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13 Storytelling in Virtual Reality: A Multidisciplinary and Immersive Experience using Grid Methodology for Students

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The Arts of the Grid
This chapter is in the book The Arts of the Grid

Abstract

In this new and complex world, diversity and technology have become increasingly more important. Students need to be trained for a wide range of twenty- first century skills in order to deal with essential innovative technologies that are characteristic of this new era. State-of-the-art technologies such as virtual reality are being implemented but still have to reveal their full potential. Holding on to familiar technologies we already comprehend, threaten a clear perspective on exploring new opportunities for the new ones ready for exploration. Currently the breakthrough of immersive storytelling in virtual reality poses challenges on both the production and user side (Roth and Koenitz 2016; Slater and Sanches-Vives 2016). To overcome these challenges, students with different backgrounds and behaviours such as artists, engineers, journalist, nurses and designers have been gathered and trained to innovate using the grid methodology. Our multidisciplinary approach and integrated workflow have proved to be effective tools in the complex development of virtual reality experiences. The sense of being immersed in a multidisciplinary team has expanded the capacity of the capital twenty-first century skills students need to innovate the future.

Abstract

In this new and complex world, diversity and technology have become increasingly more important. Students need to be trained for a wide range of twenty- first century skills in order to deal with essential innovative technologies that are characteristic of this new era. State-of-the-art technologies such as virtual reality are being implemented but still have to reveal their full potential. Holding on to familiar technologies we already comprehend, threaten a clear perspective on exploring new opportunities for the new ones ready for exploration. Currently the breakthrough of immersive storytelling in virtual reality poses challenges on both the production and user side (Roth and Koenitz 2016; Slater and Sanches-Vives 2016). To overcome these challenges, students with different backgrounds and behaviours such as artists, engineers, journalist, nurses and designers have been gathered and trained to innovate using the grid methodology. Our multidisciplinary approach and integrated workflow have proved to be effective tools in the complex development of virtual reality experiences. The sense of being immersed in a multidisciplinary team has expanded the capacity of the capital twenty-first century skills students need to innovate the future.

Chapters in this book

  1. Frontmatter I
  2. Content V
  3. List of Illustrations VII
  4. Foreword: On Grids and Networks XI
  5. Acknowledgements XV
  6. 1 Introduction ‒ The Arts of the Grid: Interdisciplinary Insights on Gridded Modalities in Conversation with the Arts 1
  7. 2 The Networked Artwork: The Grid as Dynamic Relational Form? 22
  8. Part I: Planting and Planning the Grid
  9. 3 The Grid Specialized: Practical Town Planning, Artistic Features, and Natural Settings in Twentieth-Century Brazilian New Towns 39
  10. 4 Centrifugal or Processional: Divine and Mundane Power in Ancient Chinese Funeral Grids 54
  11. 5 Globalizing Senegal’s Grid-Plan Legacies in Light of Islamic Studies, World History and Urban Studies 70
  12. Part II: Generating Grids of Computational Arts
  13. 6 Between Technological and Aesthetic Grids: Philosophical Challenges Posed by AI Artists 83
  14. 7 Sounds in Grid: History and Development of Grid-Based Musical Interfaces and their Rooting in Sound, Interaction and Screen Design 97
  15. 8 On Grids of Contemporary Art Production: A Convergence of Artistic, Computational, Craft and Performative Making 109
  16. Part III: Kinetic Grids: Bridging, Digging, Floating
  17. 9 Searching for the Grid at the Turn of the Nineteenth Century: When Art and Science Shared their Fragments 127
  18. 10 Depth as Grid: An Improvisational Actor’s Perspective 143
  19. 11 How to Do Things with Grids: Anarchitectures of Navigability 157
  20. Part IV: Grids of Learning: Linguistic, Virtual, Visual
  21. 12 The Linguistics Relation in the Virtual Grid: A Digital Dialogue 177
  22. 13 Storytelling in Virtual Reality: A Multidisciplinary and Immersive Experience using Grid Methodology for Students 193
  23. 14 The Multidisciplinary Learning Grid: A Conceptual Space to Develop Neuropedagogy-based, Arts-integrated Chemistry Activities 204
  24. 15 Concluding Remarks: Grids of Light, Darkness, and Intermediate Shades 225
  25. About the Contributors 232
  26. About the Participant Artists 238
https://doi.org/10.1515/9783110733228-016

Chapters in this book

  1. Frontmatter I
  2. Content V
  3. List of Illustrations VII
  4. Foreword: On Grids and Networks XI
  5. Acknowledgements XV
  6. 1 Introduction ‒ The Arts of the Grid: Interdisciplinary Insights on Gridded Modalities in Conversation with the Arts 1
  7. 2 The Networked Artwork: The Grid as Dynamic Relational Form? 22
  8. Part I: Planting and Planning the Grid
  9. 3 The Grid Specialized: Practical Town Planning, Artistic Features, and Natural Settings in Twentieth-Century Brazilian New Towns 39
  10. 4 Centrifugal or Processional: Divine and Mundane Power in Ancient Chinese Funeral Grids 54
  11. 5 Globalizing Senegal’s Grid-Plan Legacies in Light of Islamic Studies, World History and Urban Studies 70
  12. Part II: Generating Grids of Computational Arts
  13. 6 Between Technological and Aesthetic Grids: Philosophical Challenges Posed by AI Artists 83
  14. 7 Sounds in Grid: History and Development of Grid-Based Musical Interfaces and their Rooting in Sound, Interaction and Screen Design 97
  15. 8 On Grids of Contemporary Art Production: A Convergence of Artistic, Computational, Craft and Performative Making 109
  16. Part III: Kinetic Grids: Bridging, Digging, Floating
  17. 9 Searching for the Grid at the Turn of the Nineteenth Century: When Art and Science Shared their Fragments 127
  18. 10 Depth as Grid: An Improvisational Actor’s Perspective 143
  19. 11 How to Do Things with Grids: Anarchitectures of Navigability 157
  20. Part IV: Grids of Learning: Linguistic, Virtual, Visual
  21. 12 The Linguistics Relation in the Virtual Grid: A Digital Dialogue 177
  22. 13 Storytelling in Virtual Reality: A Multidisciplinary and Immersive Experience using Grid Methodology for Students 193
  23. 14 The Multidisciplinary Learning Grid: A Conceptual Space to Develop Neuropedagogy-based, Arts-integrated Chemistry Activities 204
  24. 15 Concluding Remarks: Grids of Light, Darkness, and Intermediate Shades 225
  25. About the Contributors 232
  26. About the Participant Artists 238
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