South Bank Shakespeare Goes Global: Broadcasting from Shakespeare’s Globe and the National Theatre

This is the author accepted manuscript. The final version is available from Bloomsbury via the ISBN in this recordThis chapter argues that whereas their authority stems from their historical association with the early modern theatre industry, South Bank Shakespeares are shaped by the distinctive architectures and the types of performer-audience dynamics fostered by the affordances of the National Theatre and Shakespeare's Globe, as interpreted by their successive artistic directors. I show how through paratexts, camerawork, and the triggering of strong affective responses, broadcasts are able to generate atmospheres in which broadcast audiences experience a ‘distributed presence’ that transcends boundaries of time and space. A phenomenology of space and affect grounded in Michel de Certeau’s work allows me to explain how broadcasts generate the experience of spatial inclusion or exclusion, which in turn contributes to the sensation of participation in the event. I argue that strong affects have the capacity to transcend spatial and temporal boundaries, connecting remote audiences with the performance in the here-and-now of their emotional response. The handling of strong affect, combined with a representation of space as transactional, is a catalyst of 'aliveness'. My close analysis of broadcasts from the National Theatre and Shakespeare's Globe since 2003 reveals that the two companies generate distinctive modes of spectatorial engagement which, most recently, have merged to generate a more hybrid style of 'South Bank Shakespeare', with remote spectators responding to prompts within the broadcasts by engaging in digital modes of interaction

Audience Immersion: environment, interactivity, narrative in the work of Punchdrunk

The phrase immersive theatre has experienced a surge in popularity in recent years, and is often applied loosely. In 2012 (‘theatre roundup: advice for playwrights’) Lyn Gardner noted that ‘immersive is theatre’s new buzzword’ and expressed irritation with its often vague and unspecific application, commenting on ‘marketeers who seem to be applying the term “immersive” to practically anything that isn’t a play by David Hare.’ A specialised vocabulary and set of critical approaches are required. This thesis is about audience immersion in the work of Punchdrunk, a pioneering company working in the form. The thesis proposes that immersive theatre (the theatrical form) and immersive experience (the sensation) have a reciprocal relationship. The thesis begins with an overview of approaches to audience in theatre scholarship and other fields, and establishes a definition of immersive experience that will be applied to case studies in the chapters. The thesis is divided into three sections that consider topics integral to Punchdrunk’s theatre: interactive elements; a fractured and nonlinear approach to narrative; and the creation of scenographically rich environments. The chapters consider the relationship between these topics and immersive experience. The thesis is interested in how immersive experience is created and maintained, and discussed and framed in wider discourse. The first section is about interactivity and immersion. Chapter 1 considers various approaches to interactivity and proposes a multivalent model. Chapter 2 applies this model to a discussion of interactivity and immersive experience in The Drowned Man. Chapter 3 widens the definition of interactivity to consider audience engagement beyond the moment of the theatrical encounter. The second section is about narrative and immersion. Chapter 4 outlines current critical approaches to narrative, and discusses immersion in the interplay of story structure and theatrical structure, using the linear The Crash of the Elysium as a case study. Following on from this, Chapter 5 considers how immersive experience is created and maintained in the context of a Punchdrunk trademark: a nonlinear structure, with scenes in non-chronological order encountered only when a wandering spectator comes across them. Chapter 6 draws on the narrative ‘vs’ ludology debate in the field of gaming; a debate concerned with what a player is actually immersed in – the story or the mechanics of play. The chapter considers immersive experience and story in the Sleep No More project Punchdrunk undertook with MIT Media Lab in 2012, which used gaming mechanics to explore ‘remote and real world interconnected theatrical immersion’. The final section is about environment and immersion. Chapter 7 outlines approaches to environment and draws on methodological approaches from site-specific performance to discuss how immersive experience manifests in the interplay between the original site and the creation of a fictional world in/on that site.AHR

Simulating bodily movement as an agent for the reactivation of forgotten open air spaces in the city

This paper presents experimental work that uses immersive technologies for engaging users and local communities in the design process of architectural interventions on historic, fragmented environments in an effort to re-activate the place under study. In addition to the use of cutting-edge methods of capturing and analysing on-site information, this research framework, implemented in the on-going study of Paphos Gate area of historic Nicosia which lies on the infamous Green Line that still divides the city, explores the potential of narrative-led visualization to enable personal interpretations of space and its history. This virtual environment hosts reconstructions of the Paphos Gate neighbourhood which were produced based on archival material and via 3D data acquisition (LiDAR, UAV and terrain Structure-from-Motion techniques), in order to explore the associations between the transformation of the monument through the years – from its construction to present day – and the bodily experience of the visitors sojourning in its surrounding part of the city. The vision of this research is to develop a digital platform which through immersion, cinematic language and storytelling will enable the evaluation of alternative scenarios and design interventions in the context of the management plan of forgotten open air spaces that used to be popular within their urban fabric.Funded by the Horizon 2020 Framework Programme of the European Union.peer-reviewe

A critical practice-based exploration of interactive panoramas' role in helping to preserve cultural memory

I am enclosing the content of two DVDs which are integral part of the practice-based thesis.The rapid development of digital communication technologies in the 20th and 21st centuries has affected the way researchers look at ways memory – especially cultural memory – can be preserved and enhanced. State-of-the-art communication technologies such as the Internet or immersive environments support participation and interaction and transform memory into ‘prosthetic’ experience, where digital technologies could enable 'implantation' of events that have not actually been experienced. While there is a wealth of research on the preservation of public memory and cultural heritage sites using digital media, more can be explored on how these media can contribute to the cultivation of cultural memory. One of the most interesting phenomena related to this issue is how panoramas, which are immersive and have a well-established tradition in preserving memories, can be enhanced by recent digital technologies and image spaces. The emergence of digital panoramic video cameras and panoramic environments has opened up new opportunities for exploring the role of interactive panoramas not only as a documentary tool for visiting sites but mainly as a more complex technique for telling non-linear interactive narratives through the application of panoramic photography and panoramic videography which, when presented in a wrap-around environment, could enhance recalling. This thesis attempts to explore a way of preserving inspirational environments and memory sites in a way that combines panoramic interactive film and traversing the panoramic environment with viewing the photo-realistic panoramic content rather than computer-generated environment. This research is based on two case studies. The case study of Charles Church in Plymouth represents the topical approach to narrative and focuses on the preservation of the memory of the Blitz in Plymouth and the ruin of Charles Church which stands as a silent reminder of this event. The case study of Charles Causley reflects topographical approach where, through traversing the town of Launceston, viewers learn about Causley’s life and places that provided inspirations for his poems. The thesis explores through practice what can be done and reflects on positive and less positive aspects of preserving cultural memory in these case studies in a critical way. Therefore, the results and recommendations from this thesis can be seen as valuable contribution to the study of intermedia and cultural memory in general

Co-Creating with the Senses: Towards an Embodiment Grammar for Conceptualising Virtual Reality (VR) Narrative Design

This creative practice thesis comprises two components, a dissertation titled Co-Creating with the Senses: Towards an Embodiment Grammar for Conceptualising Virtual Reality (VR) Narrative Design and a creative work, The Recluse, a fictional VR script written in the Maria Vargas Immersive Play template, available through Final Draft. The advent of publicly available virtual reality (VR) technologies has led to the emergence of a new genre of storytelling, henceforth referred to as ‘VR narratives’. There has therefore been a need to articulate its defining grammar and to contribute insights born out of artistic experimentation in a scholarly field which until recently was dominated by scientific points of view. Employing a somaesthetics approach outlined by researcher Kristina Höök, the dissertation draws on a qualitative study into 10 VR narrative works in order to propose an embodiment grammar through which the art form may be conceptualised. The study’s findings, a group of eight embodied states organised into a framework, urge for the relenting of authorial control in order to instead frame affective potential, thus echoing a Deleuzian concept of the assemblage. In particular, the framework draws attention to the way that VR’s deeper affective dimensions may be elucidated by framing co-creation through the medium’s distinct sensory possibilities. As interest gathers in a future metaverse, the insights raised by the study are significant, with potential applications in a range of affective design contexts. The Recluse is my original contribution to this emerging art form and a case study through which to interrogate the framework’s findings. A mystery with supernatural elements, the VR script aims to communicate an experience that transports the participant to the world of Alma Cohen, a famous artist turned recluse, where they are invited to experience the strange occurrences in Alma’s life through their own embodied actions. The VR script explores the potential for intimate encounters with virtual characters and the sensory, co-creational and affective possibilities which arise through these dynamics. It highlights, following the framework, the way that more open structuring approaches are required in order to access the medium’s deeper affective possibilities and also the present technological constraints in achieving this

The Effects of Interactivity on Memory Relating to Presence in Virtual Environments

The overall effectiveness of virtual environments is often linked to and measured by degrees of presence, commonly defined as the psychological sensation of “being there” (Schubert et al., 1999). Psychologists agree that attention and involvement through interactivity play a role in presence (Hartmann et al., 2015; Schubert et al., 1999; Witmer and Singer, 1998). Because attention is critical in encoding information into memory storage, looking at how memory relates to presence is another topic of interest. In this study, participants (N = 30) played through a 3D virtual reconstruction of a Pompeian house under one of two conditions: free-roam and task-oriented. No significant difference emerged between the conditions for feelings of presence. There was also no difference between conditions in terms of memory recognition of the virtual environment. However, as predicted, a significant difference emerged for the memory recall test, as participants in the interactive task-oriented condition exhibited higher accuracy in vase placement relative to the original target locations compared to the free-roam condition. This difference suggests improved memory recall due to interactivity rather than presence

Game | World | Architectonics

In its current digital, pictorial and viral ubiquity, architecture no longer has to be bodily present, but has a mediating role. As a medial hinge it folds different disciplines of media and art onto the realm of the everyday. Here, the idea of architectonics can be understood as the architectural implications of computer games in a broader sense to address the matter of architecture in game worlds as well as the architecture of computer games themselves. This anthology bundles transdisciplinary approaches around the topics of space, architecture, perception of and worldbuilding in computer games and their media-specific properties. The aim is to show how and under which aspects digital game worlds are constituted. The contributions depart from the beaten tracks of media and game studies, focusing on spatial, architectural and world-shaped phenomena within current digital media culture.In ihrer aktuellen digitalen, bildlichen wie auch viralen Ubiquität muss Architektur nicht mehr körperlich präsent sein und doch füllt sie eine vermittelnde Rolle aus. Als mediales Scharnier verschränkt sie unterschiedliche Disziplinen der Medien und Künste mit der Alltagswirklichkeit. Das Konzept der Architektonik umschreibt hierbei in weitem Sinne die architektonischen Implikationen der Computerspiele, um Architektur in Spielwelten als auch die Architektur der Computerspiele selbst greifbar zu machen. Dieser Sammelband bündelt transdisziplinäre Zugriffe rund um die Themen Raum, Architektur, Wahrnehmung von und Weltenbau in Computerspielen und deren medienspezifischen Eigenschaften. Ziel ist es aufzuzeigen, wie und unter welchen Aspekten sich digitale Spielwelten konstituieren. Die Beiträge verlassen dabei ausgetretene Pfade von Medienwissenschaft und Game Studies und fokussieren auf die räumlichen, architektonischen und weltförmigen Phänomene aktueller digitaler Medienkultur