Critical Practice Research Progress

Report Title

Less is More: Exploring Emotional Engagement and Technical Harmony Through Visual Restraints of VFX in Interactive Audiovisual Installations

Research presentation

Please pay attention to the volume, as the video has sound.

Inspiration

Research Progress

Phase 1: Framing the Research Question

What, Where, Who, When

Visual effects play an important role in interactive installations shaped by emerging technologies. While many artists try to overwhelm audiences with spectacle-driven design, not many really drive people’s appreciation.

How did this occur and why?

I identified that while immersive media has become technically advanced, many installations lack emotional depth. Key observations:

1. Audience interest fades quickly after initial impact.
2. Engagement often remains superficial, limited to “wow” moments.
3. Visual spectacle is common, but emotional resonance is rare.

This led to key questions:

• What if visual effects are deliberately restrained rather than maximised?
• Can VFX minimalism strategies improve engagement?
• Are there supporting theoretical or technical frameworks?

What next?

More installation theory and examples need to be examined and validated to figure out if there are any alternatives.

Phase 2: Literature Review Insights

Inspired by the concept of silence in the book, I started to figure out if any installations matched this concept and worked well. Reflecting on my own experiences, I realised that teamLab’s installations are engaging even without characters, words, or specific storylines. More importantly, the installations did not overwhelm me with technology; instead, they drove me to introspection and reflection, and encouraged me to explore my flow state.

I started by investigating minimalist aesthetics. Bird (2012) introduced the concept of wabi, describing beauty through simplicity and quietness. With this theory, I then thought about the opposite. What about more colours, complex visuals and rapid transitions?

Gaines et al. (2014) revealed that bright, fast-changing visuals can cause discomfort, particularly among audiences with Autism Spectrum Disorder (ASD). I realised that complex visuals might have unintended consequences. Previously, I had only noticed that some audiovisual installations were not very engaging. Having read this journal, however, I now realise that complex visuals may also have negative effects, particularly on certain communities. This highlights the importance of inclusive and calming design.

I then explored responses to the potential negative effects of digital art. As robots became increasingly integrated into art, the uncanny valley became a recurring concern. Kroos et al. (2012) demonstrate how robotic installations avoid the uncanny valley by emphasising machine identity, which aligns with my research focus on interactive installations. Similarly, Birringer (2015) contends that accepting digital materiality as inherently non-human is better than striving for realism. In other words, artists and practitioners have already adopted a strategy of deliberately designing robotic mechanics to reflect their true nature, rather than designing robots to mimic human beings to overwhelm audiences.

However, Marynowsky (2012) argues that, rather than something to be avoided entirely, the uncanny should be reframed as creative experimentation. In his opinion, the uncanny valley hypothesis limits designers’ imagination and exploration. He points to three installations to support his theory. However, I found that none of these installations are interactive in the sense of inclusive engagement and interaction through physical touch and movement. Therefore, this theory lacks applicability.

Apart from the audience, I wanted to find out more about the environment, or more specifically, the differences in medium. What if different media and environments or settings serve different purposes and provide different experiences? So I searched for information about films and galleries.

De Luca, T. (2016, pp. 23-42) provides useful distinctions between cinema and gallery installations, emphasising how the spatial context shapes the viewer’s experience. Galleries encourage a more individual, distracted approach, while cinemas promote collective immersion. These differences in viewing practices result in varying degrees of engagement, highlighting the distinct characteristics of each medium.

Verhoeff (2025) expanded this by examining urban screen installations, highlighting co-creation, sensory engagement, and public spatial integration.

This inspired me to consider what elements, interactions and emotional engagement should be included in meaningful and deliberate installations, particularly those intended for larger groups of people and designed to be more inclusive.

Phase 3: Case Study – teamLab and Beyond

TeamLab’s installations became central to my case study.

Bluff and Johnston (2017) analysed teamLab’s installations and compared them with Creature: Interactions. Both used gentle interactivity, ambient effects and multi-sensory responses to evoke emotional resonance without overwhelming the viewer.

At this point, I needed more information on the availability of the above installations. So I did more research into intuitive experience and participation in contemporary art.

Locher, Overbeeke and Wensveen (2010) demonstrate that meaningful and intuitive experiences originate from initial impressions and visual scrutiny rather than mere spectacle. Château (2020) also emphasises the tactile and participatory side of contemporary art, in which visual environments encourage active involvement through sensory experiences that extend beyond traditional visual engagement.

Goodale (2014, pp. 3-5) provides a neurological basis for this, stating that even minimal visual stimuli can significantly affect visuomotor responses. This sensitivity suggests that abstract or subtle effects, such as those found in teamLab’s works, can powerfully impact perception and engagement.

Both Lindhé (2016, pp. 31–40) and Stogner (2011, pp. 189–198) note that participatory and tactile environments encourage continuous re-engagement, enabling audiences to act as co-creators through physical interaction.

All of this confirmed many of the insights gained from my previous literature review. Installations like those by teamLab also prove that engagement is achieved through restraint and interaction rather than spectacle.

Phase 4: Technical Perspectives and Contrasting Examples

I explored Refik Anadol’s Machine Hallucinations – NYC (2019–2020), an installation that used AI-generated visuals created from 100 million images. The work utilised computational optimisation via pre-rendering to maintain stability. While the visuals were powerful, their rapid, intense visuals also confirmed Gaines et al.’s (2014) findings about sensory overload. This duality — technical excellence versus perceptual fatigue — revealed that achieving harmony between visual effects and system capability is crucial.

Locher, Overbeeke and Wensveen (2010) demonstrate that meaningful and intuitive experiences originate from initial impressions and visual scrutiny rather than mere spectacle. Château (2020) also emphasises the tactile and participatory side of contemporary art, in which visual environments encourage active involvement through sensory experiences that extend beyond traditional visual engagement.

Phase 5: Reflection and Key Points for the Final Report

• Emotional Impact: VFX minimalism fosters introspection, calm, and emotional engagement (Bird, De Luca, teamLab, Bluff and Johnston, Verhoeff).
• Inclusivity: Simplified visuals benefit a wider audience, including neurodiverse viewers (Gaines et al., teamLab, Bluff and Johnston, Verhoeff).
• Technical Harmony: System limitations must be considered in VFX design to avoid lag and disconnection (Anadol).
• Design Strategy: Less is more – Visual restraint is an active design method for sustainable and affective experiences, not a limitation or simple deduction.

Tutorial Reflections

Tutorial sessions played a critical role in shaping the clarity and structure of my report. Early feedback helped me reframe the research title and rethink redundant sections. I gained a better understanding of how to present theoretical insights clearly and organise content with academic precision.

Nigel’s one-to-one feedback was particularly helpful in identifying formatting issues and strengthening my structure. His guidance pushed me to revisit all my sources with a more critical eye, refine my literature review, and ensure all citations followed Harvard style. After revising my outline, I confidently moved forward with drafting, implementing a stronger analytical framework.

These tutorials not only improved my academic writing but also taught me to evaluate my own assumptions and editing decisions more rigorously.

Critical Reflections

What I’ve learned:

Emotional engagement in installations can be enhanced through VFX minimalism that supports perceptual clarity, technical balance, and inclusive design and resonance.

What surprised me:

Subtlety can leave a deeper impact than spectacle. Sensory overload not only dilutes meaning but may alienate audiences.

Ideas for the future:

Visual restraint is a deliberate strategy that serves to heighten affective impact, not a limitation. It encourages audiences to slow down, reflect and engage at their own pace. In immersive works, focusing on resonance, perceptual rhythm, and stability helps to sustain attention and emotional connection. Encouraging physical interaction with viewers can lead to greater engagement. These approaches offer creators a methodology that emphasises depth over display, ensuring an engaging audience experience.

The following areas will be interesting to delve into in the future:

• Exploring how minimalist VFX approaches can be tailored to specific audience groups and spatial contexts.
• Investigating participatory design methods that prioritise resonance over response and co-creation over control.

Lastly, I would like to share with you the interactive installation by teamLab that I visited, which is one of the case studies in my report. The beauty of the movement is best experienced through in-person interaction. However, this introductory video gives you an idea of what it is like. I hope you enjoy the beauty and find your own flow state.