This presentation aims to investigate the connections that have developed in the field of contemporary artistic creation since the 1990s. By intertwining the analysis of various case studies – from the work of Herman Kolgen to that of Ryoichi Kurokawa, passing through Granular Synthesis, Shiro Takatani| Ryuichi Sakamoto, among others – we intend to focus our analysis on the notions of immersive environment and atmosphere.
We cannot define as present only that which is perceived by the senses. In order to detect the forms in which entities manifest themselves – all those presences that act at the limits of the resolution power of the sensory organs – we need to develop a strategy that makes them visible and audible.
This observation introduces a compelling reflection on the relationship between art and technology | art and science: every work of art that involves technology clarifies the limits of human perception and at the same time allows it to be intensified. In other words, technology, before being a tool, is a form of thought: it allows us to make visible and audible what is not yet so. Starting from these assumptions, we will thus define the aesthetic framework of the notion of immersive environment.
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