University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2019 Le Passage - Towards the Concept of a New Knowledge Instrument Beyer, Isabella Marzena http://hdl.handle.net/10026.1/14745 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Copyright Statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior consent. 1 Le Passage Towards the Concept of a New Knowledge Instrument (Epistemological Experiences inside Immersive Dome Environments) by Isabella Marzena Beyer A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Art, Design and Architecture April 2019 2 To my parents Lucyna and Slawomir Buczek 3 Acknowledgement First, I would like to thank all of the wonderful colleagues and friends who believed in me and this dissertation. I am very thankful for all the support, discussions, and exchanges that have aided me throughout my creation and research work, and especially during recent years, leading ultimately to this PhD thesis. I am grateful to my husband and my son, who followed this process and endowed me with the necessary time needed to finish the writing process. I am especially thankful for the long discussions I had with my father, who had the patience to listen and discuss every aspect of my work in a very delightful manner. I am also thankful to my mother and my husband for their ongoing encouragement. I am deeply grateful to both my director of studies, Mike Phillips, and secondary supervisor, Roy Ascott, who is also the founder of the Planetary Collegium at Plymouth University. I also thank my third supervisor Jane Grant for pointing me towards important concepts that became relevant to my dissertation. I am grateful to all my supervisors for creating such a wonderful group of people, enabling wisdom, sparkling opportunities for interconnectedness, and creating multiple spaces for knowledge and artistic exchange around the world. 4 In particular I want to thank my fellow PhD colleagues, who made this process so delightful: Aleksandar Cetkovic for his discussions and exchange on architectural peripheral vision and human models; Julieta Aguilera for her enthusiasm and inspiration regarding VR; Ellen Sebring for her insights on history and historical photographs; Luis Miguel Girao for his inspirational talks about the collaboration between arts and sciences; Nasim Zamanzadeh for her Persian perspective on the concept of empty space; and Blanka Domagalska for her inspiration regarding liminal space. I am grateful to my former PhD fellows, who elaborated the dome field from their perspectives before me. Their work was very inspirational to me, especially in the early stages of this project: Donna Cox, for her work on visual metaphors; and David McConville, for his transcalar performative artworks and brilliant publications. Most importantly, I am thankful to my first home institution, production office, and all the wonderful people that surround it: the Mediendom in Kiel at the University of Applied Sciences, and further production plants in Melbourne and Warsaw. I am especially indebted to my dear friend and director Eduard Thomas as well as other colleagues, such as Felix Lühning, Bartosz Dabrowski, and Patrick Rupert-Kruse for their support and involvement. I am thankful to my friend Evelin Tihonova for her ongoing motivation throuout, and to Mrs. Schoneboom, who helped me with the administrative process in getting this PhD started. I thank the worldwide planetarium community, colleagues, and friends with whom I exchanged thoughts and visionary ideas from 2005 onwards on many conferences, such as the International Planetarium Society (IPS) and fulldome festivals, and who all share the same love for the arts and sciences in 5 the 360 coordinate space of the cupola, such as Dan Neafus, Dr. Ka Chun Yu, Carter Emmart, Paul Mowbray and Torvald Hessel. Finally, my thanks go to my wonderful copy editing office, who have accompanied me and my work through recent years and helped me to bring it to fruition. 6 Author’s Declaration At no time during the registration for the degree of Doctor of Philosophy has the author been registered for any other University award without prior agreement of the Doctoral College Quality Sub-Committee. Work submitted for this research degree at the University of Plymouth has not formed part of any other degree either at the University of Plymouth or at another establishment. This study was financed with the aid of a studentship form the Professorinnenprogramm (women professors programme) of the German Federal Ministry of Education and Research and carried out in collaboration with the University of Applied Sciences Kiel in Germany. A program of advanced study was undertaken in collaboration with the Planetary Collegium, which included nine in-person sessions lasting 10 days, each over a period of three years. Relevant scientific seminars and conferences were regularly attended, at which work was often presented. Additionally, external institutions were visited for consultation purposes, and several papers prepared for publication as well as creative work and film productions. Further information can be find in the Filmography in Appendix II: Creative and Performing Work. 7 The following external institutions were visited for consultation purposes: _Christian-Albrecht University, Kiel _Fraunhofer First, Berlin _European Space Agency (ESA), Darmstadt, Germany _EISCAT Scientific Association, Ramfjordbotn, Norway _University of the Aegean, Greece _Czech Academy of Sciences, Prague, Czech Republic _Shanghai Institute of Visual Studies, Fudan University (SIVA), Shanghai, _China Institute for Immersive Media, University of Applied Sciences Kiel, Germany _Mediendom at the University of Applied Sciences Kiel, Germany _Gates Planetarium at the Denver Museum of Nature & Science, Denver, USA _Louisiana Art & Science Museum and the Irene W Pennington Planetarium, Baton Rouge, USA _Zeiss-Planetarium Jena, Germany _Planetarium Hamburg, Germany _Visualisierungscenter C Norrköping, Sweden _Copernicus Science Centre, Warsaw, Poland Publications: _Beyer, I. (2015), 360°-Darstellungskonzepte im Wandel der Zeit (360°- 8 representational concepts in transition of time) Institute for Immersive Media (ED) Jahrbuch immersiver Medien, Die mediatisierte Gesellschaft: Leben und Arbeiten mit immersiven Medien, Coburg: Schüren, pp. 53–62. _Beyer, I. (2014). Le Passage: An archaeology of spatial transitions. Ubiquity: The Journal of Pervasive Media, 3 (1), pp. 51–65. doi: 10.1386/ubiq.3.1-2.51_1. _ Buczek, I. (2013) ‘Visualization Processes of the Invisible in Scientific Practice’, Fullspace-Projektion: Mit dem 360°lab zum Holodeck (X.media.press), Springer- Verlag, Berlin Heidelberg. _Buczek, I. (2011), ‘The aesthetic of immersion in the immersive dome environment (IDE): Stepping between the real and the virtual worlds for further self-constitution?’, Technoetic Arts: A Journal of Speculative Research 9: 2+3, pp. 327–334, doi: 10.1386/tear.10.1.3_1 _Buczek, I. (2012), ‘Augen im All – Das Making Of einer multimedialen Planetariumsshow als Pionierarbeit und Pilotprojekt in der europäischen 360° Filmproduktionsgeschichte’. FULLSPACE-PROJEKTION- MIT DEM 360°LAB ZUM HOLODECK, Springer Verlag _Buczek, I. (März 2011) ‘Everything is possible: „The making of Touching the Edge of the Universe“ in Planetarian (magazine) 9 _Buczek, I. (2010),„Making of | ESA Planetarium“. Article in Digital Production (magazine) Presentations at conferences: _Beyer, I. (2015), „The 360°-Creation Process in the Transition of Time“, presentation at i-DAT, Plymouth University, UK. _Beyer, I. (2015), „The Zoom Transition“ presentation at the Imersa Conference, Denver Planetarium, Denver, USA. _Buczek, I. (2013), “The Art of Understanding in the Mirror of new Visualization Technologies“. Presentation at COST Arts & Technologies (CAT) Workshop, European Science Foundation, 25 - 27 November 2013, Zagreb, Croatia. _Buczek, I. (2013), “ The Explanatory Power of Models with Today’s Visualization Capabilities“. Paper presented at International Conference on Extended Arts (XARTS 2013), From Virtual to Real, 20-21 July, 2013, University of the Aegean, Greece. _Buczek, I. (2012), “Aesthetic of Immersion in the immersive dome environment (IDE), paper presented at Technoetic Telos: Art, Myth and Media Conference at the Ionian Centre for Arts and Culture, Kefalonia, Greece. 10 _Buczek, I. (2012). What happens with spatial purity in the media revolution of materiality and hybridization? Paper presented at the Conference MutaMorphosis at the Czech Academy of Sciences, Prague, Czech Republic. _Buczek, I. (2011), “Transmedial Intersections of media platforms in the 360°medium” paper and presentation delivered at the Transcultural Tendencies |Transmedial Transactions Conference, Shanghai Institute of Visual Studies, Fudan University (SIVA), Shanghai, China. _Buczek, I. (2011),