The Paradigm Shift of Spatial Research: The Triadic Construction of New Media Exhibition Space

Abstract

“Space” and “time” are the basic forms of material existence, but for a long time, people tend to prefer the study of time, and ignore the significance of space in people’s social life. Until the emergence of the “space turn” in the 70s of the 20th century, Lefebvre called for the humanities and social sciences to shift the perspective of research to the spatial level, arguing that the academic community has seriously underestimated the function of space for centuries, and the traditional idea of seeing space as rigid and static should be criticized. As a result, space is no longer just a noun concept, but a product of nature, social development and various events, and people’s definition of space has undergone a fundamental change.
While the importance of space and space in understanding and interpreting cultural and social phenomena has gradually become prominent, the exhibition space as a social and cultural window has also undergone a transformation of space construction, and many exhibition activities have begun to use new technologies and new media to expand and package the original exhibition space, and have begun to pursue the experience and immersion of space, enriching cultural expressions and disseminating social values through space. Compared with the traditional exhibition space, the contemporary exhibition space environment with the intervention of new media technology pays more attention to the collection and mobilization of visitors’ senses in the exhibition space environment. Breaking the traditional linear time clues, it guides visitors to form their own display content architecture with dynamic streamlines to obtain a unique spatial experience, and space and experience have begun to become the theme of contemporary exhibition space. Therefore, the study of the social attributes of space provides a dynamic analytical framework for the new media exhibition space, which is different from the “instrumental” construction logic of the traditional exhibition space, and introduces the three-dimensional structure of material exhibition space, symbolic narrative space and daily social space, so that the exhibition space is no longer a static and passive container in the traditional sense, but is endowed with dynamic and multi-dimensional meaning, and becomes the intersection of society, culture, and practice.