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Theatre Education and New Media/Digital Technologies | SpringerLink

It is especially in which concepts such as ubiquity, active user as opposed to relevant in the context of the web 2. The proposal here is to the landscape. Participation, from this point of view, includes any form of con- tribution of a user to a generally online system. Uploading However, and despite the accelerated rate of change, there picture to a social network is an act of participation, and it does are some concepts that remain central in order to understand involve interactivity when the actual uploading is happening. Thus, the cessfully engage in the creation of interactive communication interest here in such cases does not reside the interactivity as processes.

As stated above, we consider the three concepts described above. It is on this very act of contributive participa- discussed in the following section as being central to this dis- tion that, in turn, constitutes a form of social interaction. The third and final concept in this triad is immersion.

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Similarly Interactivity, participation and immersion to interaction, it can appear in a digital media experience in various degrees. But in this case we can differentiate between Interactivity refers to ability of a system to partake in the pro- a technological and a psychological component of it or, in cess of interaction.

When this refers to communication, a key other words, between spatial and emotional immersion Zang, aspect is the fact that the passive viewer or reader of traditio- Perkins and Arndt, The first is the immersion created nal media is replaced by an active user; an entity with agency. And while interactivity is intrinsic usually degree scene. Howe- strongly to interactivity.


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In this case it is not so much the tech- ver, while reactivity means roughly that the same actions will nology but the engagement that generates immersion. Conclusion: New Stories From to he worked at Universitat Pompeu Fabra as a researcher and instructor in digital arts and interactive As the communicative landscape reshapes, and the profes- communication among other subjects.

He has also taught at sionals and creators of interactive communication learn to Universitat de Vic, Universitat Oberta de Catalunya and Unvier- navigate it, it is useful to have the three key ideas mentioned sidad San Francisco de Quito Equador.

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He has participated in here as markers in the compass. They form a triad that helps interactive installation, performance and video projects, which make sense of both how to design the systems through which have been shown in New York and Barcelona, as well as in the audiences will access the content the stories told , and online projects and several workshops and conferences. The stories of the future or many of them, at least will not just be told. They will be actively experienced. And interacti- vity, participation and immersion will continue to be among the core concepts that we will need to soundly understand in order to successfully engage in a creative process that is successful in terms of audience reach and on its own creative goals.

Theatre Education and New Media/Digital Technologies

References Penny, S. Towards a Performative Aesthetics of Interactivity. Fiberculture, 19, 72— Ribas, J. Temes de Disseny — Soler-adillon, J. Artnodes 16, 43— Zhang, C. Erfurt, Germany.

The Key Concepts

His current research is focused on digital art, immersive technologies and on interactive documentary and storytelling. Related Papers. Internet Marketing Book The must read primer for anyone new to telling their story on the Web. Tara Hornor blogger. Order Now. Questions about the book? There was an error submitting your subscription.

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