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07/11/2023 - 6:30 PM (CET)
Patrick Rupert-Kruse (Kiel)
The cinema of the future... On the possibility of multi-sensory storytelling in immersive media

14/11/2023 - 6:30 PM (CET)
Elizabeth Swift (Gloucestershire)
The Dawn of the Feely Effect –
how ancient narrative practices can inform the storytelling of the future

21/11/2023 - 6:30 PM (CET)
Pietro Conte & Roberto P. Malaspina (Milano)
Les cadavres amoureux: Sex and Death in Multisensory (Utopian) Virtual Systems

28/11/2023 - 6:30 PM (CET)
Helen Jackson (Ulster)
Other-worldly performances, a virtual reality narrative construction of ‘the other’

05/12/2023 - 6:30 PM (CET)
Andreea Ion Cojocaru (Tuttlingen)
Zork in the Dark:
Worldbuilding and Storytelling Beyond Vision

09/01/2024 - 6:30 PM (CET)
Carey Jewitt & Sara Price (London)
Speculations on Digital touch futures

16/01/2024 - 6:30 PM (CET)
Nina Eckhoff-Heindl & Jana Herwig (Köln/Wien)
Touching narratives: Comic and film as interactive media

23/01/2024 - 6:30 PM (CET)
Natalia Ingebretsen Kucirkova (Stavanger)
Children’s digital reading enhanced with smell: insights from an empirical study in Norway

30/01/2024 - 6:30 PM (CET)
Mona Hedayati (Brussels)
Performative Sensory Environments Unravelled: Listen, Eat, Repeat

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Common Vocabulary and Concepts:

Have the presented concepts been directly applicable to your research field?

For example, distinguishing between a strong and entangled notion of interactivity, such as in haptic vs. tactile perception.

The need to differentiate between primary and secondary multisensoriality (sensations given by the medium vs. sensations not given by the medium but by the context, crossmodal).

Considering specific types of interactive recipients and co-producers.

How do these concepts contribute to a more unified understanding of multisensory narration across different research areas?

Are there practical examples of applying these concepts to specific research projects or experiments?

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Definition of Narration:

Is there a definition of narration broad enough to encompass all different types? (e.g., Bal, Ryan, Austin, Fludernik)

In attempting to create a broad definition of narration, what challenges arise in accommodating diverse narrative forms?

Can narrative theory be combined with performative theory?

Are there examples of successful integration between narrative theory and performative theory in existing projects or studies?

What is the significance of the "multi" in VR storytelling? Is it multi-modal, multi-perspectival? How and why might the „multi“ be involved?

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What strategies exist to make recipients aware of the narrative potential of non-audiovisual stimuli? Examples? Abstractions?

Is it possible to change perception through virtual reality experiences? Can we train the audiences perception to disconnect the perceived from the expected? Conditioning the association between visual perception and the other senses? Create new sensations instead of mimicing sensations.

What do we learn about the body in VR story-telling? What do we need to know about the body to be in this field? Do we need to think about differences between automatic and creative response?

From a storyteller (producer) perspective: How is it possible to reach a larger audience?

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Is sensory experience qualitatively different in different media?

Are there crossovers from one form of media to another that might be used?

Are there instances where a particular sensory narrative fragment is more effective in one medium than another?

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Forms of Participation in VR Storytelling:

What forms of participation are afforded by VR storytelling? Which have been represented in the presentations?

Do they fulfill different roles, such as being interesting, educational, useful, therapeutic, entertaining, or hedonistic? What are the social/political ramifications of the different forms?

How do the different forms of participation contribute to the overall narrative experience, and are there notable challenges in balancing these roles?

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Understanding "Presence" in VR Storytelling:

What does "presence" mean in the context of VR storytelling? Does it differ from immersion?

What are the various means by which VR storytelling can evoke a sense of presence in the audience? Is a sense of presence limited to the self, or can it extend to the other?

Are there distinctions between various levels of presence in VR storytelling, and how might these distinctions affect narrative engagement?

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Innovative Technology and AI:

How is innovative technology affecting VR storytelling, and where do we think this trend will go?

What is the role of VR storytelling in a world about to be dominated by AI? Will VR and AI work together, and will that be good?

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Ethical/Social Responsibility in VR Storytelling:

Should we worry about ethical/social responsibility in VR storytelling? If so, what should we do?

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Motivations for Involvement in VR Storytelling:

What are the motivations for getting involved in (producing or using) VR storytelling?

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Effectiveness of Storytelling Forms:

We've spent a lot of time discussing ways of engaging the senses, but not much time on storytelling. Are there forms of storytelling that work best, and others that do not? Are there any examples from other media?