"Hegelian Buddhist Hypertextual Media Inhabitation, or, Criticism in the Age of Electronic Immersion"

What can it mean to criticize when you are inside the work itself? In a immersive electronic or digital environment critic is not distanced on a platform based on firm principles. Yet criticism self-awareness and commentary remain possible. This essay examines various techniques for dealing with immersive environments critically

Accented Body and Beyond: a Model for Practice-Led Research with Multiple Theory/Practice Outcomes

Dance has always been a collaborative or interdisciplinary practice normally associated with music or sound and visual arts/design. Recent developments with technology have introduced additional layers of interdisciplinary work to include live and virtual forms in the expansion of what Fraleigh (1999:11) terms ‘the dancer oriented in time/space, somatically alive to the experience of moving’. This already multi-sensory experience and knowledge of the dancer is now layered with other kinds of space/time and kinetic awarenesses, both present and distant, through telematic presence, generative systems and/or sensors. In this world of altered perceptions and ways of being, the field of dance research is further opened up to alternative processes of inquiry, both theoretically and in practice, and importantly in the spaces between the two

Debranding in Fantasy Realms: Perceived Marketing Opportunities within the Virtual World

This paper discusses the application of the concept of debranding within immersive virtual environments. In particular the issue of the media richness and vividness of experience is considered in these experience realms that may not be conducive to traditional branding invasive strategies. Brand equity is generally seen to be the desired outcome of branding strategies and the authors suggest that unless the virtual domains are considered as sacred spaces then brand equity may be compromised. The application of the above concepts is applied to the differing social spaces that operate within the different experience realms. The ideas of resonance, presence and interactivity are considered here. They lead to the development of a constructed positioning by the participants. Through the process of debranding, marketers may be able to enter these sacred spaces without negative impact to the brand. Perception of these virtual spaces was found to be partially congruent with this approach to branding. It thus presents a number of challenges for the owners of such virtual spaces and also virtual worlds in increasing the commercial utilization of investment in these environments

The age of hybrid events: amplifying the power of culture through digital experiences (Music Festivals feat. Technology)

Music festivals represent a significant part of culture as identity shapers and experience providers. With the growing use of technology in all structures of society, music festivals are not aside and have been embracing technologies as a way of creating a value offer and differentiation factor. Livestreams, cashless systems, digital events along with the use of virtual reality and social media have been ways to create a meaningful and immersive experience to the attendees and promote engagement and commitment with the music festival as a brand. This study demonstrates exactly how the implementation of technology in music festivals, thus making them hybrid, affects the overall experience of the attendee. It shows the advantages, challenges and in what specific ways it can affect the event for the promoters and the attendees, along with what aspects organizers need to acknowledge when considering embracing hybrid experiences in their festivals. It creates awareness and raises debate about this increasingly reality, providing the organization trustworthy insights about the topic of digital and/or virtual experiences

Moveable worlds/digital scenographies

This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ Intellect Ltd 2010.The mixed reality choreographic installation UKIYO explored in this article reflects an interest in scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the research production company's commitment to various creative crossovers between movement languages, innovative wearable design for interactive performance, acoustic and electronic sound processing and digital image objects that have a plastic as well as an immaterial/virtual dimension. The work integrates various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences. The ‘Moveable Worlds’ in this essay are also reflections of the narrative spaces, subtexts and auditory relationships in the mutating matrix of an installation-space inviting the audience to move around and follow its sensorial experiences, drawn near to the bodies of the dancers.Brunel University, the British Council, and the Japan Foundation

Inputs and outputs: engagement in digital media from the maker's perspective

In the process of developing a technology assembly that can objectively measure engagement on a moment-by-moment basis, subjective responses to stimuli must be shown to correlate with the component technologies, such as motion capture or psychophysiology. Subjective scales for engagement are not all consistent in segregating the measurement of causes (inputs to the audience) and effects (outputs from the audience); this lack of separation can obscure appropriate inferences in the relationship between cause and effect. Inputs to the audience are scripted, and are controllable by the maker. An output is what the designed experience engenders in the end-user, and outputs can include both mental states (satisfaction) and physical activities (heart rate) during the stimulus and subsequently. Inputs can be maximised by design, whereas to optimise outputs from the end-user, one needs an empirical process because outputs are dependent upon an interpretive process or entry into a biological system. Outputs will be highly dependent on audience and context, and they will often be quite variable, even in individuals from a similar audience profile. It is critical that, in instruments assessing the relationship between inputs and outputs, controllable inputs to the end-user must not be conflated with outputs engendered in the end-user

Is the World After All Just a Dream?

DocPerform is a multi and interdisciplinary research project based at City, University of London. Led by members of the Department of Library & Information Science, it comprises scholars and practitioners from the fields of performing arts and library & information science. The project concerns conceptual, methodological and technological innovations in the documentation of performance, and the extent to which performance may itself be considered to be a document. The collection of papers in this special issue of Proceedings from the Document Academy are selected from the second DocPerform Symposium, held at City, University of London, 6–7 November 2017. This editorial introduces those papers and provides disciplinary and historical context for DocPerform