Whitepaper about Immersive Technologies in Tourism and state of the art application cases and best practices within the field of museums, art, destination marketing, virtual events and much more.
What’s online video today, fifteen years into its exponential growth? In the age of the smart phone, video accompanies, informs, moves, and distracts us. What started off with amateur prosumers on YouTube has spread to virtually all communication apps: say it with moving images. Are you addicted yet? Look into that tiny camera, talk and move the phone, show us around, and prove the others out there that you exist!With this third reader the Video Vortex community — initiated in 2007 by the Instituteof Network Cultures — proves that it is still alive and kicking. No matter its changes, the network is still driven by its original mission to develop a critical vocabulary for this rapidly spreading visual culture: what are the specific characteristics of online video in terms of aesthetics and political economy of image production and distribution, and how do they compare to film and television? Who is the Andre Bazin of the YouTube age? Honestly, why can’t we name a single online video critic? Can we face the fact that hardly anyone is using the internet? What are you going to do with that 4K camera in your smartphone? Have we updated Marshall McLuhan’s hot and cold media for our digital era yet? Who dares? We see the Woman with a Smartphone Camera in action, but who will be our Vertov and lead the avant-garde? Who stops us? Let us radically confront the technological presence as it is and forget the pathetic regression to past formats: radical acceptance of the beautiful mess called the net.
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There has been limited adoption of Immersive Journalism (IJ) by the audience; simultaneously, the audience’s perspective is rarely considered in the production and research of IJ. At this point, however, it is crucial to incorporate an audience perspective to identify potentially unintended effects of IJ and improve on the innovation of IJ. This study investigates the audience’s experience and evaluation of IJ by qualitatively analyzing their thoughts after viewing two IJ cases. Our results indicate that the audience may pick up on intended effects, such as a sense of presence and an intense emotional experience, but some also express unease towards these effects. Furthermore, the audience struggles to comprehend this study’s two immersive journalistic cases as part of the journalistic genre. These findings provide insight into the gap between the initial hype and the current reality of IJ and provide the basis for propositions for future IJ productions.
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