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Krystof Wodiczko: Hirshorn Museum
Destructive Creation: Soviet War Memorial
Robin Bell: Projection onto Trump Hotel
Jo Teeuwisse: Ghosts of War
Troika Ranch: Loop Diver
FacebookLive loop song
9/11 Memorial by Localprojects (the arrangment)
Asger Jorn The Long Voyage
Laszlo Moholoy-Nagy Telephon Picture
ZHdK: Disembodied Voice
Beware the Slenderman
Alfred Hitchcock Rear Window
Punchdrunk International (Sleep No More)
SIGNA Company
Third Rail Projects The Grand Paradise: Immersive Pleasure Palace
Simon McBurney: The Encounter
Nordic Larp Talks: Johanna Koljonen / Knutepunkt
Rimini Protokoll: Situation Rooms
The Other Eye of The Tiger: Holes | Joey Chestnut
Blast Theory: I’d Hide You / A Machine to See With
Difference Engine (HEIST Escape Room)
Alexander Giesche
Reply-All Podcast: #56 Zardulu

Elfriede Jelenek: Nobel Prize Speech
Lev Manovich:The Language of New Media
Friedrich Kittler: Gramophone, Film, Typewriter
Janet Murray: Hamlet on the Holodeck
James P. Carse: Finite and Infinite Games
Saint-Exupéry, Antoine de. The Little Prince. Wordsworth Editions, 1995
French: Le Petit Prince
English: The LIttle Prince

BBC: What is Computational Thinking
Adjacent: The Emperor’s New Headset: What’s Wrong with VR
The Guardian: Our Minds Can be Hijacked
New Yorker: Hamlet and the Holodeck 20 years later
The Guardian: The immersed audience: how theatre is taking its cue from video games


CH4: Questions

How come technology in theatre often seems more interesting -and less cheesy- when actors physically interact with it (after all, this is not necessarily so with other fields)?


From the text: “How can we be sure that imaginary actions will not have real results ? How can we act on our fantasies without being paralyzed by anxiety ? {…} We need to define the boundary conventions that will allow us to surrender to the enticements of the virtual environnment.”

Even if I have been always afraid of the psychotic effects that virtual worlds could open (books and digital games), I wonder if they’re not there exactly to surrender all boundaries and to hold the reader/gamer into the possibilites/enticements offered by virtuality ?

CH3: Questions

Today can we imagine a digital experience without a screen and with no pictures?

Is the notion of narration relevant to think about the expression of virtual media? Shall we make the history of visual media in continuity or in rupture of the history of cinema?

Why am I felling an emptiness on the stage each time I see digital art? Why, if we imagine a piece only played by technologic machine, that will seems so cold? Does theater become a « dead art » if there is not anymore something alive on the stage?

the theorists of the theater have often invented new terms, new currents to designate a new theater, as at a time with the post-drama theater : are these new forms of theater also to find a new name ? Virtual theater ? Interracial Theater ? Theater video game ? Computer Theater ? Technological theater ? Is we in a new era of theater ? Do we have enough perspective to analyze this ? Can we still do today theater without technology ?…

When Janet Murray talks about the encyclopedic aspect of digital narratives, I wondered if you know some examples of websites that develop some sort of narrative by giving the chance to the visitor to travel in a digital space figured by pictures or videos that we would switch via hypertext. A bit like a point and click game. Janet Murray gives examples of web series but not really of some sort of huge digital space where visitors could wander.

You mentioned today that you found yourself more satisfied with more recent “low-tech” installations than with previous, more sophisticated, ways of working. My question would be : why do you think that is?

Where begin the theatrical performance and where begin the interactive game? What are the limits? Which rules define one then the other one?


Exercise 1


1. “Research”
Read your background information and discuss as needed

2. “Design”
Come up with three quick ideas for staging this using a new technology of your choosing. You won’t be building (this time) so don’t limit it to what you know, although you should limit it to what is possible. You may interpret this as either three different approaches or three different technologies, depending on what makes sense to you

3. “Visualize”
Sketch or otherwise quickly visualize your three ideas. You will be sharing with the class, but don’t worry too much about being perfect, just get the idea across



1. Take one of your three ideas, figure out how to build it.

2. How are you going to do this? What do you need? What problems are you going to run into?

3. Think about time (beginning, middle, end) and audience. Think about your “pedagogical moment.”

4. At the end present your three ideas, the one you selected (and why), and the issues you are going to need to overcome to make it work.