Immersive Medien - Ein Unterrichtskonzept

Kieler Kuppel-Kalender 2007
geneigt sind an Konzeptideen zu stricken, als
diese eigenhändig umzusetzen, als auch Menschen
die kreatives Potential in sich tragen. Die
Grundlagen zu formen für ein umfassenderes
theoretisches Wissen bezüglich des Mediums
digital dome theatre, seiner Klassiizierung als
(teil-)immersives Medium und die Anregung zu
kreativer Ideenindung rund um den Mediendom,
wollte ich mit diesem Kurs bewirken. Die
aus dem Kurs hervorgegangenen Hausarbeiten
belegen die Efektivität dieses Konzeptes, denn
Teilnehmerinnen, die zu Anfang den Begrif der
Immersion nicht kannten, gehen nun souverän
damit um.
Auszüge aus den Semesterarbeiten:
›Draft for a Realization‹ by Miriam Pelka
In the area of immersive media exist various
terms that are not clearly deined by dictionaries
or a common understanding; every author
uses expressions like immersion or virtual reality
in a diferent way. herefore it is necessary
to deine how several terms will be used within
this work.
Immersion
In this work immersion is seen to be prevailing if
a person can totally identify with an artiicial situation
and temporary forget about the real world
around. Referring to the deinition of Florian
Rötzer (2000) every medium can lead to immersion
and interaction is one of the most efective
methods to achieve it. However, in my opinion
interaction is not an essential condition, since
a person can also immerse in a book or a ilm,
which usually do not require action from the
consumer. Unlike Rötzer I also think that there
should be a certain amount of reality within the
media presentation to get immersed. his reality
does not need to last the whole presentation
but it is helpful to pass into the virtual world
presented. he spectator in the beginning needs
something he or she knows like a igure that resembles
a person or an animal or at least a world
that follows the physical laws. his connection
to reality can decline during the presentation
so that in the end the user feels totally detached
from the real world. his technique also can be
found in romantic literature where the Jacob’s
ladder was used to switch over from reality into
a visionary story. he possibility to immerse into
an atmosphere without being aware of it, like it
is described from Barbara Becker (2004), seems
to be the most efective and haunting way to get
immersed in a situation. hus, creating those
atmospheres should be a primary aim for producers
of immersive media. […]
The Dome
(also see gure on page 18)
he construction of the dome for this drat differs
from the current building at the University
of Applied Sciences Kiel. It has a similar size
but the interior equipment diverges from it: he
screen of the dome reaches from the ceiling onto
the ground to achieve a real full dome projection
without borders or edges. he spectators will see
the show in whatever direction they are looking,
except for the loor. In order to get into the room
the visitors of the dome have to go upstairs from
the entrance hall and enter the room via a kind
of trap door on the loor of the dome. he 360°
screen is made of one piece to achieve that there
will be no seams that could interrupt or destroy
the image and therewith the immersion.
he visitors of the dome do not sit in chairs but
lying on the ground. herefore the whole loor
of the dome will be provided with an enormous
mattress and pillows for every visitor. he aim is
to establish a cushy atmosphere where everyone
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