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<\/figure>\n\n\n\nSensory experiences<\/strong><\/strong><\/h3>\n\n\n\nMapping is also a tool the studio privileges to explore the concept of sensoriality. For example, how to place yourself in the skin of an artist and discover their work by other means? The interactive experience Shooting by Niki <\/em><\/a>(2018), presented as part of the exhibition dedicated to Niki de Saint Phalle at the BAM (Beaux-Arts Mons), allowed visitors to relive, from the artist\u2019s viewpoint, her action paintings (rifle shooting at pockets of paint attached to her works). The visitors could thereby experience for themselves the whole process of the ritual: picking up a rifle, loading it, aiming, firing and seeing the paint explode across the video-projected canvas. The Facing van Eyck : The Miracle of Detail<\/em><\/a> (2020) experience, presented at the Bozar, goes further still and immerses audiences in hitherto unseen ways in the paintings of the fifteenth-century Flemish pioneer of painting, well known for the minutiae of his brushstrokes. Details scarcely visible to the naked eye take on another dimension thanks to high-definition scans of his works. Nicolas d’Alessandro explains: \u2018we worked with the Institut Royal du Patrimoine Artistique (KIK-IRPA), which had produced scans, radiographs and reflex prints of all of the canvases painted by Van Eyck, and was trying to find attractive ways to present them to the general public. Hovertone\u2019s idea was thus to invite the audiences to immerse themselves in all the details of a canvas and gain access to some of the painter\u2019s secrets, thanks to the movements of the body. They were as close as it is possible to get to the artist\u2019s brushstrokes and dynamism<\/em>.\u2019<\/p>\n\n\n\n\n![\"\"](\"https:\/\/kingkong-mag.com\/wp-content\/uploads\/2024\/04\/Facing-Van-Eyck-3.jpg\")
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<\/figure>\n<\/figure>\n\n\n\nSeveral keys to digital mediation success<\/strong><\/strong><\/h3>\n\n\n\nWhatever the technology used might be, these installations have one point in common: stimulating the participation of the public and triggering personal and collective forms of appropriation. \u2018Grabbing people\u2019s attention is vital to transmitting information, or the key concepts of cultural or scientific projects<\/em>,\u2019 confides Nicolas d’Alessandro. An important key in the mediation process which often takes the form of the gamification of the apparatus. \u2018McLuhan said that \u201cthe medium is the message\u201d. It means that our role is to imagine ways of getting messages across, tools which are true to the content and which are in harmony with the typology of the audiences concerned<\/em>.\u2019 And to achieve that, it is necessary to be able to understand the ideas underpinning a project, to bring out its substance, editorialise it, design the experience. Hovertone has therefore worked in this manner with SPARKOH! on an interactive installation intended for children, based on the periodic table of the elements (The Odyssey of the elements<\/em><\/a>, 2019). Hovertone\u2019s artistic director continues: \u2018our primary intention was to offer a fun, not off-putting, learning experience based on chemistry. We transformed the floor of an exhibition hall into an immense touch screen. The children were invited to walk on the shapes and in doing so liberated atoms which filled Mendeleev\u2019s periodic table, which was projected onto the wall, accompanied by a trail of sparks<\/em>.\u2019 The children could race against the clock, play on their own or as part of a team. \u2018The more technologies and immersivity there are in their homes, the more the general public will look for out-of-the-ordinary experiences when they leave them. We thus need to write narratives and think through quality experiences in public spaces<\/em>.\u2019<\/p>\n\n\n\n![\"\"](\"https:\/\/kingkong-mag.com\/wp-content\/uploads\/2024\/04\/Odyssee-des-Elements-1.jpg\")
L’Odyss\u00e9e des \u00e9l\u00e9ments<\/figcaption><\/figure>\n\n\n\nDespite this trend for digital tools, Nicolas d’Alessandro has no hesitation in pleading for a form of sobriety. \u2018The digital is one form of know-how amongst others, and sometimes you have to get to a point where you choose not to use it. It\u2019s the coherence of the project which counts and the synergy of these apparatuses with the mediation personnel.\u2019 A form of deontology especially important given that cultural institutions and scientific culture centres are often keen on getting their hands on the keys to decode \u2018tech\u2019. \u2018The museums, having today taken the path of digitalisation, need to provide themselves with effective and reliable frames of reference to properly oversee their next infrastructure investments. There is a crying need for support provision. To decrypt, to demystify the terms immersive, XR, AI, and to understand all the issues coming down the line. They mustn\u2019t let themselves be blinded by technological trends. For example, on the question of environmental impact, we try to adjust our responses to the needs of the clients: can the equipment be used for other projects? How can the decisions made today still be relevant in the next five years.\u2019 Far-reaching (and essential) questions in a perpetually moving world\u2026 which mediation allows us to grasp.<\/p>\n\n\n\n
Nicolas d’Alessandro’s DONUT interview:<\/strong><\/p>\n\n\n\n
<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n<\/figure>\n\n\n\nSeveral keys to digital mediation success<\/strong><\/strong><\/h3>\n\n\n\nWhatever the technology used might be, these installations have one point in common: stimulating the participation of the public and triggering personal and collective forms of appropriation. \u2018Grabbing people\u2019s attention is vital to transmitting information, or the key concepts of cultural or scientific projects<\/em>,\u2019 confides Nicolas d’Alessandro. An important key in the mediation process which often takes the form of the gamification of the apparatus. \u2018McLuhan said that \u201cthe medium is the message\u201d. It means that our role is to imagine ways of getting messages across, tools which are true to the content and which are in harmony with the typology of the audiences concerned<\/em>.\u2019 And to achieve that, it is necessary to be able to understand the ideas underpinning a project, to bring out its substance, editorialise it, design the experience. Hovertone has therefore worked in this manner with SPARKOH! on an interactive installation intended for children, based on the periodic table of the elements (The Odyssey of the elements<\/em><\/a>, 2019). Hovertone\u2019s artistic director continues: \u2018our primary intention was to offer a fun, not off-putting, learning experience based on chemistry. We transformed the floor of an exhibition hall into an immense touch screen. The children were invited to walk on the shapes and in doing so liberated atoms which filled Mendeleev\u2019s periodic table, which was projected onto the wall, accompanied by a trail of sparks<\/em>.\u2019 The children could race against the clock, play on their own or as part of a team. \u2018The more technologies and immersivity there are in their homes, the more the general public will look for out-of-the-ordinary experiences when they leave them. We thus need to write narratives and think through quality experiences in public spaces<\/em>.\u2019<\/p>\n\n\n\nL’Odyss\u00e9e des \u00e9l\u00e9ments<\/figcaption><\/figure>\n\n\n\nDespite this trend for digital tools, Nicolas d’Alessandro has no hesitation in pleading for a form of sobriety. \u2018The digital is one form of know-how amongst others, and sometimes you have to get to a point where you choose not to use it. It\u2019s the coherence of the project which counts and the synergy of these apparatuses with the mediation personnel.\u2019 A form of deontology especially important given that cultural institutions and scientific culture centres are often keen on getting their hands on the keys to decode \u2018tech\u2019. \u2018The museums, having today taken the path of digitalisation, need to provide themselves with effective and reliable frames of reference to properly oversee their next infrastructure investments. There is a crying need for support provision. To decrypt, to demystify the terms immersive, XR, AI, and to understand all the issues coming down the line. They mustn\u2019t let themselves be blinded by technological trends. For example, on the question of environmental impact, we try to adjust our responses to the needs of the clients: can the equipment be used for other projects? How can the decisions made today still be relevant in the next five years.\u2019 Far-reaching (and essential) questions in a perpetually moving world\u2026 which mediation allows us to grasp.<\/p>\n\n\n\n
Nicolas d’Alessandro’s DONUT interview:<\/strong><\/p>\n\n\n\n
Despite this trend for digital tools, Nicolas d’Alessandro has no hesitation in pleading for a form of sobriety. \u2018The digital is one form of know-how amongst others, and sometimes you have to get to a point where you choose not to use it. It\u2019s the coherence of the project which counts and the synergy of these apparatuses with the mediation personnel.\u2019 A form of deontology especially important given that cultural institutions and scientific culture centres are often keen on getting their hands on the keys to decode \u2018tech\u2019. \u2018The museums, having today taken the path of digitalisation, need to provide themselves with effective and reliable frames of reference to properly oversee their next infrastructure investments. There is a crying need for support provision. To decrypt, to demystify the terms immersive, XR, AI, and to understand all the issues coming down the line. They mustn\u2019t let themselves be blinded by technological trends. For example, on the question of environmental impact, we try to adjust our responses to the needs of the clients: can the equipment be used for other projects? How can the decisions made today still be relevant in the next five years.\u2019 Far-reaching (and essential) questions in a perpetually moving world\u2026 which mediation allows us to grasp.<\/p>\n\n\n\n
Nicolas d’Alessandro’s DONUT interview:<\/strong><\/p>\n\n\n\n