Pomianowska, I. (2015). The role of psychological science in shaping visitor experience – understanding exhibition audiences, their needs and behavior patterns. UX Poland 2015. Paper presented at the annual meeting of UX Poland 2015, Warsaw, Poland. Abstract retreived from http://www.uxpoland.com/speakers.html

Pomianowska, I. (2015). Gestalt in media use: – how to improve the new media practices by implementing Gestalt principles of perception into information-, responsive-, or motion design. aperpresented at the annual meeting of Warsaw Goes International, University of Warsaw 17th – 24th of May 2015, Poland. Abstract retreived from http://psychologia.pl/warsawgoesinternational/ & http://iww.zspsgh.pl/

Pomianowska, I. (2015). Mediating the museum context via interactive storytelling – mapping and designing the experience of a museum visitor.Presentation for Brown Brothers Harriman Internal Conference on the 8th October 2015, Cracow, Poland.

Pomianowska, I., Naglowski, J., Fiedler, M. (2016). Getting inside the frame. Spherical film 3D. Presentation at the Storycode conference on the 2nd Februay 2016, Warsaw, Poland.


01.03.2016 | StoryCode #3 | Wirtualna Rzeczywistość

May 30-June 1, 2016, GEECT Conference Lights, Camera, Interaction – ELO Film School Helsinki

“Factors influencing the experience of immersion in VR environment and action (experience / feeling of presence) and methods of its measurement”
Aalto University
School of Arts, Design and Architecture
Department of Film, Television and Scenography
ELO Film School Helsinki

Fall 2016 – Speakers Avenue Training Institute, AMONDO cinema, Film & Perception course 2016

– Visual attention (Dr Iwona Pomianowska)
– Synthetic vs analytic storytelling: editing (Dr Iwona Pomianowska – practical classes and storyboard simulation)
– Gamification of film narration (psychology of game and interactive film) Dr Iwona Pomianowska and our guest: Michał Stec – senior art producer of ‘The Witcher 3: Wild Hunt’.

2-10 Juni 2016  Psychology of Game Design – Salesian University

15-16 october 2016, 3D courant (Angouleme, France)

7.04.2017 – attentional cues of exploring spherical video – ASP Warsaw – “Narrative Systems”

11.06.2017 National Instutite of Science (PAN) “Writing scenario for 360 & VR technology”

7-9.06.2017   VR & 360 for Sound Engeneers (US)

30.03.2017  Digital University „What’s the Future of Media & Entertainment?” Warsaw School of Economics

„Gamification  of  film  narration:  psychology  of  interactive   narratives  (games  and  movies),  immersion  factors  and  implementation  of  the  virtual   reality  techniques  within  the  media  communication”

The psychological unknowns are prompting VR researchers to scrutinize the effects of exposure to virtual reality on our psychological states as well as the perception of the content presented in media: when does “virtual” feel as “real”? Which features of the virtual setup determine immersive experience of the participants? How to facilitate the “state of flow”? How does it affect the “cinematic identification”? What about learning effects, visual attention, subliminal perception and fulfilling the emotional needs? This knowledge is relevant for all of us: VR media makers, artists, engineers, educators, parents of “digital natives” and… for us as VR users.

16 May 2017   Warsaw Goes Inernational – Lecture & Workshop (Psychology dpt at the University of Warsaw)

While realizing a movie, filmmakers should be extremely aware about the attentional cues they include in the compositionsof their film frames – to control, foresee and guide the visual attention of their viewers. That happens on basis of bottom-up and top-town attentional cues. Such visual guidance is necessary to let the viewers “read the images” in a semantically proper way. However, while dealing with the spherical film footage (video 360 and VR) we don’t have any frame to focus the viewer’s attention, we don’t have the classical editing to determine the pace of the visual exploration, the recording of the scene takes place according to totally different logic: lighting and sonorisation is not so evident and the spatial relation of the objects in the visual field are being perceived differently than in the classical film. During our workshop we will take the challange of writing a short scenario for such a spherical clip, we will make the shooting and publish our results – to see whether our psychological knowledge can help in such creative and perceptual challange.

24-25.06.2017   Festival of Art and Independent Games LAG, Salesian University

Gamification of film narration.

The psychological unknowns are prompting VR researchers to scrutinize the effects of exposure to virtual reality on our psychological states as well as on the ethical side of such practices. Current VR media makers declare “a responsibility…to create experiences that are immersive, fun, educational, and inspiring” (e.g., HTC vive). However, “just like any medium, [virtual reality] can have good effects and negative effects” (Richard Marks, Sony lead virtual-­‐reality engineer). Mike Rothenberg, head of Rothenberg Ventures, confirms it by saying: “We do have to have ethics conversations,” but “the technology will be successful no matter what, (…) every technology has downsides; the only question is how do we handle it as a society.” Virtual reality has enormous potential not only within the entertainment domain. It can allow students to enhance their education, people can meet face-­‐to-­‐face in spite of long distance between them and research on the advanced virtual reality therapy techniques has shown its positive effects for people with physical and psychological disabilities. Also “people with phobia’s and posttraumatic syndromes are effectively helped while overcoming their fears and desensitizing negative emotions and associated physical reactions”, says Audrey Hamilton, PhD in Media Psychology. What about the crossroad of Virtual Reality, Psychology and Future Media creation? According to Jason Ganz, VR can unleash the greatest wave of creativity in Human History. As Jeremy Bailenson says: “Think about virtual reality like uranium. It can heat homes, and it can destroy nations.”. What are actually the psychological factors that determine the quality of virtual reality and the way it affects us? Which features of the virtual setup determine immersive experience of the participants? When does a “virtual” feel as “real”? How to facilitate entering the
“state of flow”, thus “getting in the zone” by a viewer? How does it affect the “cinematic identification” phenomenon? What about ‘creating memories’, learning effects, visual attention, subliminal messages and fulfilling the emotional needs? This knowledge is relevant for all of us: VR media makers, educators, parents of “digital natives”, artists, doctors, engineers, as well as… for us as VR users.

27.09.2017 – Digital Cultures

        Panel discussion: “VR – virtual or real?”


10.2017 Courant3D, Angouleme

10.2017  Filem’On Animation Festival in Brussel

21.11.2017 – UC Leuven-Limburg Quadri

        Digital Media Education: “Empowering power of Media”

Hertogstraat 178 in Heverlee.

24.11.2017 ASP Art Academy in Krakow

“VR – spherical animation, psychological aspects of perception and spectatorship in the context of new media”

Animation techniques, as well as all the other audiovisual techniques, are constantly evolving. Together with the evolution of media form evolve the storytelling strategies and the film language being used by animation authors.

Within the last decade we’ve witnessed the growth of immersive and interactive media. We have dealt with immersion since the first cinematic experiences, but how different is the immersive state while experiencing the classical film in 16:9 format from the experience of a spherical film? How such difference influences the relationship between the artist and the public? What impact does it have on the psychological aspects of spectatorship?

During the lecture and the presentation at the Academy of Fine Arts in Cracow we will work together with the young generation of the animation filmmakers on the new technique of the spherical film, its workflow as well as the presentation ways and distribution. We will put under the consideration the artistic means that are brought by this new storytelling platform as well the limitations that it imposes on the filmmaking art.

25.11.2017 Etiuda & Anima – International Animation Festival in Krakow

“Creating visual identity. From the project to stylization of the new graphic identity of Etiuda & Anima Festival in 2018”

Creating visual identification of a cultural event is an ambitious and multiphase process engaging the whole team of creative persons – experts in conceptualizing, drawing, designing, animating, filmmaking, specialists in branding, marketing and distribution. The cooperation between these phases has to be artistically complementary in order to achieve an outcome on a high, artistic level, representative for the cultural event.

During the lecture and workshop at the Academy of Fine Art in Cracow we will go together through the sequential phases of poster and a film trailer creation that are going to promote Etiuda & Anima Festival in 2018. The graphic artist Kaja Renkas, who takes part in the biggest poster design contests in the world, together with Iwona Pomianowska, a film director and motion graphic artist, will explain how they cooperated to achieve a complementary visual identity design of Etiuda & Anima 2018 on a static (poster) as well as on a dynamic platform (animated trailer). The lecture will be enriched with the various works of their designing duo, which will illustrate a complementary workflow cooperation.

12.12.2017 Filmschool Lodz DiRECTING, POSTPRODUCTION

“Media Persuasion”

“Media Persuasion”

lectures met workshops

26.02 – 2.03.2017 Filmschool Lodz ANIMATION

“360 stopmotion animation”

lectures met workshops

09.2021 Learning 4Life

10.2021 docent at the University of Silesia

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