We know that it is not easy to surprise people. To increase external stimuli and make effort to stand out are the essential elements. Art has always had the ability to transport audiences to diverse places and recreate special situations; it makes people visit different realities. However, with the emergence of multimedia technology, we have managed to create a series of immersive experiences, which not only take the spectator to another reality, but also invites them to be participants, to experience interactivity.
For several years now, technology advances have been agile and people have a greater capacity to adapt to these changes and innovation. This helps to immerse the spectator in an experience that manages to transfer him to any intended place, only by modifying image, sound, touch and in some cases smell. Fascinating, isn’t it? Given this situation, there is a need to create truly enriching experiences that are distinctive as well as original. As we said, it is not easy to surprise the audience. In this sense, the need for more interactive media is created as a strategy to attract the attention of the audience, which is versatile, with the ability to create a whole new digital experience, focusing on immersion as the cardinal point.
This is the case of one of our installations, Lush: An immersive and interactive installation with LED lights made for the Lush spa in Tokyo. In this case we created a space to free the imagination and creativity of the visitor with the change of coloured lights. The evolution of innumerable audio-visual possibilities, such as virtual reality or three-dimensional systems, known as 3D, the boom of virtual reality, among others, brought a huge field of experimentation for those of us who create audio-visual pieces, such as Lush. There is so much that can be done; all that is needed is creativity.
We design the technology to translate the movement into an interactive reaction. We play with LED bars, lights, colors and music to offer the audience a personalized and unique immersive experience. The installations usually represent a trip of different colour combinations and sensations to connect with the moods of the audience in order to turn the experience into something totally personal.
The concept of immersive environment is closely linked to that of virtual reality, meaning an artificial world, usually generated by a computer, where the spectator is immersed in some way (through special devices such as glasses, headphones, gloves, etc.) and where you can experience certain sensations linked to your senses. The narration of these types of projects plays an important role, since it breaks the conventions and allows the audience to be directly involved in the story. It is also an immersive narrative experience that redefines the way of generating stories.
This thin line between the real and the fictitious generates a “fused” reality that extends the borders and allows us to experience really disruptive and shocking situations. Many believe that these experiences will become the future of events, where the fine line between the physical and virtual world begins to blur. Virtual reality experiences such as Paradoxa VR manage to explain this universe: a VR video, in which a trip through time is proposed, with leaps between the past, the present and the future.
It seems surreal, but it isn’t. In our studio, we experience human perception and the senses to express others and ourselves through immersive worlds. We are facing a new communication paradigm; the incredible thing about this technology is that you really feel that you are somewhere else. And the great challenge lies then, in making that world look, sound and feel real. The relationship between companies and people is changing, and the goal is to design a truly collaborative digital experience.
How much fiction does reality have? Or how much reality does fiction have? In short, fiction and the experience of reality are closely linked. That is why this type of experience determines the spectator that he can be part of a fiction, not as something opposite to the reality but as a way to structure the models of the reality.