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1. All VR’s a Stage: The Aesthetics of Immersive Mixed Reality Theater

   Virtual Reality presents great promise as a storytelling medium, but rarely delivers on that promise because it is often approached as an offshoot of cinema. Virtual Reality as a narrative medium has much more in common with theater, using multi-modal narrative in a three dimensional space to tell the story. The possibility of multiple users sharing a virtual space simultaneously creates the opportunity for live performance, with one or more performers moving among and around the audience -- immersive theater within a computer-generated setting. This paper examines the aesthetics of this new space for digital performance. 

   We introduce a new type of performance activity, “Immersive Mixed Reality Theatre” (IMRT), which promises exciting possibilities for participatory immersive digital narratives. To explore the potential aesthetics of IMRT we created Holojam In Wonderland (2017), a short play inspired by the work of Lewis Carroll. It was built on the Holojam platform developed by the NYU Future Reality Lab, which enables both performers and audience to walk around with untethered VR headsets within the same room. 

   June Hovdenakk - 05.09.2018 - 15:29

2. Digital Deep-Sea Diving: navigating the narrative depths of E-lit and VR

   Immersion is a metaphorical term derived from the physical experience of being submerged in water. We seek the same feeling from a psychologically immersive experience that we do from a plunge in the ocean or swimming pool: the sensation of being surrounded by a completely other reality, as different as water is from air, that takes over all of our attention, our whole perceptual apparatus. We enjoy the movement out of our familiar world, the feeling of alertness that comes from being in this new place, and the delight that comes from learning to move within it. 
   –Janet Murray, Hamlet on the Holodeck

   June Hovdenakk - 05.09.2018 - 15:52

3. Electronic Literature and Getting to the New

   Gilles Deleuze assumes that the source of creativity/the new (as opposed to just the development of what already is implicit in existing things) lies outside conscious thinking. In this paper we discuss Deleuze’s approach to finding the difference between development and creativity via the analysis of film technology, and ask whether anyone is using computers the way Deleuze conceives of those film-makers who are philosophic using film? 

   June Hovdenakk - 05.09.2018 - 16:01