Immersive Theatre and Audience Experience

Biggin, Rose

doi:10.1007/978-3-319-62039-8

Cited by 60 publications

(22 citation statements)

References 5 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…To capture the perceived interactivity, one item with a 5-point Likert scale was adapted from Biggin (2017). Participants were asked to share their opinions of the news presented with VR: 'I enjoyed the interactivity in the VR news when I watched The Offshore Wind Farm with the VR device' (M = 4.24, SD = 0.83).…”

Section: Quantitative Data: Surveymentioning

confidence: 99%

The new ethical thinking in CGI immersive journalism

Lin

Hsu

2023

Convergence: The International Journal of Research into New Med

View full text Add to dashboard Cite

Virtual reality (VR) journalism has become one of the popular formats of journalism, where people experience presence, empathy, and immersion through VR technology in digital environments. Although the term ‘virtual’ may appear to be the opposite of ‘real,’ the boundary between virtuality and reality has become blurred due to the virtual embodiment being part of reality for participants. As VR and real virtuality converge, little is known about the ethical issues in producing computer-generated imagery (CGI) immersive journalism and the viewers’ responses to CGI VR news reporting. Our study applied a concurrent mixed-method approach, including in-depth interviews with eight CGI professionals from the U.K. and a quantitative survey in Taiwan, to understand the production issues, ethical concerns, and audience perceptions toward CGI immersive journalism. Results from the interviews suggested that digital journalists need to rethink their ethical codes, particularly the representation of truth while producing news stories using CGI images and VR. Findings from the post-test survey showed that both immersive presence and interactivity in VR news resulted in a greater formation of believing and motivations to take action regarding the topic presented in the VR news.

show abstract

Section: Quantitative Data: Surveymentioning

confidence: 99%

The new ethical thinking in CGI immersive journalism

Lin

Hsu

2023

Convergence: The International Journal of Research into New Med

View full text Add to dashboard Cite

show abstract

“…On the one hand, some studies have taken the designer's perspective to examine both the environmental setups and the story presentation in IPA (Howson-Griffiths, 2020). For example, Biggin (2017) found that a spatially innovative, scenographically rich environment and a nonchronological or impressionistic narrative approach can significantly enhance customers' IPA experience. On the other hand, a small number of studies have focused on the customer's perspectives on IPA experience (Alston, 2013;Machon, 2016).…”

Section: Literature Review 21 Immersive Performing Artmentioning

confidence: 99%

“…However, why and how the IPA experience can enhance customers' mental state of being absorbed and influence customers' positive WOM has not been systematically investigated in extant literature. Machon (2016) suggested that interaction is at the heart of IPA experience, playing a pivotal role in constructing a unique journey for customers (Biggin, 2017). Since previous studies stated that customers can engage in their tourism experience through active participation and cocreation (Campos et al, 2018), it is likely that interaction could enhance customers' mental states of being absorbed in the IPA experience.…”

Section: Introductionmentioning

confidence: 99%

Understanding customers’ interactive experience in immersive performing art: a narrative transportation perspective

Zhang²,

Shi³

2022

NBRI

View full text Add to dashboard Cite

Purpose The increasing popularity of immersive activities (e.g. immersive performing art (IPA) at tourism destinations calls for the need to understand customers’ immersive experiences and its impact on their attitudes and behavioral intentions. This study aims to conceptualize customers’ interactive experience in IPA and systematically examine how interaction in IPA experience shapes customers’ word-of-mouth (WOM) intention and thus generates business values for destination managers. Design/methodology/approach A two-step mixed-methods approach was used. The qualitative study was adopted to identify the salient dimensions of interaction in IPA experience and develop a context-specific measurement scale. Structural equation modeling approach was applied to test the theoretical model using partial least squares 3.3.0. Findings The results indicated that the three dimensions of interaction in IPA experience (i.e. parasocial interaction, narrative interaction and environmental interaction) are positively related to customers’ experiences of narrative transportation and self-expansion related to the IPA, which further influence their WOM intention. Originality/value This study considers IPA as an emerging form of immersive tourism activities and conceptualizes its interactive nature, and contributes to the understanding of how customers’ interactive experience helps them construct meanings through narrative transportation, and offers valuable guidance for IPA designers and destination management organizations.

show abstract

“…In the projects detailed here, talk about 'the experience' encapsulates any number of things; the technology, learning, the sense of being in a somewhat unique place and ime on your own or with others, and affect in all its various permutaions including surprise, fascinaion, intrigue, boredom or unsetlement. Rose Biggin's understanding of immersive experiences is helpful here in making sense of why comprehensive and unproblemaic assessments of 'experience' are necessarily tricky for researchers to access: 'I draw from philosophical aestheics, cogniive science and computer games to define immersive experience as a graded, fleeing, intense and necessarily temporary state defined by an awareness of its temporal and spaial boundaries' [31]. As noted in the introducion, 'experience' is relaional, subjecive, and reflexive [1].…”

Section: Talking About 'Experience'mentioning

confidence: 99%

Evaluating Digital Cultural Heritage ‘In the Wild’

Galani

Kidd

2019

J. Comput. Cult. Herit.

View full text Add to dashboard Cite

Digital heritage interpretaion is oten untethered from tradiional museological techniques and environments. As museums and heritage sites explore the potenials of locaive technologies and ever more sophisicated content-triggering mechanisms for use outdoors, the kinds of quesions digital heritage researchers are able to explore have complexified. Researchers now find themselves in the realm of the immersive, the experienial, and the performaive. Working closely with their research paricipants, they navigate ambiguous terrain including the oten unpredictable affecive resonances that are the direct consequences of interacion.This aricle creates a dialogue between two case studies which, taken together, help to unpack some key methodological and ethical quesions emerging from these developments. Firstly, we introduce With New Eyes I See, an iinerant and immersive digital heritage encounter which collapsed boundaries between physical/digital, fact/ficion and past/present. Secondly, we detail Rock Art on Mobile Phones, a set of dialogic web apps that aimed to explore the potenial of mobile devices in delivering heritage interpretaion in the rural outdoors.Looking outward from these case studies, we reflect on how tradiional evaluaion frameworks are being stretched and strained given the kinds of quesions digital heritage researchers are now exploring. Drawing on vignetes from experience-oriented qualitaive studies with paricipants, we ariculate specific common evaluaive challenges related to the embodied, mulimodal and transmedial nature of the digital heritage experiences under invesigaion. In doing so, we make the case for reflexivity as a centraland more collaboraive feature of research design within this field going forward; paying atenion to, and advocaing, the reciprocal relaionship between researchers and the heritage experiences we study CCS CONCEPTS:• Human-centered compuing~Ubiquitous and mobile compuing design and evaluaion methods • Human-centered compuing~Empirical studies in ubiquitous and mobile compuing • Human-centered compuing~Field studies • Human-centered compuing~HCI design and evaluaion methods • Applied compuing~Arts and humaniies KEYWORDSOn-site and remotely sensed data collecion; storytelling and other forms of communicaion; mulimedia systems; Web-based and mobile technologies for CH, ICT technologies in support of creaing new cultural experiences or digital artefacts

show abstract

Immersive Theatre and Audience Experience

Cited by 60 publications

References 5 publications

The new ethical thinking in CGI immersive journalism

The new ethical thinking in CGI immersive journalism

Understanding customers’ interactive experience in immersive performing art: a narrative transportation perspective

Evaluating Digital Cultural Heritage ‘In the Wild’

Contact Info

Product

Resources

About