The Timeless Art of Special Effects: From Renaissance Stagecraft to Extended Reality

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dc.contributor.authorFalvo, Perla Giannien_US
dc.contributor.authorManera, Giovanni Valerien_US
dc.contributor.authorSaari, Michaelen_US
dc.contributor.authorGuidi, Gabrieleen_US
dc.contributor.editorCampana, Stefanoen_US
dc.contributor.editorFerdani, Danieleen_US
dc.contributor.editorGraf, Holgeren_US
dc.contributor.editorGuidi, Gabrieleen_US
dc.contributor.editorHegarty, Zackaryen_US
dc.contributor.editorPescarin, Sofiaen_US
dc.contributor.editorRemondino, Fabioen_US
dc.date.accessioned2025-09-05T19:38:45Z
dc.date.available2025-09-05T19:38:45Z
dc.date.issued2025
dc.description.abstractSpecial effects are often perceived as a product of the digital age, yet the fundamental concept of special effects has been present throughout history. In fact, 15th-century sacred performances in Florence were much more than religious events: they were sophisticated immersive experiences born from the integration of art, mechanical engineering, and scenotechnical creativity. Polyhedric figures such as Filippo Brunelleschi profoundly innovated the language of spectacle-the principal form of mass communication until recently- by introducing mechanical, visual, and audio solutions that prefigure contemporary immersive technologies (CGI, AR/XR). These techniques aimed at arousing emotional involvement through multisensory stimuli, establishing core principles now validated by cognitive science. The effectiveness of such devices is analyzed through neuroscience and embodied cognition theories, explaining the link between sensory stimulation, empathy, and emotional participation. Florentine sacred representations, therefore, anticipated strategies for spectacularization now applied in digital heritage. Our comparative analysis confirms how the interaction between technical innovation and audience emotional response persists across eras. Although digital technologies have radically transformed visual effects' execution, their fundamental role in creating resonant cultural experiences remains unchanged.en_US
dc.description.sectionheadersFrom DH Theory and Principles to Innovative Practice: Participation, Training, and Access
dc.description.seriesinformationDigital Heritage
dc.identifier.doi10.2312/dh.20253382
dc.identifier.isbn978-3-03868-277-6
dc.identifier.pages10 pages
dc.identifier.urihttps://doi.org/10.2312/dh.20253382
dc.identifier.urihttps://diglib.eg.org/handle/10.2312/dh20253382
dc.publisherThe Eurographics Associationen_US
dc.rightsAttribution 4.0 International License
dc.rights.urihttps://creativecommons.org/licenses/by/4.0/
dc.subjectCCS Concepts: Applied computing → Media arts; Applied computing → Performing arts; Human-centered computing → HCI theory, concepts and models; Human-centered computing → Mixed / augmented reality; Human-centered computing → Virtual reality; Human-centered computing → Collaborative interaction
dc.subjectApplied computing → Media arts
dc.subjectApplied computing → Performing arts
dc.subjectHuman centered computing → HCI theory
dc.subjectconcepts and models
dc.subjectHuman centered computing → Mixed / augmented reality
dc.subjectHuman centered computing → Virtual reality
dc.subjectHuman centered computing → Collaborative interaction
dc.titleThe Timeless Art of Special Effects: From Renaissance Stagecraft to Extended Realityen_US
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