Constructing the Adventure Museum
I pick up the viewer in the real world – with the introduction. The animation starts with picking up the moment the viewer puts on the VR-glasses. He sees himself in front, as an abstract figure, and then zooms into his “own” heart.
With the introducing heartbeat base that you rather feel than hear and the response of the viewers own heart that he can feel, he is directly addressed and his body does not get completely left outside the VR-screen. Like this the Virtual Reality becomes, at least a little bit, also an augmented reality.
 In an augmented reality, something virtual is implemented in real space, for example a hologram. 3D virtual objects are integrated into a 3D real environment in real time.
In Ronald T. Azuma, A Survey of Augmented Reality, Research Document (Malibu: Hughes Research Laboratories, 1997), 1
When the zoom in is done, the voice over now gives the impression of a museum guide, and the heart in front of you looks like a huge building complex. And it is clearly pointed out that it is “your heart” that will be entered, through audio, text and image.
The museum as a framework already combines a good connection to the topic of heritage with a body house you can feel at home.
Like this people have a familiar room they can connect with and it gives them a hint what they can do to jump deeper into this or similar topics: Visiting museums, libraries and research on the internet and on the other hand “visiting” their own body occasionally.
The next scenes will give cultural impressions, based on the developments and stories out of the heritage chapter (mainly in the voice over). And the atmosphere is based on discoveries of the receiver chapter, that draw a strong connection to the viewer (mainly in the visuals). And when the viewer’s eyes are closed – what happens with the black transitions between these scenes – the viewer’s heart is in the centre of perception, I termed in the centre experiment.
So, the frame becomes the viewers heart as a museum, as a house, changing from the anatomic heart, over the cultural imperfect, but metaphysical far reaching, to the cultural stuffed complex that you see in the last shot.
Every scene has a little visual story itself, and its own way of telling it. People should discover multiple features of 360-depictions!
In the entrance scene (PIC1), you are provided a special place in a boat-like blood cell that connects you to the scene in a physical way.
In the next scene (PIC2), the forest-like heart muscle is cross-sectioned at the place where you are “standing”.
The following scene, depicting the humorous theme (PIC3) confronts you with a quite flat, early middle age style illustration. But the flowers under your feet makes you part of this environment.
The four religions scene (PIC4) is created as a classical cube, what underlines the different “sides” the heart has in different cultures. Also, it gives the character of cave/wall painting.
The sacred heart (PIC5) even has a moment of tension, when you first only see the hands and long arms healing other organs, follow them and suddenly encounter the eerie but good sacred heart.
The social city (PIC6) gives a classic cause and effect story in a circle. One figure is always connected to another to his left and to his right so you can read a chaotic but linear story.
In the next moment (PIC7) – when the figures vanished – you seem to be the focus of the scene that gives you a powerful feeling and the vast perspectives gives you an enormous feel of distance and depth.
In the pump scene (PIC8) there is a focus object at the spot where the animation started with the figure in front (also in the entrance and exit scene, PIC1 and 10). Other objects around lead you to another side of the sphere. Especially pathways that resemble veins and can lead your view over a long distance. (PIC8). The trail of lights I discovered in the underground station scenario, I almost directly translated into the future city scene (PIC9).
The exit scene (PIC10) is a conclusion, where the viewer only sees things he only saw before, but arranged in one object. The stuffed heart complex stands in high contrast to its vast and almost empty environment. This may suggest that the heart is still only one little organ in the human body, but now at least closer to the viewer then in the entrance shot.
Some illustrations in 360°: https://kuula.co/profile/anthea
Video (temporary version):