.5. Conclusion

Reflection on research and visual product.
The theme, the product and me as its designer in the field.


“The body is literally manufactured and sustained by mind.”

.Paramahansa Yogananda [1]

With this essay, I hope to contribute some insights into an ongoing philanthropic relationship between cultural heritage, the human individuum and modern visual techniques.

Always the comprehension of the body, and with it its depictions, influenced the comprehension of the self and of society and shaped culture as the other way around.

Regarding the body surface, it is, like Aldersey-William points out, nothing new to use the body as a canvas.[2] And especially today the amount of different depictions increases, with all the data saving and spreading and self-representation. By contrast, the interior is quite chaste, or got it again, after metaphysics vanished step by step, like we saw in the heritage chapter.


We forgot to live with our body interior, our heritage, in a way that would be much more helpful – also to not lose the grab on reality. We have to catch up a bit.

The heritage and receiver chapter equally show that we never could “just live” with our body. Thus, struggling to live with it – with the skin as a border to the outer world that stands opposite to the inside felt self – becomes a heritage itself. Our interior is made to get culturally shaped – it has all the potential – and thus it already went through many lives as a rich palace of diversity (see heritage chapter).
But another aspect is that our body is and will always be a resistance for our mind, that we are less and less used to, that we can less and less cope with. We seem to forget it, try to ignore it, or to completely hand it over to science. That is a pity.


The perception of the body as a comfortable home, also in “bad times”, could be granted if we get more perceptive visual input of it.

My animation (visual chapter) be a first step to gain back a visual cluster of inner body perceptions!

Especially in the interplay with our heart, I found connections and communication lines that we still foster. Examples are the resonance that we interpret and sayings that connect this organ with our everyday life.  And with the house analogy and other micro-macro-translations I found a favoured language. With this material, I could build cultural based but creatively elaborated environments around and right into the heart. Like I pointed out in the introduction, the connection between the explaining and enchanting and the creation of atmospheric worlds is my favoured way of designing.


Modern techniques are always a smooth way to reach the public.

Visualisations that are educational and entertaining – like “YOVR Cultural Heart” – are important, to, at least, remind people of their body and its cultural role/shape/garb.
Also it shapes awareness and gives a basis for further discussions. Like this also more individual perceptions and observations will be made and added to the own, personal mind-body relationship.
And with the medium of 360-VR-visualisations I could support and elaborate the immersive mind, centre perception, rest in an absolute but individual visual environment, a museum and therewith a heritage connected atmosphere and a flexible contemporary medium.

The Research

The 360-Animation is one possible execution out of the investigations I did. But although I more and more specialised into this visual, the research can be also used in its parts to do other investigations on visual heritage and to create other immersive experiences.

This project strengthened my awareness, regarding the status quo of established visualisations in general. So, with the chosen methods of this essay I can also adapt to other topics concerning the balance between education and entertainment and concerning creative freedom. Like in a lot of researched works – and especially those created under Fritz Kahn –  science and metaphysics are not mutually exclusive!

One can draw “lines of action” throughout big periods of time to gain some visual enlightenment for the present like you see in the storyline of my animation.

Especially comprehension, perception and visualization showed an interesting interaction:
When you try to understand something you can’t see; you try to visualize it to better understand it. Like this those two approaches merge together to build an image. – Moreover, you have to visualize it with the known, something you can see, something out of other knowledge fields and thought patterns. Like this your whole culture plays a role in building a certain image. – When people try to understand their own body, their mind and a lot of subjective processes play irrational and rational roles, thus images can take interesting shapes.

This quite random way of image building inspired me a lot during the whole research. Pictures like the absurd humorous image only developed out of completely wrong assumptions and the direct connection of blood characteristics with those of environment…  And I want to use it as source of creativity in my following projects.



Theme Perspectives:
A next step could be to enhance the augmented reality approach/part, to not completely seal off the viewer from his body, and implement more than just his moving head and eyes in the process of interactive experience.

I now started with a simple way of VR. To make it more natural for the eye, I will experiment with better VR-techniques, or AR or interactive 3D-techniques.

Technique and design perspectives:
The concept of the light educational but highly immersive medium can be easily adjusted, up to projects that are completely off-topic.

For the cultural, social and educative institutions that I am currently focussing on this design process and product hold a good economical midst: The production is not too time consuming, and the design tools rapidly improve their handiness.
And with a growing popularity the common viewer will also be more used to look and listen at the same time. So, more information can be and must be put into picture and sound to hold a certain level of adventurous experience.

For museums, it can be adjusted to teasers with informative content – related to a certain exhibition’s main theme, for example.
Also, people can be easily immersed into abstract themes. Because a physical room is automatically created when you build your visuals in an immersive sphere.


Concluding, VR-applications are a good medium to encourage people to fill their body and mind with contemporary sense, on a high quality but economical design basis. The used VR technique (accessible via a normal browser, for all common playback devices and even for advanced VR-systems) is quite charitable and can elevate (cultural) designs onto a contemporary level in multiple ways.              
So, with my gathered information I made the for me best possible and the most economical experience for the viewer. And I did my bit to elevate the mind-body relationship on the state of the art, especially regarding the conceptual design profession.


[1] Paramahansa Yogananda. Autobiography of a Yogi, n.d.. Retrieved from
https://books.google.nl/ […] Autobiography of a Yogi […] false., full link in 6. Sources

[2] „Die Vorstellung des Körpers als Leinwand ist nicht neu. Nur gab es noch nie so viele Maler.” In Aldersay-Williams, Anatomies, 2003, 15