Experiential structure of extended realities (XR):

Approach to the narrative from the body and its contexts.

Authors

DOI:

https://doi.org/10.5281/zenodo.7655138

Keywords:

Narrative, Immersive, iteractive, Experiental, Body

Abstract

Immersive experiences have peculiarities at the receptive level that do not occur in any other artistic or communication medium. The sense of presence, the continuous interaction with the space or the first-person experience are some of them. This article intends to shed some light delving into the embodiment nature of the immersive and interactive experience creations to ultimately draw some conclusions that can serve future creators.

Author Biography

Leocricia Díaz Sabán, Granada University

(Córdoba, 1988) is a doctoral student in Artistic Creation, Audiovisual and Critical Reflection at the University of Granada, where she also studied the Master's Degree in Art Production and Research. After graduating in Audiovisual Communication from the University of Wales with the best record of her promotion, and dedicating herself professionally to filmmaking and audiovisual production, she has specialized in the creation of immersive and interactive experiences. She is the founder of the Reset Project Association: Art and Interactivity and co-author of her two artistic installations in 2015 and 2016. She currently works at inoff the reactive agency as an experiential creative carrying out numerous projects directly related to the object of research of she. She also trained since she was 4 years old in dance, she has been a member of professional companies and has dedicated herself to teaching in various dance disciplines for more than 10 years. A trajectory that has given her a broad body awareness and that she has applied in each of her experiential projects.

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Leocricia Portrait

Published

2020-07-01

How to Cite

Díaz Sabán, L. (2020). Experiential structure of extended realities (XR):: Approach to the narrative from the body and its contexts. ASRI. Art and Society. Journal for Research in Arts and Digital Humanities, (18), 192–206. https://doi.org/10.5281/zenodo.7655138