This book investigates audience experience through the lens of sensory engagement in immersive, one-to-one performance. It presents a distinct, practice-based research (PBR) framework – a performance research ‘laboratory’ – designed to evaluate the effects on diverse audience experiences of two ‘sense-specific manipulations’: eye masks and touch. Through a qualitative analysis of responses from seventy-four individual audience participants, this book offers insight into how these popular ‘immersing’ strategies might be experienced. What do these strategies achieve? How do audience participants make sense of them? Do audience responses align with artistic intentions? And how does the PBR framework designed to address these questions influence the outcomes? Through an analysis of three sets of one-to-one performance experiments generating comparative data about the experience of sense-specific manipulation, this book proposes the utility of merging methodologies in artistic research with empirical audience research in theatre and performance studies. This study offers a new perspective on the value of sensory-focused, immersive, one-to-one experience as a means of resensitizing audience participants through performance.

This book offers a wide-ranging examination of acts of ‘virtual embodiment’ in performance/gaming/applied contexts that abstract an immersant’s sense of physical selfhood by instating a virtual body, body-part or computer-generated avatar. Emergent ‘immersive’ practices in an increasingly expanding and cross-disciplinary field are coinciding with a wealth of new scientific knowledge in body-ownership and self-attribution. A growing understanding of the way a body constructs its sense of selfhood is intersecting with the historically persistent desire to make an onto-relational link between the body that ‘knows’ an experience and bodies that cannot know without occupying their unique point of view. The author argues that the desire to empathize with another’s ineffable bodily experiences is finding new expression in contexts of particular urgency. For example, patients wishing to communicate their complex physical experiences to their extended networks of support in healthcare, or communities placing policymakers ‘inside’ vulnerable, marginalized or disenfranchised virtual bodies in an attempt to prompt personal change. This book is intended for students, academics and practitioner-researchers studying or working in the related fields of immersive theatre/art-making, arts-science and VR in applied performance practices.

This diverse collection of essays and testimonies challenges critical orthodoxies about the twenty-first century boom in immersive theatre and performance. A culturally and institutionally eclectic range of producers and critics comprehensively reconsider the term ‘immersive’ and the practices it has been used to describe. Applying ecological, phenomenological and political ideas to both renowned and lesser-known performances, contributing scholars and artists offers fresh ideas on the ethics and practicalities of participatory performance. These ideas interrogate claims that have frequently been made by producers and by critics that participatory performance extends engagement. These claims are interrogated across nine dimensions of engagement: bodily, technological, spatial, temporal, spiritual, performative, pedagogical, textual, social. Enquiry is focussed along the following seams of analysis: the participant as co-designer; the challenges facing the facilitator of immersive/participatory performance; the challenges facing the critic of immersive/participatory performance; how and why immersion troubles boundaries between the material and the magical.

This book is the publication of my PhD dissertation and is written in the corresponding style. The included research provides explorations and investigative reflections on Rollenwahrnehmung (a newly coined phrase meaning role perception/fulfillment), Perspective and Space through Virtual Reality (VR) game interfaces. A number of important topics will be addressed, like the creation of new experiences in the context of VR, the extension and new development of various interaction paradigms, various User Experience (UX) aspects and user guidance in a sophisticated new medium. Placed in the field of design practice, this research focuses on the creation of digital gaming artifacts, while extrapolating insights and guidelines concerning VR interfaces. Hence, this practice-based research is derived from a portfolio of specifically developed interactive artifacts, following the methodological approach of Constructive Design Research. These include the VR related games Nicely Dicely, LizzE - And the Light of Dreams and Gooze. They were used for various Lab experiments and Showroom presentations, while continually being refined throughout an iterative process. Nicely Dicely is an abstract game based on physics. In Local Multiplayer, up to four players are able to compete or collaborate. It is not a VR game per se, but features both, Monoscopic and 3D Stereoscopic Vision modes, which were tested in an experiment on their effect on Player Immersion. LizzE - And the Light of Dreams is a Singleplayer 3rd Person Hack and Slay game based in a fantasy universe. In an experiment, the game was used to primarily investigate in which ways 3rd Person VR games can work for a broad audience, regarding camera behavior. Gooze is a 1st Person VR puzzle game, taking place in a realistic horror environment with supernatural aspects. It was designed with diverse VR interaction technologies in mind and offers users different options to play the game, depending on available hardware and preferences. The Locomotion and Virtual Object Interaction mechanics were tested in an experiment regarding their UX. In summary, this book illustrates various game, interface and VR designs, informing the emerging field of VR game development of the relationship between UX, interfaces and gameplay. Furthermore, guidelines for designing and developing specific aspects of VR games were identified and each single artifact can be used as a design and development precedent for practice and academia.

For speaking, words in the lexicon are somehow activated from conceptual representations but we know surprisingly little about how this works precisely. Which of the attributes of the concept DOG (e.g. BARKS, IS WALKED WITH A LEASH, CARNIVORE, ANIMATE) have to be activated in a given situation to be able to select the word ‘dog’? Are there things we know about dogs that are always activated for naming and others that are only activated in certain contexts or even never? To date, investigations on lexical access in speaking have largely focused on the effects of distractor nouns on the naming latency of a target noun. We have learned that distractors from the same semantic category (e.g. ‘cat’) hinder naming, but associatively related distractors (‘leash’) may facilitate or hinder naming. However, associatively related words can have all kinds of semantic relationships to a target word, and, with few exceptions, the effects of specific semantic relationships other than membership in the same category as the target concept have not been systematically investigated. This special issue aims at moving forward towards a more detailed account of how precisely conceptual information is used to access the lexicon in speaking and what corresponding format of conceptual representations needs to be assumed.

This open access book tackles the design of 3D spatial interactions in an audio-centered and audio-first perspective, providing the fundamental notions related to the creation and evaluation of immersive sonic experiences. The key elements that enhance the sensation of place in a virtual environment (VE) are: Immersive audio: the computational aspects of the acoustical-space properties of Virutal Reality (VR) technologies Sonic interaction: the human-computer interplay through auditory feedback in VE VR systems: naturally support multimodal integration, impacting different application domains Sonic Interactions in Virtual Environments will feature state-of-the-art research on real-time auralization, sonic interaction design in VR, quality of the experience in multimodal scenarios, and applications. Contributors and editors include interdisciplinary experts from the fields of computer science, engineering, acoustics, psychology, design, humanities, and beyond. Their mission is to shape an emerging new field of study at the intersection of sonic interaction design and immersive media, embracing an archipelago of existing research spread in different audio communities and to increase among the VR communities, researchers, and practitioners, the awareness of the importance of sonic elements when designing immersive environments.

Nandita Dinesh places Kipling’s "six honest serving-men" (who, what, when, where, why, how) in productive conversation with her own experiences in conflict zones across the world to offer a theoretical and practical reflection on making theatre in times of war. This timely and important book weaves together Dinesh’s personal narrative with the public story of modern conflict, illustrating as it does, the importance of theatre as a force for ethical deliberation and social justice. In it Dinesh asks how theatre might intervene in times and places of conflict and how we might reflect on such interventions. In pursuit of answers, Theatre and War adopts the methods of auto-ethnography, positioning the theatrical practitioner at the heart of conflict zones in northern Uganda, Guatemala, Northern Ireland, Mexico, Rwanda, Kenya, Nagaland, and Kashmir. No longer a detached observer, the researcher and practitioner has to be able to meld theory with practice; to speak to ‘doing’, without undervaluing the importance of ‘thinking about doing’. Each chapter approaches the need for a synthesis of theory and practice by way of a term of inquiry―Why, Where, Who, What, When―and each is equipped with a set of unflinchingly honest field notes that are designed to reveal some of the ‘hows’ from the author’s own repertoire: questions and issues that were encountered during her own theatrical undertakings, along with first hand reflection on the complexities, potential, and challenges that attended her global work in community theatre. Within these notes are strategies that give the reader a practical insight into how the discussion might find its footing on the ground of war. The range and scope of this book make it required reading for those interested in theatre―practitioners, researchers, and students alike—as well as those seeking to understand the applications of the arts for ethics, politics, and education.

Performing Ground explores camouflage as a performance practice, arguing that the act of blending into one's environment is central to the ways we negotiate our identities through space. The book offers a critically rich investigation of how the performative practice of camouflage renders the politics of space, power, and gender (in)visible.