IIt begins with a soft rumble, then an explosion, and finally a thunderous roar. Pyroclastic flows spew out from volcanoes and race towards us at alarming speeds. A cascade of volcanic ash seems to be pelting the surrounding space – technically, it’s the distinctive pumice gravel from Mount Vesuvius – and for a few moments, patrons at the National Museum of Australia are transported to the 1,946-year-old tragedy in Pompeii.
Immersive experiences, including increasingly advanced virtual reality technology, are gaining popularity in museums despite criticism from scholars that flashy special effects may divert viewers from the actual artifacts and exhibits. It has shifted from being a mere gimmick to a successful exhibition to a crucial component in educating future generations, assuming that the primary purpose of museums is entertainment.
Laurent Dondy, the head of development and international tours at Grand Palais Immersif, the French company involved in creating Pompeii, acknowledges some of the apprehensions regarding immersive technology in museums.
“Sorry, but I don’t want to see Van Gogh smoking or scratching his head,” he explains. “Our approach is a blend of art and science. Technology plays a role in the creative process that surprises people and can undoubtedly add a layer of enjoyment to the experience.”
Pompeii is now on display at the National Museum of Australia in Canberra, offering hourly exhibitions showcasing Mount Vesuvius. While the immersive encounter is included in the admission price, other high-budget productions in Australia necessitate separate headsets and seats due to technology requirements, resulting in extra charges that can escalate the cost of a family day at the museum to hundreds of dollars.
Over 500,000 individuals attended the record-breaking ‘Ramses and the Gold of the Pharaohs’ exhibition at the Australian Museum in Sydney, with a quarter opting for the additional $30 fee for the VR component per person. We decided to queue for the opportunity to participate.
The Australian Museum’s latest hits, Machu Picchu and the Golden Empire of Peru, mark the museum’s fourth stage production with an immersive element.
And according to its director Kim McKay, this technology is here to stay.
“In today’s world, we must provide people with experiences, and I believe museums should not be exempt from that,” she asserts. “Museums need to evolve. Like everything else, we can’t be anchored in the past; we must embrace new and evolving technologies.”
“Children now anticipate digital enhancements, and as museum leaders, it is our responsibility to determine how to effectively integrate this technology to maintain an authentic experience. It’s a fine balance.”
Gedeon Experience, the creative force behind Pompeii’s special effects, gained exclusive access to archaeological digs in inaccessible areas, documenting the daily efforts of archaeologists for two years and using CGI to reconstruct the city’s streets and buildings.
Instead of detracting from the visitor experience, this spectacle enriches and complements the over 90 items borrowed from the Pompeii Archaeological Park, including frescoes, mosaics, jewelry, sculptures, and domestic objects.
The Director of the University of Sydney’s Museums and Heritage Program highlights a prime selection of must-see exhibitions from Australia’s museums and galleries.
However, the drawback is that technology inflates exhibition budgets, leading to increased ticket prices.
“They are costly, and there is fierce competition to incorporate the latest digital technologies,” O’Reilly remarks.
Having attended the initial Pompeii exhibition in Paris in 2020, O’Reilly notes that the visual effects of the exhibition are mostly consistent with other immersive exhibitions encountered abroad over the following four years.
“A well-executed immersive exhibit can provide a profound layering of experience and knowledge, but outdated technology may disappoint some visitors. The pace of [developments] is incredibly rapid,” she observes.
“The audience is quite demanding. Game resolutions are astoundingly high. For immersive content and narrative delivery, we now expect the caliber we encounter in gaming. It’s an intimate, detailed experience, and museum-goers will anticipate a commensurate level of quality.”
Is there a risk that future generations lacking technological acumen may fail to grasp the significance of the displayed artifacts?
“Possibly, but without those innovations to begin with, they might not have engaged in the first place,” O’Reilly remarks. “Their expectations will differ from those of previous generations.”
Perhaps not. McKay recounts that when the Australian Museum polled 100 children about their desires for future museums, they anticipated “screens everywhere.”
“That wasn’t the case. They requested ‘more spiders, more sharks, more snakes.’ They sought greater authenticity,” she concludes.
Source: www.theguardian.com
