Towards 3-D Sound: Spatial Presence and the Space Vacuum

This chapter demonstrates the evolution of relationships between sound design and music in cinematic representations of the interstellar space vacuum. Mera provides a framework for understanding how audiences believe they are physically present in the represented environment and argues that, in the late 2000s, we move towards three-dimensional (3-D) sound, an aesthetic and technical extension of the superfield and the ultrafield as defined by Chion and Kerins, respectively. 3-D Sound’s primary characteristic is the emancipation of music from a fixed sound-stage spatialization, resulting in greater fluidity between sound design and music. This chapter examines the relationship between two types of spatial presence, articulating both the audience’s suspension of disbelief within a film’s narrative world and the spatial presence of sound and music within a multichannel cinema environme

Proceedings of the International Workshop on EuroPLOT Persuasive Technology for Learning, Education and Teaching (IWEPLET 2013)

"This book contains the proceedings of the International Workshop on EuroPLOT Persuasive Technology for Learning, Education and Teaching (IWEPLET) 2013 which was held on 16.-17.September 2013 in Paphos (Cyprus) in conjunction with the EC-TEL conference. The workshop and hence the proceedings are divided in two parts: on Day 1 the EuroPLOT project and its results are introduced, with papers about the specific case studies and their evaluation. On Day 2, peer-reviewed papers are presented which address specific topics and issues going beyond the EuroPLOT scope. This workshop is one of the deliverables (D 2.6) of the EuroPLOT project, which has been funded from November 2010 – October 2013 by the Education, Audiovisual and Culture Executive Agency (EACEA) of the European Commission through the Lifelong Learning Programme (LLL) by grant #511633. The purpose of this project was to develop and evaluate Persuasive Learning Objects and Technologies (PLOTS), based on ideas of BJ Fogg. The purpose of this workshop is to summarize the findings obtained during this project and disseminate them to an interested audience. Furthermore, it shall foster discussions about the future of persuasive technology and design in the context of learning, education and teaching. The international community working in this area of research is relatively small. Nevertheless, we have received a number of high-quality submissions which went through a peer-review process before being selected for presentation and publication. We hope that the information found in this book is useful to the reader and that more interest in this novel approach of persuasive design for teaching/education/learning is stimulated. We are very grateful to the organisers of EC-TEL 2013 for allowing to host IWEPLET 2013 within their organisational facilities which helped us a lot in preparing this event. I am also very grateful to everyone in the EuroPLOT team for collaborating so effectively in these three years towards creating excellent outputs, and for being such a nice group with a very positive spirit also beyond work. And finally I would like to thank the EACEA for providing the financial resources for the EuroPLOT project and for being very helpful when needed. This funding made it possible to organise the IWEPLET workshop without charging a fee from the participants.

London Creative and Digital Fusion

date-added: 2015-03-24 04:16:59 +0000 date-modified: 2015-03-24 04:16:59 +0000date-added: 2015-03-24 04:16:59 +0000 date-modified: 2015-03-24 04:16:59 +0000The London Creative and Digital Fusion programme of interactive, tailored and in-depth support was designed to support the UK capital’s creative and digital companies to collaborate, innovate and grow. London is a globally recognised hub for technology, design and creative genius. While many cities around the world can claim to be hubs for technology entrepreneurship, London’s distinctive potential lies in the successful fusion of world-leading technology with world-leading design and creativity. As innovation thrives at the edge, where better to innovate than across the boundaries of these two clusters and cultures? This booklet tells the story of Fusion’s innovation journey, its partners and its unique business support. Most importantly of all it tells stories of companies that, having worked with London Fusion, have innovated and grown. We hope that it will inspire others to follow and build on our beginnings.European Regional Development Fund 2007-13

Evaluation Report of Prospero’s Island: an Immersive Approach to Literacy at Key Stage 3.

Prospero's Island is an immersive theatre project created by Punchdrunk Enrichment and sponsored by Learning Partner, London Borough of Hackney (Hackney Learning Trust). The project sought to inspire and motivate students’ engagement with the English curriculum, and to develop an immersive approach to teaching literacy that would improve students’ learning. Prospero’s Island took place in a secondary academy in Hackney, London over two school terms (autumn 2014-spring 2015). The project was embedded in existing schemes of work, and included the following elements: • An immersive theatre installation for Year 7-8 students (aged 11-13 years); this took the form of an interactive game based on The Tempest; over a two-week period groups of students participated in this experience for a morning or afternoon (autumn term); • A Teaching and Learning Day (TALD) and eight twilight CPD sessions on immersive learning techniques for school staff and teachers across London (autumn term); • A return to the installation for one lesson, led by English teachers (autumn term); • Follow-on work by teachers to develop immersive learning in English lessons (spring term); • An independent evaluation of the project (autumn and spring terms)

Digital Food Marketing to Children and Adolescents: Problematic Practices and Policy Interventions

Examines trends in digital marketing to youth that uses "immersive" techniques, social media, behavioral profiling, location targeting and mobile marketing, and neuroscience methods. Recommends principles for regulating inappropriate advertising to youth

The encounter with the real: What can Complicite’s Theatre performance 'The Encounter' teach us about the future of VR narratives?

The most recent emergence of relatively inexpensive VR technologies has received an enthusiastic attention from the entertainment industry, visual and multimedia artists, and academia. The world of computer gaming is thriving with the new VR platforms and the number of VR games is multiplying exponentially. Similarly, quite a few research projects have been funded in order to explore the potential of the immersive technologies in disciplines as wide and different as health care, nuclear decommissioning and nonfiction immersive documentaries. Similar to the advent of its various digital predecessors at the end of the last century, the encounter with this highly interactive and immersive technology has stirred up the discussion about the nature of the medium and its relation to its predecessors. A particular interest seems to be placed in the narrative possibilities of the medium. Parallel to this shared enthusiasm, however, one can also easily sense equally shared disappointment with the current state of affairs when it comes to the artistic climaxes delivered in the VR medium. The voices from both the entertainment industry and creative academia are clearly dissatisfied with the rather rudimentary narratives presented in the most of VR games, as well as more artistically ambitious immersive experiences. The medium which claims the highest technological level of immersion still struggles to keep its audience truly immersed in its fictional realities. In this article I argue that the answer to this challenge might come outside of the world of immersive interactive gaming, and that the key for understanding the nature of immersion might come from the realm of theatre. My study of Complicite’s performance The Encounter demonstrates that this work manages to achieve the level of immersion unconceivable for any existing VR experience. The key elements for this success are the profoundly relevant subject matter (the narrative based on Petru Popescu’s Amazon Beaming), ingenious use of binaural immersive sound, and extraordinary story-telling performance delivered by Simon McBurney. In other words, it is the combination of the performance’s intertextuality, the multimediality of its means of expression and the intense presence of its narrator/protagonist that accounts for extraordinarily immersive viewers’ experience. If the medium of VR is ever to achieve a comparable level of narrative and formal complexity, it needs to break away from the vacuum of the games-logic based interactivity and shift towards a more intertextual, multimedial and narratorial aesthetic

Immersive Theater & The Physical Narrative

Immersive Theater is a form of experimental theater that places spectators at the heart of the created work, by removing them from the constraint of static seats and instead encouraging them to explore an installed environment as a way of understanding the narrative. This thesis explores how Interior Design directly enhances a performance by creating spaces that challenge a spectator’s physical understanding of a narrative

Gaming Business Communities: Developing online learning organisations to foster communities, develop leadership, and grow interpersonal education

This paper explores, through observation and testing, what possibilities from gaming can be extended into other realms of human interaction to help bring people together, extend education, and grow business. It uses through action learning within the safety of the virtual world within Massively Multiplayer Online Games. Further, I explore how the world of online gaming provides opportunity to train a wide range of skills through extending Revans’ (1980) learning equation and action inquiry methodology. This equation and methodology are deployed in relation to a gaming community to see if the theories could produce strong relationships within organisations and examine what learning, if any, is achievable. I also investigate the potential for changes in business (e.g., employee and customer relationships) through involvement in the gaming community as a unique place to implement action learning. The thesis also asks the following questions on a range of extended possibilities in the world of online gaming: What if the world opened up to a social environment where people could discuss their successes and failures? What if people could take a real world issue and re‐create it in the safe virtual world to test ways of dealing with it? What education answers can the world of online gaming provide

Choose Your Own Adventure: A Comparative Analysis of Storytelling Elements in Selected Immersive Experience Attractions

Stories are powerful tools used to both connect and communicate through a multitude of mediums. Movies, marketing campaigns, and experience design in theme parks are modern examples of storytelling, using various practices to bring the narrative to life. The purpose of this study was to analyze the manipulation of storytelling elements to create and build an immersive adventure experience in selected theme park attractions. A comparative analysis was conducted on theIndiana Jones Adventure and the Star Wars: Rise of the Resistance rides at Disneyland using an instrument that analyzed both experience design and storytelling practices. Findings concluded that the practices used were effective and were also customized to better fit the narrative of each ride. Recommendations include using a combination of experience design techniques and storytelling elements to involve guests in the adventure. Further implications are analyzed based on the prevalence and implementation of this story structure throughout history