experience economy, “Either you create an experience, or you (will) become a commodity.” In light of recent immersive treatments of legacy art and artists, it seems clear that we’ve entered a new period of “commoditization” of art and artists. Commercial producers like Lighthouse Immersive and Fever are leveraging unprotected “legacy” assets for financial gain by reformatting the user experience to appeal to a broader audience.

ISSUE 1

By Marco E. Bruscoli, Scholar-in-Residence, WolfBrown

Coming out of the pandemic, nonprofit arts organizations are struggling to make sense of digital programming opportunities moving forward. Some have altogether abandoned digital initiatives undertaken during the pandemic. Others continue to search for a sustainable business model for digital content.

According to a June 2023 Audience Outlook Monitor survey of over 8,000 arts patrons across the US, approximately half say they have ‘little or no interest’ in watching ‘online programs offered by cultural organizations, such as live-streamed programs and video recordings of recent productions.’ Another 45% say they’ll selectively watch digital content if the spirit moves them. Just 5% say they actively seek out such content. Results do not vary by age……