The design process for XR experiences

The act of telling stories has been a core part of the human experience since the days of cavemen standing around a fire to tell the story of the day's hunt (Balter). As new technologies are being developed, such as virtual reality headsets and cellphones with augmented reality capabilities, the designer's process has been challenged. We are increasingly living in a world where human experiences are separating from physical reality and moving toward an extended reality or XR. “Extended Reality” (XR) is the umbrella term used to describe VR (Virtual Reality), AR (Augmented Reality), and MR (Mixed Reality) as well as all future realities [any new experiences that might be created outside of the already existing realms] such technology, might bring. XR covers the full spectrum of real and virtual environments'' (Scribani). The challenge Designers are facing is how to effectively tell engaging stories using new and increasingly prevalent technologies within the XR envelope. Many experiences utilizing XR tend to focus on the technology and tools rather than the story. XR is the new “Wild West” in storytelling. There are no hard rules and no defined creative processes for crafting a successful experience within the technology. This thesis asks the question, can the theatrical design process help to create more successful XR experiences? Success being more social interaction and long-lasting engagement. Can a focus on human-centric stories make the experiences more engaging? In this thesis, I will be investigating three XR experiences and their varying design processes. The evaluation of this research will be qualitative rather than quantitative. The success or failure of these experiential XR designs will be determined through the lens of a collaborative theatrical designer.Theatre and Danc

The Sacred, The Profane, and The Spirit

While we may like to think that they no longer exist in today’s United States, cultural tensions are still overwhelmingly present. One example of such tension in the recent history of the United States is beautifully illustrated in Anne Fadiman’s 1997 book, The Spirit Catches You and You Fall Down: A Hmong Child, Her American Doctors, and the Collision of Two Cultures.[1] Fadiman tells the true story of a young girl, Lia Lee, diagnosed with epilepsy, and the tensions between her parents’ traditional beliefs and her Western-educated doctors’ ideas about medical care. Though a variety of approaches may be helpful to use in interpreting this text, I found Mircea Eliade’s theories in The Sacred and the Profane especially so.[2] Eliade writes about “two modes of being in the world” (one being “the sacred” and the other “the profane”), and advocates for the merits of maintaining religious practice and belief in a secular world.[3] After introducing Eliade’s work more completely, I will summarize the important ideas brought up by Fadiman. I will then argue that Eliade’s theories provide a helpful framework through which to understand the case presented in The Spirit Catches You and You Fall Down. [1] Anne Fadiman, The Spirit Catches You and You Fall Down: A Hmong Child, Her American Doctors, and the Collision of Two Cultures (New York: Farrar, Straus, and Giroux, 1997). [2] Mircea Eliade, The Sacred and the Profane: The Nature of Religion, trans. Willard Trask (New York: Harcourt, Inc., 1959). [3] Ibid., 14

Immersive Journalism as Storytelling

"This book sets out cutting-edge new research and examines future prospects on 360-degree video, virtual reality (VR), and augmented reality (AR) in journalism, analyzing and discussing virtual world experiments from a range of perspectives. Featuring contributions from a diverse range of scholars, Immersive Journalism as Storytelling highlights both the opportunities and the challenges presented by this form of storytelling. The book discusses how immersive journalism has the potential to reach new audiences, change the way stories are told, and provide more interactivity within the news industry. Aside from generating deeper emotional reactions and global perspectives, the book demonstrates how it can also diversify and upskill the news industry. Further contributions address the challenges, examining how immersive storytelling calls for reassessing issues of journalism ethics and truthfulness, transparency, privacy, manipulation, and surveillance, and questioning what it means to cover reality when a story is told in virtual reality. Chapters are grounded in empirical data such as content analyses and expert interviews, alongside insightful case studies that discuss Euronews, Nonny de la Peña’s Project Syria, and The New York Times’ NYTVR application. This book is written for journalism teachers, educators, and students, as well as scholars, politicians, lawmakers, and citizens with an interest in emerging technologies for media practice.

Coordinating over time: The micro-processes of integrating creativity and control in a dramatic television production

The pressures of continuous innovation in response to shorter product lifecycles and changing customer tastes or requirements create a constant challenge for firms expected to deliver predictable growth. Yet, the creativity needed for new product development projects often emerges in unpredictable and non-linear ways. Projects such as software development, new drug exploration, and filmmaking are knowledge-intensive undertakings where creativity is not confined to the conceptual stage of the project, but required for its duration. Different groups are often involved at different stages of the project and their creative contributions need to be conjunctive. Consequently, formal controls are required to coordinate their creative inputs. My research explores how the competing tensions of creativity and control are balanced through coordinating mechanisms over time in large-scale creative collaborations (LSCCs). Given the long implicit function of the budget as a coordinating mechanism, it became the focal point of this exploration. My dissertation is focused on answering two related research questions. First, how are budgets used to accomplished coordination over time? Second, how are budgets used to mediate the tensions between creativity and control? In this study, I used a qualitative approach to build new theory. My enquiry is situated in the film and television industry where creative aspirations must be continually balanced within the parameters of time and money. Using an in-depth, single case study design, I studied the coordinating practices of the crew of a dramatic television series production in ‘real time’ as they created and produced each script of the season. In the film and television industry, each product is a new creation that comes to fruition through the collaborative efforts of teams of artists, designers and specialized crafts people

Demystifying the Future of the Screen

Demystifying the Future of the Screen explores the creation of a 3D representation of volumetric display (a graphical display device that produces 3D objects in mid-air), a technology that doesn’t yet exist in the consumer realm, using current technologies. It investigates the conceptual possibilities and technical challenges of prototyping a future, speculative, technology with current available materials. Cultural precedents, technical antecedents, economic challenges, and industry adaptation, all contribute to this thesis proposal. It pedals back to the past to examine the probable widespread integration of this future technology. By employing a detailed horizon scan, analyzing science fiction theories, and extensive user testing, I fabricated a prototype that simulates an immersive volumetric display experience, using a holographic display fan. Its construct was inspired by pre-television optical media like phantasmagoria, Kristian Birkeland’s immersive cathode-ray environments, and NBC’s original news broadcast in the early 1900s. The treatment was influenced by sci-fi film visualizations

Autonomous Exchanges: Human-Machine Autonomy in the Automated Media Economy

Contemporary discourses and representations of automation stress the impending “autonomy” of automated technologies. From pop culture depictions to corporate white papers, the notion of autonomous technologies tends to enliven dystopic fears about the threat to human autonomy or utopian potentials to help humans experience unrealized forms of autonomy. This project offers a more nuanced perspective, rejecting contemporary notions of automation as inevitably vanquishing or enhancing human autonomy. Through a discursive analysis of industrial “deep texts” that offer considerable insights into the material development of automated media technologies, I argue for contemporary automation to be understood as a field for the exchange of autonomy, a human-machine autonomy in which autonomy is exchanged as cultural and economic value. Human-machine autonomy is a shared condition among humans and intelligent machines shaped by economic, legal, and political paradigms with a stake in the cultural uses of automated media technologies. By understanding human-machine autonomy, this project illuminates complications of autonomy emerging from interactions with automated media technologies across a range of cultural contexts

Immersive Journalism as Storytelling

"This book sets out cutting-edge new research and examines future prospects on 360-degree video, virtual reality (VR), and augmented reality (AR) in journalism, analyzing and discussing virtual world experiments from a range of perspectives. Featuring contributions from a diverse range of scholars, Immersive Journalism as Storytelling highlights both the opportunities and the challenges presented by this form of storytelling. The book discusses how immersive journalism has the potential to reach new audiences, change the way stories are told, and provide more interactivity within the news industry. Aside from generating deeper emotional reactions and global perspectives, the book demonstrates how it can also diversify and upskill the news industry. Further contributions address the challenges, examining how immersive storytelling calls for reassessing issues of journalism ethics and truthfulness, transparency, privacy, manipulation, and surveillance, and questioning what it means to cover reality when a story is told in virtual reality. Chapters are grounded in empirical data such as content analyses and expert interviews, alongside insightful case studies that discuss Euronews, Nonny de la Peña’s Project Syria, and The New York Times’ NYTVR application. This book is written for journalism teachers, educators, and students, as well as scholars, politicians, lawmakers, and citizens with an interest in emerging technologies for media practice.

Immersive Journalism as Storytelling

This book sets out cutting-edge new research and examines future prospects on 360-degree video, virtual reality (VR), and augmented reality (AR) in journalism, analyzing and discussing virtual world experiments from a range of perspectives. Featuring contributions from a diverse range of scholars, Immersive Journalism as Storytelling highlights both the opportunities and the challenges presented by this form of storytelling. The book discusses how immersive journalism has the potential to reach new audiences, change the way stories are told, and provide more interactivity within the news industry. Aside from generating deeper emotional reactions and global perspectives, the book demonstrates how it can also diversify and upskill the news industry. Further contributions address the challenges, examining how immersive storytelling calls for reassessing issues of journalism ethics and truthfulness, transparency, privacy, manipulation, and surveillance, and questioning what it means to cover reality when a story is told in virtual reality. Chapters are grounded in empirical data such as content analyses and expert interviews alongside insightful case studies that discuss Euronews, Nonny de la Peña’s Project Syria, and The New York Times’ VR application NYTVR. This book is written for journalism teachers, educators, and students as well as scholars, politicians, lawmakers, and citizens with an interest in emerging technologies for media practice