Research & Practice
Perceptual–Temporal Framework for Immersive Experience
An evolving research practice exploring how immersive experiences take shape and unfold through perception, relation, and temporality — and how meaning emerges through lived experience.
Research Position
Immersive media has become increasingly capable of creating presence, interaction, and spatial engagement. Yet entering an experience is not the same as allowing it to develop, remain, or reshape understanding.
My research investigates how perceptual conditions, embodied relations, and temporal dynamics shape immersive experience as it takes form and unfolds. Drawing on phenomenology, East Asian aesthetic philosophy, and creative practice, I approach experience not as something to be delivered but as something that gradually takes shape through rhythm, duration, relation, and return.
Perceptual–Temporal Framework
It is structured around three interrelated dimensions: the conditions within which experience becomes possible, the relations through which experience is lived and sustained, and the temporal structures through which experience unfolds and may be reorganized. These dimensions interact differently across works, while perception, attention, embodiment, and differentiation operate across them to shape how experience is encountered and organized. Meaning emergence is understood as one possible development of immersive experience rather than its required outcome.
Experiential Conditions
Experiential Relations
Experiential Unfolding
Research Development
Theoretical Inquiry
Comparative Case Analysis
Creative Practice
Selected Research Writing
Perceptual–Temporal Framework
Selected writings on the evolving development of the Perceptual–Temporal Framework for Immersive Experience.
— Framework Overview
How immersive experience takes shape through conditions, relations, and temporal unfolding.
The Perceptual–Temporal Framework for Immersive Experience: Framework Overview
— Theoretical Grounding
Examines the theoretical foundations of the Perceptual–Temporal Framework through phenomenology, immersive media studies, and East Asian aesthetic philosophy, tracing how perception and temporality inform the unfolding of immersive experience.
The Perceptual–Temporal Framework for Immersive Experience: A Theoretical Grounding
— Temporal Structuring of Experience
Examines how rhythm, duration, interval, return, reorientation, and sedimentation shape the temporal unfolding of immersive experience and support its ongoing reorganization.
The Perceptual–Temporal Framework for Immersive Experience: Experiential Unfolding
— Conceptual Ground
Eastern Aesthetics Beyond Form: Emptiness and Pause in an Accelerated World
Reconsiders emptiness and Ma as perceptual and temporal conditions rather than visual forms, connecting East Asian aesthetic thought with contemporary questions of attention, acceleration, and immersive experience.
Reframing Immersive Experience
Comparative case analyses exploring how different immersive works shape, unfold, and sustain experience through perception, relations, embodiment, and temporality.
— Shared Temporality & Anticipation
Examines how collective rhythm, movement, and anticipation organize shared immersive experience, comparing different structures of participation, observation, and temporal–relational unfolding.
Reframing Immersive Experience #02
From Le Bal de Paris to Shared Temporality and the Structure of Anticipation
— Narrative as Experiential Structure
Examines narrative as an experiential structure, focusing on perceptual continuity, temporal unfolding, and relational engagement in Wolves in the Walls.
Reframing Immersive Experience #01
Wolves in the Walls: How Narrative Organizes Experience in VR
— Recurring Structural Tendencies
Identifies recurring structural tendencies that shape how immersive experiences take shape, unfold, remain coherent, or gradually dissipate across concept-, sensory-, interaction-, and narrative-driven works.
Reframing Immersive Experience: How Meaning Emerges in Immersion
Research Trajectory
Current Research
After-Appearance (In Development)
Research-based VR work
After-Appearance is a research-based VR work exploring how lived relational experience unfolds over time and how shifts in experiential position may reorganize understanding.Through rhythm, spatial return, and changing modes of participation and observation, the work examines how prior experience remains available and may later be encountered differently.
The work extends the Experiential Relations and Experiential Unfolding dimensions of the Perceptual–Temporal Framework through three central mechanisms:
- Alternating between first-person participation and third-person observation.
- Returning to the same space from different temporal and experiential positions.
- Relational continuity and the gradual accumulation of lived experience across time.
Foundational Immersive Work
Trans-composition (2021–2025)
Research-based VR work
Trans-composition was the first immersive work in this research trajectory to develop a coherent experiential approach. More than a standalone project, it became an early site of inquiry into how experience might take shape through space, movement, relation, and time.
The work explored:
- Spatial return as a mechanism of embodied reorientation.
- Shifting perspectives as a condition for reflective distance.
- Temporal openness (Ma) as a condition for anticipation and emergence.
- Rhythmic modulation (Yun) through contrast, interval, and flow.
- Sedimentation as the gradual accumulation and retention of lived experience across time.
Drawing on East Asian aesthetic philosophy—particularly the spatial principles of ink painting and garden spatial design, these principles were translated into spatial and temporal principles rather than visual references. Space was approached not as a backdrop for events but as an experiential field in which perception unfolded continuously through movement, pause, return, and embodied reorientation.
Within this experiential approach, interaction was not primarily designed to trigger events or accelerate progression. Instead, movement and response became conditions through which experience gradually unfolded. Through rhythm and interval, sound and silence, movement and stillness, presence and absence, the work sustained an open experiential field, allowing prior experience to remain available and later moments to be encountered differently.
These explorations established questions that continue to shape the ongoing development of the Perceptual–Temporal Framework: how experience may be sustained rather than rapidly consumed; how perception may remain open rather than fixed; and how pause, uncertainty, and transition may become generative conditions for transformative understanding and the emergence of meaning.
Early Explorations
Before developing a sustained immersive practice, my early work across XR, visual, and moving-image media explored time, spatial rhythm, perceptual ambiguity, and audiovisual transformation. Across these studies, recurring questions gradually emerged: how perception shifts, how experience unfolds through time, and how spatial relations and perceptual organization shape the act of seeing.
These questions became the foundation of my immersive practice and the ongoing development of the Perceptual–Temporal Framework.
Deep Sentiments In Silence
AR-Enhanced Design | AR Translational Study
Couple Cups with Customized
This work represents an early exploration in the studio's research trajectory, investigating how East Asian conceptions of time and space might be translated into experiential structures across hybrid media.
Traditional ink landscape painting already carries layered understandings of temporal flow and spatial depth. This project asked: what happens when temporality is no longer confined within the image, but generated and perceived within another spatial dimension? Sound, as a fundamentally temporal medium, was translated into a visual landscape form. Through AR, time unfolded as spatial layering, allowing acoustic flow to become perceptible within a virtual field. As water was poured into the cup, physical liquid and virtual ink imagery mirrored one another, creating a convergence of presence and representation. Temporal movement became not only something heard, but something seen and inhabited. Designed as a paired set, the gesture of pouring also carried a subtle East Asian symbolic dimension — nurturing relationality through shared temporality.
The work functioned both as a cross-media translation experiment and as an early spatial enactment of East Asian aesthetic structures.
Planar Investigations Of Flow
Prior to immersive works, the research explored how flow could be articulated within two-dimensional space.
Lines were treated as traces of movement rather than contours; blank space functioned as rhythmic interval rather than absence. These works sought to establish a perceptual field of sustained motion within the plane, laying groundwork for later immersive investigations.
To see the self
Illustration
Every outward gaze is, in truth, a return to the self.
An eye contained a dancing figure — allowing perception to fold back upon itself. Viewing became both outward and inward.
Waltz
Illustration
When the body becomes an eye, the gaze begins to dance. Between seeing and being seen, the gaze whirls in a silent waltz.
Interwoven lines derived from gestural movement formed eyes without clear beginning or end. The drawings operated as planar surfaces that implied spatial relationality.
In dancing, gazes intersect; in tracing motion, perception repositions itself.
Hedonic Circle
Illustration
Cyclical Structures and Cross-Cultural Perspective
Some works placed geometric looping structures — reminiscent of visual paradox staircases — within East Asian compositional logic. Visual contradiction was reinterpreted as a field of continuous circulation.
This series examined intersections between different spatial understandings across cultures.
The Way of Seeing
Illustration
Continuous Line and Spatial Fold of Perspective
A single rotating line eventually forms eyes and faces. Spatial positions and viewpoints compress into a single continuous trajectory, embedding the multiplicity of space within temporal extension.
The looped line carries both time and spatial relationality.
Fate's labyrinth: Fingerprint
Illustration
An unrepeatable pattern, a labyrinth one must walk through alone. Whose gaze lingers upon the traces of life?
A fingerprint marks life's singular, unrepeatable truth. Its ridges are no fixed stamp but a concealed labyrinth of choices and turns. Gaze long enough and the maze becomes an eye, reminding us: meaning dwells not only in the lines bestowed, but in how we look—and how we read the road.
Time does not pass; it crystallizes into visible texture.
Early Immersive Investigations
USL
VR Experience
In
the early research phase, VR works began to systematically integrate
phenomenology, semiotics, and surrealist strategies to examine how
embodied perception generates meaning across space and time.
Phenomenology
informed attention to the structure of lived experience; semiotics
introduced metaphorical and symbolic layers; surrealism operated as a
method to produce tension between reality and subconscious imagery.
These frameworks were not stylistic additions but were translated into
perceptual mechanisms within immersive space.
Through spatial flow,
cyclical configurations, and symbolic environments, meaning emerged
through movement and perception. Eastern notions of circulation and
relational space began to surface more explicitly during this phase.
Early Motion and Audiovisual Rhythm Experiments
In earlier motion-based works, attention was directed toward how sound
rhythm and visual movement co-constructed temporal perception. Animation
functioned not merely as dynamic imagery, but as an experimental field
for understanding how time is structured and sensed audiovisually.
These
investigations into rhythm and spatial articulation formed the
perceptual groundwork for later immersive time-generation research.
