Sarah Martindale’s research while affiliated with University of Nottingham and other places

This article represents our editorial contribution to the exploration of immersive storytelling, broadly conceived in this Special Issue as a set of creative and design practices, audience experiences, a field of study and a toolkit of rapidly developing digital technologies. Herein we set out our motivation for collaborating as an interdisciplinary team seeking to interrogate and expand on celebratory industry-led discourses that (over-)emphasise the transformative potential of digital innovations for immersive storytelling without properly situating these as part of longer trajectories of creative and audience practice. We provide an account of this background context that purposefully shifts the focus from technologies of the moment – Virtual Reality, the Metaverse, Artificial Intelligence – to the underpinning storytelling that can give rise to, as well as make use of, these technologies to facilitate immersion. Having introduced the various perspectives on immersive storytelling presented in the articles collected in this Special Issue, we go on to draw out key themes, topics and approaches from the body of work as a whole. Our analysis encompasses definitional questions, interdisciplinary perspectives and the sharing of expertise. It highlights the role of users as the nexus of technology and narrative, including emotional and sensory interactions, which contribute to their agency within immersive experiences. The discussion of immersive storytelling moves beyond a focus on VR to consider the wider context, including the overlap between real-world locations and narrative content of experiences, and the importance of setting audience expectations. Because, taken together, the articles include multiple projects and case studies involving designing and making immersive experiences, it is apparent that this is an expanded, rather than normalised, design space in which inclusion and exclusion are important considerations. From these findings we put forward a future agenda for the field of immersive storytelling, which revolves around issues of accessibility, ethics and audience research.

The article presents a historical overview of the classification of contemporary artworks that either have utilized artificial intelligence as a tool in their creation or focus on AI as their central theme or subject matter. The authors analyze artworks and descriptions, focusing on artists’ motivations and AI’s role in their practice, identifying five distinct tropes in AI art. The authors compare artworks with respect to key questions, creating a useful tool for art historians, curators, researchers, and artists. This historical classification provides a structured approach to understanding AI art’s creative significance and attributes as it has developed over time.

Introduction & Background Netflix now has a consumer base of over 230 million worldwide. During the pandemic, its customers watched 203.8 million hours of content daily, with their activity, content choices and preferences being continually logged. The digital footprint data amassed in this process underpins a symbiotic relationship between supplier and consumer. Black-box algorithms convert these logs into personalised functionality and recommendations, producing improved customer experiences while generating revenue for the business. Whether the consumer willingly accepts this trade-off or not, it’s now almost impossible to use online services without leaving digital traces. But how representative of an individual’s actual preferences and behaviours are these? What biases exist in such datasets? And to what degree are consumers cognisant of how these datasets are being used? Objectives & ApproachThis study surveyed participants to interrogate their understanding of the data Netflix makes available to its subscribers. The objectives were to explore their perceptions relating to the data collected about them and encourage them to think critically about their digital footprint. It was also the intention of the research group that participants feel a sense of empowerment / control over the data made available to them. UK-based participants were provided with instructions on how to access their viewing history (programme titles, dates of access) and invited to inspect it. 61 participants opted to donate their data to the study, along with responses to a survey reflecting their understanding of what they had retrieved. Relevance to Digital FootprintsWhile it may have been possible to work with Netflix to retrieve viewer data, by accessing via the participants instead, the researchers were enabling them to review and make informed choices about what they shared. One of the potential issues with this approach is that it provides an opportunity for participants to curate their data, should there be content that they would be uncomfortable sharing. Alternately, they may choose to withdraw from the study altogether based on what they see. While this has its drawbacks in terms of data inaccuracies and self-selection effect, it was felt important to the research team to prioritise the participants autonomy, encouraging them to be candid and share. If nothing else, it is hoped that by taking part in the study, there is the potential for participants to be inspired to think about the footprints they leave every time they go online so that they might be more mindful of them in future. ResultsIn terms of bias, using only the Netflix data meant that the researchers were only accessing participants who pay for that service. Further, the researchers would only be accessing what would be a proportion of the participants’ viewing. If only using one service however, Netflix is arguably the service to use as according to statistica©, In 2021 it was the most subscribed (paid) supplier in the UK. 76% of respondents view more streamed content than terrestrial broadcast content and utilise an average of 3.5 streaming services. 36% of respondents also stated that they share their Netflix user profiles with at least one other person. Despite these limitations, 84% of respondents nonetheless considered that the captured content was representative of their ‘personal tastes and viewing habits.’ 76% were not aware until participating in the study that it was possible to extract their viewing data from Netflix, and 34% said they’d likely review it again. 33% indicated surprise as to the extent of information captured about them; but 91% believed that the streaming platform collected more information than was made available. Conclusions & ImplicationsThis study shows the potential of data donation to understand viewing habits, binge watching and related well-being indicators, with 43% of surveyed individuals offering their data for research. What has not been established in this study is why 57% of the group declined to share their data. It can be speculated that it may have been a reluctance to share once the data was inspected or that the process to access and then upload it may have been too much of a hurdle. An implication for this type of study may include a requirement to over-recruit in anticipation of a high drop-out rate or that data extraction and sharing needs to be made as simple and convenient as practicable for the participant. Given that one of the objectives of the research was to encourage participants to have more curiosity in and awareness / control of their digital footprints, consideration should be given to seeing if participant interest in further exploration of their data could be increased from the 24% seen here. This might be driven by the data type, any perceived utility it might have for the participant or any perceived ways in which it might be used to impact / influence them in some way by a 3rd party.

Volunteering benefits recipients, volunteers, communities, and society, while digital technologies establish new opportunities for virtual volunteering. We describe how volunteers transitioned the UK's long-established Oxjam grassroots music festival online in response to the COVID pandemic, delivering a local pilot before scaling up nationwide. We adopt an infrastructural perspective to reveal how two teams of volunteers defined a flexible festival format, knitted together diverse technologies into a technical platform, and operated this to deliver the festival. We highlight the need for teams of volunteers to orchestrate both audience and performer trajectories through festivals. We argue for deliberately designing in volunteer labour rather than automating it out by translating traditional roles online while defining new digital ones. We propose to make these roles rewarding through a more social volunteer experience, including privileged backstage access. We highlight the challenges of using social media for such events, including complying with algorithmic policing of rights.

"So you're the one getting this gift? Lucky you! Someone who knows you has visited the museum. They searched out things they thought you would care about, and they took photos and left messages for you." This is the welcoming message for the Gift app, designed to create a very personal museum visit. Hybrid Museum Experiences use new technologies to augment, expand or alter the physical experience of visiting the museum. They are designed to be experienced in close relation to the physical space and exhibit. In this book we discuss three forms of hybridity in museum experiences: Incorporating the digital and the physical, creating social, yet personal and intimate experiences, and exploring ways to balance visitor participation and museum curation. This book reports on a 3-year cross-disciplinary research project in which artists, design researchers and museum professionals have collaborated to create technology-mediated experiences that merge with the museum environment.

We examine the experience of Thresholds , a virtual reality (VR) recreation of the world's first photographic exhibition, which has toured to multiple museums. Following the method of performance-led research in the wild, we provide an account of the artist's design rationale and the experiences of visitors as the work toured. We reveal how the overlaying and juxtaposing of virtual and physical spaces established a VR architecture that underpinned the extended user experience. Overlaying was used to layer a virtual model onto a corresponding physical set to deliver physical sensations of touch and movement alongside visual and audio stimuli. Juxtaposition was used to embed the VR installation within the surrounding gallery space at each host museum, dealing with the challenges of entering, exiting, spectating, and invigilating the experience. We propose that museum designers can use these techniques to deliver VR installations that are compelling but also scalable and tourable.