Immersion is a concept that is frequently used in themed entertainment. Yet, while we all have an intuitive understanding of what immersion is, most industry members regard it as a fuzzy concept. I would like to give an overview of what the scientific literature has to say about immersion, where the concept is also being regarded as ill-defined. To tackle this conceptual unclarity, I would like to revolutionize the discussion by proposing a psychological framework to better understand immersion by drawing from the theory of play. Practical implementations will be included to make the framework useful for practitioners as well.
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Ethnographic fieldwork is a balancing act between distancing and immersing. Fieldworkers need to come close to meaningfully grasp the sense-making efforts of the researched. In methodological textbooks on ethnography, immersion tends to be emphasized at the expense of its counterpart. In fact, ‘distancing’ is often ignored as a central tenet of good ethnographic conduct. In this article we redirect attention away from familiarization and towards ‘defamiliarization’ by suggesting six estrangement strategies (three theoretical and three methodological) that allow the researcher to develop a more detached viewpoint from which to interpret data. We demonstrate the workings of these strategies by giving illustrations from Machteld de Jong’s field- and text-work, conducted among Moroccan-Dutch students in an institution of higher vocational education.
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Immersieve technologieën beïnvloeden de manier waarop we muziek ervaren. Immersieve ervaringen dompelen luisteraars volledig onder in muziek, waardoor ze niet alleen horen, maar de muziek ook beleven. Het doel van het project 'De toekomst van immersieve ervaringen in muziek' is om de toekomstige mogelijkheden van immersieve ervaringen in de muziekindustrie te verkennen en te begrijpen. Dit helpt ons om de toekomst van muziekbeleving te duurzaam te verbeteren. We onderzochten hoe nieuwe technologieën de luisterervaring kunnen transformeren, zoals spatial audio, Virtual Reality (VR), Augmented Reality (AR) en Mixed Reality (MR). We hebben deze nieuwe creatieve mogelijkheden en technologische vooruitgang verkend. De hieruit voortgekomen toekomstscenarios bieden een kader om de evolutie van traditionele geluidsdragers naar digitale en immersieve media te doorgronden. Met dit project willen we inspireren en nieuwe manieren van denken stimuleren, zodat de huidige muziekervaringen kunnen worden verrijkt met innovatieve, meeslepende concepten.
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Ethnographic fieldwork is a balancing act between distancing and immersing. Fieldworkers need to come close to meaningfully grasp the sense-making efforts of the researched. In methodological textbooks on ethnography, immersion tends to be emphasized at the expense of its counterpart. In fact, ‘distancing’ is often ignored as a central tenet of good ethnographic conduct. In this article we redirect attention away from familiarization and towards ‘defamiliarization’ by suggesting six estrangement strategies (three theoretical and three methodological) that allow the researcher to develop a more detached viewpoint from which to interpret data. We demonstrate the workings of these strategies by giving illustrations from Machteld de Jong’s field- and text-work, conducted among Moroccan-Dutch students in an institution of higher vocational education.
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The concept of immersion has been widely used for the design and evaluation of user experiences. Augmented, virtual and mixed-reality environments have further sparked the discussion of immersive user experiences and underlying requirements. However, a clear definition and agreement on design criteria of immersive experiences remains debated, creating challenges to advancing our understanding of immersive experiences and how these can be designed. Based on a multidisciplinary Delphi approach, this study provides a uniform definition of immersive experiences and identifies key criteria for the design and staging thereof. Thematic analysis revealed five key themes – transition into/out of the environment, in-experience user control, environment design, user context relatedness, and user openness and motivation, that emphasise the coherency in the user-environment interaction in the immersive experience. The study proposes an immersive experience framework as a guideline for industry practitioners, outlining key design criteria for four distinct facilitators of immersive experiences–systems, spatial, empathic/social, and narrative/sequential immersion. Further research is proposed using the immersive experience framework to investigate the hierarchy of user senses to optimise experiences that blend physical and digital environments and to study triggered, desired and undesired effects on user attitude and behaviour.
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The term ‘immersion’ is used frequently by professional video game developers (in both the entertainment and serious/applied industries), academics, journalists, and players. However, this word can refer to a range of different modes of engagement for players and standardisation would improve discussion of the topic. This paper suggests and explains four categories: 1. 'Systems immersion' can be used to describe when players are deeply engaged with the mechanics, challenges, and rules of a game, and is similar to a state of ‘flow’. 2. 'Spatial immersion' is the sense of a player being present in, or transported to, the virtual world, and is linked to the concept of embodiment. 3. 'Empathic/social immersion' describes the connection that a player may develop towards the characters (AI or human) and the social context of a game.4. 'Narrative/sequential immersion' can be used to describe a player’s compulsion to see how a sequence of events continues, typically in a narrative, but this is related to any progression, such as exploring new spaces or evolving gameplay mechanics.
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In this study, we test the immersive character in an interactive content narrative developed for Microsoft HoloLens 2 mixed reality glasses in the dining context. We use retrospective think aloud protocol (RTAP) and galvanic skin response (GSR) to explore different types of immersion that can be created through interactive content narratives. Leaning on the core dimensions of the experience economy, we expand the current understanding on the role of immersion through integration of four immersive experience facilitators. The study revealed that these immersive experience facilitators occur simultaneously and can be enhanced through interactive content narrative design. Perceived novelty and curiosity were identified as key determinants to keep consumers engaged in the immersive experience and engage with the content. The study verifies the use of galvanic skin response in combination with retrospective think aloud protocol as a suitable approach to measure emotional engagement potential in interpreting consumers’ recollection of immersive experiences.
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When we make games, we have many implicit understandings of what constitutes an interaction from a player and what constitutes their goal for playing; however, in trying to build a method of understanding a simple interaction (such as finding a key to open a gate) numerous limitations of our understanding were revealed. This talk presents Prof. Mata Haggis-Burridge’s and Thomas Buijtenweg’s development of a new model for understanding video games and interactive media: the Journey to Content. The approach looks at core structural elements of digital games and breaks them down into constituents that help us to understand the player, content, gates, and keys. This model presents an unusual and revealing insight into both the structure of existing games and the assumptions that are usually sublimated by creators. Unlike high-level analysis models, such as the MDA Framework and Bartle’s Taxonomy of Players, the Journey to Content model examines the moment-to-moment interactions of players within both the system of the game and their wider societal context. Early application of the concepts from the model have shown that it has practical use for designers, and that it has potential for stimulating new game concepts. The model also has implications for metrics analysis and study/development of interactive systems beyond games. The talk also contains information about four types of ‘immersion’ in video games: systems immersion, spatial immersion, social/empathic immersion, and narrative immersion. It is discussed how these four types can be impacted in a variety of positive and negative ways by an individual change to a game. These four types of immersion are then compared and combined with the Journey To Content model to reveal new research questions.
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Augmented reality (AR) mobile app advertising offers new opportunities for interactiveconsumer engagement to boost advertising effectiveness and elicit positive consumerresponses. In this study, we investigate the role of escapism by analyzing itsantecedents and consequences. We aim to shed light on how AR mobile app adver-tising can be used to enhance escapism experiences by considering two psychologicalmechanisms of mental imagery: narrative transportation (in response to ad storytelling)and spatial immersion. The consequences of escapism experiences include positivesocial media sharing, purchase intentions through brand attitudes, and new brandengagement via AR mobile app advertising. Prior brand preference does not affect therelationship between escapism and consumer responses after exposure to immersiveAR advertising. Our findings have meaningful implications for how industrypractitioners can enhance escapism in the context of AR mobile app advertising.
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