Page 30 - AC/E Digital Culture Annual Report

30
This has opened a new path to art that amplifies the possibilities of creation and experimentation.
Literature
There is some pessimism regarding the chal- lenged posed by the increasing possibilities and expectations of user knowledge with the capac- ity to create new audiovisual experiences, and the negative impact of all this on literature, and how the evolution of the book as the historical medium of literature can hardly compete with the significant advances in other fields of cultural consumption. Putting aside these patterns of consumption, there have also been proposals
to rethink the way in which reading and writing are experienced beyond assessing the impact of digitalization on the book market.
For Casciari [Casci], there are two elements
that are key to understanding the situation:
One is the huge amount of information and interactions that take place in our “techno-social environment”: text messaging, tweets, real-time news, recommendations of interesting content adapted to our wishes ... The other is the ability to, based on technology, to continue to offer an experience to the “reader” of “deep and immer- sive reading that requires technology,” with “the future of literature depending on the possibility of maintaining those immersive characteristics.”
Immersive technology is starting to be seen as another tool in the creative process, providing new formats and media and facilitating access to other narrative languages.
In the words of Paladines Paredes [Palad]:
The reading process, when combined with the use of new technologies, permits changes to the way in which the reader approaches literary texts. Genres such as history, fantasy or science fiction, for example, are enhanced with the narrative qualities of other media such as images, video or animations. While the reader imagines each of the
scenes described in the book, the characters, their situations and the locations described at the time of reading, the other media resources complement the experience, producing an immersive effect.
Therefore, immersive technology is starting to be seen as another tool in the creative process, providing new formats and media and facilitating access to the literature of new generations accustomed to other narrative languages and desiring different contents.
Other Applications
Creativity in pursing the possibilities facilitated by immersive technologies has gradually made its way into many applications in which the audiovisual component of the content generated and provided to the user is the central element.
For example, AR technologies are improving experiences for tourists around the world by providing an overlay of historical or cultural information relevant to the most visited sites.
Fig. 10. Example of AR applications for tourists of the Inception project [Inception]
These applications range from integrating all kinds of contextual information to make the user experience more dynamic, to the ability to completely recreate the original environment, which in many cases has been completely lost, facilitating a deeper understanding of the gran- deur, strategic importance or classification of the activity in the visited environment.
Likewise, museums are remaking their offering by showing virtual recreations of the original art-
IMMERSIVE CREATIVITY, CREATIVE IMMERSIVITY · JOSÉ MANUEL MENÉNDEZ AND DAVID JIMÉNEZ BERMEJO
Digital Trends in Culture