References
[1]. Haberstich, D. (1970). Grammaire élémentaire de l'image (Elementary Grammar of the Image) by Albert Plécy. Leonardo, 3(4), 474-475.
[2]. Boulting, N. E. (2006). Objections to the Iconic Conception of Artworks. In On Interpretative Activity (pp. 157-165). Brill.
[3]. Putri, T., Mukundan, R., & Neshatian, K. (2017, February). Artistic Style Characterization of Vincent Van Gogh’s Paintings using Extracted Features from Visible Brush Strokes. In International Conference on Pattern Recognition Applications and Methods (Vol. 2, pp. 378-385). SCITEPRESS.
[4]. Chisholm, B. (2018). Increasing Art Museum Engagement Using Interactive and Immersive Technologies.
[5]. Slater, M., & Sanchez-Vives, M. V. (2016). Enhancing our lives with immersive virtual reality. Frontiers in Robotics and AI, 3, 74.
[6]. Kirshenblatt-Gimblett, B. (1998). Destination culture: Tourism, museums, and heritage (Vol. 10). Univ of California Press.
[7]. Otter, C. (2010). Locating matter: the place of materiality in urban history. Material powers: cultural studies, history, and the material turn, 54.
[8]. Forgione, N. E. (1993). Edouard Vuillard in the 1890s: Intimism, theater, and decoration. The Johns Hopkins University.
[9]. Soulages, F. (2008). Littérature et photographie. Neohelicon, 35(1), 85-95.
[10]. Baldini, Andrea. (2019)."The Public-Art Publics: An Analysis of Some Structural Differences among Public-Art Spheres" Open Philosophy 2, no. 1, 10-21. https://doi.org/10.1515/opphil-2019-0002
[11]. Freina, Laura, and Michela Ott. (2015). "A literature review on immersive virtual reality in education: state of the art and perspectives." In The international scientific conference eLearning and software for education, vol. 1, no. 133, pp. 10-1007.
[12]. Carrozzino, Marcello, and Massimo Bergamasco. (2010). "Beyond virtual museums: Experiencing immersive virtual reality in real museums." Journal of cultural heritage 11, no. 4, 452-458.
[13]. Chen, Yunyan. (2021). "Immersive Exhibition." Ph.D. diss., Pratt Institute.
[14]. Leahy, Helen Rees. (2016). Museum bodies: the politics and practices of visiting and viewing. Routledge.
[15]. Wang, Siyi. (2020). "Museum as a sensory space: A discussion of communication effect of multi-senses in Taizhou museum." Sustainability 12, no. 7, 3061.
[16]. Dinhopl, Anja, and Ulrike Gretzel. (2016). "Selfie-taking as touristic looking." Annals of Tourism Research 57, 126-139.
[17]. Chlebus-Grudzień, Patrycja. (2018)."Selfie at a museum: Defining a paradigm for the analysis of taking (self-portrait) photographs at museum exhibitions." Turyzm 28, no. 1, 7-13.
[18]. McCowan, Kate. (2018)."Social Consumerism in Immersive Art Experiences." MAR Editorial Staff: 95.
[19]. Stromberg, Matt. (2018). "Museum as selfie station." Contemporary Art Review. La 11,18-29.
[20]. Phillips, Patricia C. (1989). “Temporality and public art.” Art Journal 48, no.4: 331-335
[21]. Nakamura, J., & Csikszentmihalyi, M. (2014). The concept of flow. In Flow and the foundations of positive psychology (pp. 239-263). Springer, Dordrecht.
Cite this article
Huang,N. (2023). Immersive Exhibition: Its Theoretical Development, Its Audiences and the Re-discovery of Modern Art Exhibition. Communications in Humanities Research,3,309-315.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
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References
[1]. Haberstich, D. (1970). Grammaire élémentaire de l'image (Elementary Grammar of the Image) by Albert Plécy. Leonardo, 3(4), 474-475.
[2]. Boulting, N. E. (2006). Objections to the Iconic Conception of Artworks. In On Interpretative Activity (pp. 157-165). Brill.
[3]. Putri, T., Mukundan, R., & Neshatian, K. (2017, February). Artistic Style Characterization of Vincent Van Gogh’s Paintings using Extracted Features from Visible Brush Strokes. In International Conference on Pattern Recognition Applications and Methods (Vol. 2, pp. 378-385). SCITEPRESS.
[4]. Chisholm, B. (2018). Increasing Art Museum Engagement Using Interactive and Immersive Technologies.
[5]. Slater, M., & Sanchez-Vives, M. V. (2016). Enhancing our lives with immersive virtual reality. Frontiers in Robotics and AI, 3, 74.
[6]. Kirshenblatt-Gimblett, B. (1998). Destination culture: Tourism, museums, and heritage (Vol. 10). Univ of California Press.
[7]. Otter, C. (2010). Locating matter: the place of materiality in urban history. Material powers: cultural studies, history, and the material turn, 54.
[8]. Forgione, N. E. (1993). Edouard Vuillard in the 1890s: Intimism, theater, and decoration. The Johns Hopkins University.
[9]. Soulages, F. (2008). Littérature et photographie. Neohelicon, 35(1), 85-95.
[10]. Baldini, Andrea. (2019)."The Public-Art Publics: An Analysis of Some Structural Differences among Public-Art Spheres" Open Philosophy 2, no. 1, 10-21. https://doi.org/10.1515/opphil-2019-0002
[11]. Freina, Laura, and Michela Ott. (2015). "A literature review on immersive virtual reality in education: state of the art and perspectives." In The international scientific conference eLearning and software for education, vol. 1, no. 133, pp. 10-1007.
[12]. Carrozzino, Marcello, and Massimo Bergamasco. (2010). "Beyond virtual museums: Experiencing immersive virtual reality in real museums." Journal of cultural heritage 11, no. 4, 452-458.
[13]. Chen, Yunyan. (2021). "Immersive Exhibition." Ph.D. diss., Pratt Institute.
[14]. Leahy, Helen Rees. (2016). Museum bodies: the politics and practices of visiting and viewing. Routledge.
[15]. Wang, Siyi. (2020). "Museum as a sensory space: A discussion of communication effect of multi-senses in Taizhou museum." Sustainability 12, no. 7, 3061.
[16]. Dinhopl, Anja, and Ulrike Gretzel. (2016). "Selfie-taking as touristic looking." Annals of Tourism Research 57, 126-139.
[17]. Chlebus-Grudzień, Patrycja. (2018)."Selfie at a museum: Defining a paradigm for the analysis of taking (self-portrait) photographs at museum exhibitions." Turyzm 28, no. 1, 7-13.
[18]. McCowan, Kate. (2018)."Social Consumerism in Immersive Art Experiences." MAR Editorial Staff: 95.
[19]. Stromberg, Matt. (2018). "Museum as selfie station." Contemporary Art Review. La 11,18-29.
[20]. Phillips, Patricia C. (1989). “Temporality and public art.” Art Journal 48, no.4: 331-335
[21]. Nakamura, J., & Csikszentmihalyi, M. (2014). The concept of flow. In Flow and the foundations of positive psychology (pp. 239-263). Springer, Dordrecht.