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This book investigates audience experience through the lens of sensory engagement in immersive, one-to-one performance. It presents a distinct, practice-based research (PBR) framework – a performance research ‘laboratory'– designed to evaluate the effects on diverse audience experiences of two ‘sense-specific manipulations': eye masks and touch. Through a qualitative analysis of responses from seventy-four individual audience participants, this book offers insight into how these popular ‘immersing'strategies might be experienced. What do these strategies achieve? How do audience participants make sense of them? Do audience responses align with artistic intentions? And how does the PBR framework designed to address these questions influence the outcomes? Through an analysis of three sets of one-to-one performance experiments generating comparative data about the experience of sense-specific manipulation, this book proposes the utility of merging methodologies in artistic research with empirical audience research in theatre and performance studies. This study offers a new perspective on the value of sensory-focused, immersive, one-to-one experience as a means of resensitizing audience participants through performance.

The aim of the present study is theoretical. The question set up for examination is whether there is a cognitive model that underpins human sense-making in the context of film experience. The conceptual resources provided by Cognitive grammar (as elaborated by Ronald W. Langacker), the recent developments of the neuroscience of emotions (as advocated by Lawrence Barsalou, Lisa Feldman Barrett, and Giovanna Colombetti), the theory of attention advocated by Michael S. A. Graziano, and several suggestions from the embodied-enactive approach (in the works of Evan Thompson and Maxine Johnson-Smith) seemed particularly useful coordinates for this research composed of analytical reflections. The study focuses on the cognitive model based on the action of control, understood as an explanatory instrument for creating meaning, and follows up with the possible applications in the domain of film analysis. The work is the result of collaborative research spurred by theoretical advances and hypotheses from neuroscience, neurolinguistics, and film theory and analysis. On the account developed here, the structure of the control cycle cognitive model is regarded as central to sense-making.

Ob im Computerspiel, im Architekturentwurf oder auf dem GPS-Display im Auto - unsere Lebenswelt wird vermehrt durch den virtuellen Raum ergänzt, erschlossen und entworfen. Medientechnologien haben die räumliche Gestaltung des Klangs und darüber hinaus die mediale Definition des Raums vorangetrieben. Dass damit auch die Gestaltung klanglicher Milieus - unserer Umgebung - durch Sound-Designer, Akustiker, Künstler und Musiker Einfluss auf unsere Wahrnehmung sowie unser Verständnis von Wirklichkeit hat, liegt auf der Hand. Perspektivenreich und informativ untersucht dieses Buch die perzeptiven, kulturellen, technischen und künstlerischen Bedingungen der akustischen Virtualität.