Yan Breuleux

L’approche topologique de l’immersion permet de determiner les types d’espaces en jeu dans les experiences immersives. On oppose le reel au virtuel mais la question est plutot de type diegetique. Il existe bien des espaces construits ou symboliques, continus ou disjoints. La topologie proposee souligne les processus de transition d’un espace a l’autre pour apprehender la frontiere entre le reel et le virtuel. Une fois ces espaces etablis, il faut inventer une grammaire 360° .

This article explores issues associated with immersive storytelling in order to examine how the field of World Building can constitute a theoretical framework for practice in the context of VR-based and Full Dome artistic projects. With respect to immersion, the intent will be to interpret the concept of storytelling in relation with the recent formulation of the concept of extended reality (XR). The very concept of World Building is transauthor and transmedia by nature. The transauthor dimension of World Building resides in the idea of subcreation, i.e., designing environments and interaction rules that help create a storytelling basis for generating multiple stories. Once the universe has been conceived, stories written by different authors take shape through transmedia processes across multiple distribution media (film, video games, web, etc.). The question then arises: How can the World Building approach shape the construction of immersive experiences? The article sets out to an...

This article explores issues associated with immersive storytelling in order to examine how the field of World Building can constitute a theoretical framework for practice in the context of VR-based and Full Dome artistic projects. With respect to immersion, the intent will be to interpret the concept of storytelling in relation with the recent formulation of the concept of extended reality (XR). The very concept of World Building is transauthor and transmedia by nature. The transauthor dimension of World Building resides in the idea of subcreation, i.e., designing environments and interaction rules that help create a storytelling basis for generating multiple stories. Once the universe has been conceived, stories written by different authors take shape through transmedia processes across multiple distribution media (film, video games, web, etc.). The question then arises: How can the World Building approach shape the construction of immersive experiences? The article sets out to an...

Les Planètes is a "FullDome" immersive concert generated entirely in real time. The concert is made possible by the "Piano-of-Lights," an instrument that enables a visual dialogue with pianist Louise Bessette during a novel performance of the work Les Planètes from composer Walter Boudreau. The Piano-of-Lights' dynamic constellations of small spheres are projected across the space of the satosphere of the Society of Art and Technology (SAT) in Montreal. The visual shapes are based on an analysis of the different sections of the score. During this process, the Piano-of-Lights emits light particles, becoming a catalyst for the dynamic constellations distributed across the dome. The project blends the tradition of colour organs and the live A/V approach of digital technology, bringing together an analogue piano, digital recording and immersive projection. The originality of this research primarily lies in the use of a colour-piano, which was designed to create a synthesis of the colour-sound association in an immersive format.