Overview

The PIMS Yearbook is the annual yearbook of the International Panorama Council (IPC, Switzerland). It surveys the historical and contemporary landscape of panoramic and immersive media. This interdisciplinary field includes—but is not limited to—360-degree paintings; dioramas and museum displays; gaming; gardens; immersive experience; maps; material culture studies; media archeology; nineteenth-century popular media; optical and haptic devices; performative media; printed matter; public history; and virtual and augmented reality. Whereas the notion of the panoramic describes extensive, expansive and/or all-embracing vistas, immersion refers to porous interfaces between representation and the real, observer and observed, nature and culture, and past, present, and future. Together, the concepts of panorama and immersion have catalyzed time- and space-bending strategies for creating, experiencing, and transforming culture, ideas, and built and social space across the arc of human history. The PIMS Yearbook presents a range of disciplinary perspectives with the understanding that methodologies in the humanities, the arts, the sciences, design disciplines, social sciences, engineering, and other fields contribute important perspectives to the interdisciplinary field of panoramic and immersive media studies. The IPC is the international organization of panorama specialists committed to supporting the heritage and conservation of extant nineteenth and early-twentieth-century panoramas, and promoting awareness of the medium’s history, derivative forms, and contemporary iterations. As a non-government and not-for-profit association subject to Swiss law, the IPC is active in the fields of panorama research, restoration, financing, management, exhibition, and marketing. The PIMS Yearbook succeeds the International Panorama Council Journal (IPCJ), a selected proceedings of the annual conferences of the IPC, published 2017–2023.

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9783111335421

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Thorsten Logge, Universität Hamburg, Germany; Nicholas C. Lowe; School of the Art Institute of Chicago, USA; Molly C. Briggs, University of Illinois Urbana-Champaign, USA.

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