Keywords
How to Cite
Abstract
Background: Currently the art of light and shadow is gradually being emphasized in creating immersive spatial experiences and has become an innovative trend in the field of modern spatial design. Objective: This paper aims to deeply analyze the role of light and shadow art in creating immersive experiences. Methods: By defining the concepts of light and shadow art and immersive experience, the study explores the key role of light and shadow art in the design of immersive experience and demonstrates its performance and advantages in practical application by analyzing a number of modern cases. Results: The study finds that light and shadow art can greatly enrich the audience's experience by shaping the environmental atmosphere and enhancing sensory engagement. This art form not only provides visual aesthetics in immersive environments, but also combines functionality, awareness and interactivity. Conclusion: Light and shadow art plays an important role in the design of immersive experiences, and it shows significant potential and development trends in current and future spatial design, playing a key role in promoting innovation and uniqueness in modern spatial design.
References
Chen, Z. Y., & Wang, N. (2023). Analysis of the construction strategy of children’s science popularization immersive experience scene for commercial drainage. Popular Science Research, 18(2), 74–82. https://doi.org/10.19293/j.cnki.1673-8357.2023.02.009
Du, C. X. (2022). On the deconstruction of traditional lighting design from the perspective of immersive performance: A case study of modern art exhibition. Journal of Lighting Engineering, 33(6), 171–174. URL:https://kns.cnki.net/kcms2/article/abstract?v=_AqZbjAWWJS90rbB3KTYhFgr0-3yjqCTUbaHi1kUNHyCTmllbSyqOd4grXSeItmr8nlNPkNRRR3zKaU2ra4jUptgTn4MpPeAqdTuAoxsPHLt9pVHrSdzKmG1N1dC-blJqKvMK3r_U0vf_CUfZsEU-A==&uniplatform=NZKPT&language=CHS
Gan, L., Xie, W., Jia, X. X., & Zhou, T. (2019). Can virtual reality experience replace field tourism? Scene experimental analysis based on virtual reality experience on Walsberg. Tourism Journal, 2019(8), 87–96. https://doi.org/10.19765/j.cnki.1002-5006.2019.08.013
Ge, X. H. (2017). Analysis on the charm of modern art design in the environment of light and shadow. Grand View of Fine Arts, 2017(1), 144–145. URL:https://kns.cnki.net/kcms2/article/abstract?v=_AqZbjAWWJRVKSMDrHUAmptwTuWgKkB8MvZjxFtRb_VJfPTZHpgxqve6yJLoIyr4tdzCi9rhYcl5q7BYFnmx7il8V9ukd8Jx79v5hqtaqR1MbwjOQcsz82_0tIPKajXKQB0ckiVzB-5cSBAZG6Gq1A==&uniplatform=NZKPT&language=CHS
Huang, X. Y., & Chen, B. J. (2017). Virtual reality art design strategy based on immersive communication. Modern Communication, 39(1), 85–89. URL:https://kns.cnki.net/kcms2/article/abstract?v=_AqZbjAWWJSurWLR98_qZtGl-N67dty9cVAj41OlRf0OFSb6D5OmtFg5V6kK2VfIwHFEXDksWwOw9ZfbyiH9uLn5BlnbSOuTpRAI-mdc5-midTFOpSgm3aAo5-9BWJUn140WgFr6fMYF03gHxzKVTw==&uniplatform=NZKPT&language=CHS
Jiang, L. (2019). On immersive art in digital technology scenarios in the 5G era. Journal of Shandong University (Philosophy and Social Sciences), 2019(6), 47–57. URL:https://kns.cnki.net/kcms2/article/abstract?v=_AqZbjAWWJT6T1cBqltYzhKFvXW3RaQaCh2d5j_8KIu2DQNEoY_aDYC3DV0ELZuYqKoiNuxGDpJ2YPNHQGHrY9ApXVbXutV9vU5Noton7bMkWcpeW1vBpI3lzqAARmvXt6xmH5Cz_UOB9vEjgOBJGw==&uniplatform=NZKPT&language=CHS
Li, X. W. (2020). Exploring the boundary of immersive cinema, viewer and site integration. Art Research Letters, 9(3), 37–42. https://doi.org/10.12677/arl.2020.93008
Liang, G. W., & Yuan, B. (2010). On the network immersive interactive art space created by virtual reality technology. Academic Exchange, 2010(12), 183–187. URL:https://kns.cnki.net/kcms2/article/abstract?v=_AqZbjAWWJTvZpT563kI4KimkL-13el_U2WyziFosUzwu7bj7IHpAMu7drJpIZmapeITOIyupFvP23kyXn3XQk7RQpP8fZqVLD7RrSWGuJ9CInmdVNT9ZQB-LBG_pxEb3ikXT4ELm2Q=&uniplatform=NZKPT&language=CHS
Luo, K. X., & Wang, Q. S. (2022). Research on the development of museum tourism in China based on immersive experience. Sustainable Development, 12(4), 1086–1102. https://doi.org/10.12677/SD.2022.124123
Shen, L., & Li, C. (2009). Brief exploration of the visual perception of light and shadow in the creation of 3D digital film art. Film Review, 2009(3), 67, 92. URL:https://link.cnki.net/doi/10.16583/j.cnki.52-1014/j.2009.03.057
Shi, Z. G., Wang, L. Y., Pan, Y. C., et al. (2023). Research and discussion on lighting design based on sound and light fusion. Journal of Lighting Engineering, 34(1), 145–149. URL:https://kns.cnki.net/kcms2/article/abstract?v=_AqZbjAWWJRpnmQK5PWC6mOGhIAhNO0z8gAyUWaBC1jk02QWR3B-SNGo5-HN2vGXAa6uEiVmSU3VVvu7BrB1ZkQ4WLM_MER99YnsbNdJ2kwRn8KmYHoiN9dep8T5n_xLXOoGFyCWjSbHBjeJqB0oFg==&uniplatform=NZKPT&language=CHS
Tuo, J. Q., & Miao, W. Y. (2023). Intersexuality and aesthetics: An exploration of intersexuality in immersive art production. Zhejiang Social Sciences, 2023(2), 113–122. https://doi.org/10.14167/j.zjss.2023.02.009
Xu, H. Q. (2021). Flow aesthetics: An interpretation of immersive art experience. Contemporary Television, 2021(12), 66–69. https://doi.org/10.16531/j.cnki.1000-8977.2021.12.009
Yan, Y. H., Zhong, Y., & Zhong, B. (2021). From “shelf” to urban public space: Immersive video interactive art installation “Insight.” New Construction, 2021(6), 150–153. URL:https://kns.cnki.net/kcms2/article/abstract?v=_AqZbjAWWJSwODBNlLEXNul-tbVG29BBbpvXco0Y-PK_KYsgvf6CXFaRggPs8RQdvik0gbrlVXhxY8UkLHX6OCZjcq9hmI3PcgWJV3KY_5f3PPATyqQoTkVDvkHoiKKhzYsQ3sere6-uJjv9f-oVnA==&uniplatform=NZKPT&language=CHS
Zhang, J., & Xie, Y. H. (2022). An aesthetic investigation of immersive art in the digital age. Modern Communication, 44(7), 86–94. URL:https://kns.cnki.net/kcms2/article/abstract?v=_AqZbjAWWJRVYTlVeAmr4B7Sk_VkOk2LeKPFe8CDBM9oCrz-gg47HXliMzMnPsitOzdRBl83NqTHUcm3ATNcR1wJPKIQ29KiOGtiO5AcoYyxepN9EERMKownW0gamYNB-Rp2_vM58wUWFG4oS4hQjQ==&uniplatform=NZKPT&language=CHS
This work is licensed under a Creative Commons Attribution 4.0 International License.
Copyright (c) 2023 The Author(s). Published by Journal of Global Arts Studies.