Immersive audiovisual in the artworks “The visitor” and “Figures in the landscape”: poetic processes of creation from the evolution of visual apparatus

Abstract

This article examines the expansion of cinema through immersion and interactivity in exhibition spaces, such as museums and galleries, focusing on the evolution of mediation apparatuses driven by advances in digital technology. The works “The Visitor” by Luc Courchesne and “Figures in the Landscape” by André Parente exemplify hybrid cinema by blending audiovisual elements with other artistic languages, fostering interactive and immersive experiences. Drawing on authors such as Cesar Baio, Natalia Aly, and Philippe Dubois, the research explores how these technological devices reshape the relationship between the viewer and the artwork, transforming the viewer into an active participant in narrative development. The study observes that, with new digital devices, cinema transcends linear storytelling, creating spaces where moving images combine with the environment and public interaction, expanding the boundaries of “exhibition cinema” and offering sensory experiences that uniquely engage the viewer.