“Creating interactions that enhance the narrative, not pull focus from it” – Allison Crank (UX / XR designer)

Today we meet Allison Crank, UX designer and researcher whose work in immersive technologies (the most recent with IMPULSE: PLAYING WITH REALITY, currently at the Venice Film Festival) teaches us how the language of user interaction connects to the core content of a story to bring out its deeper meanings. An attentive audience listener and […]

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“It’s why we do art, to tap into people’s emotions” – Tupac Martir (COSMOS WITHIN US)

On August 21, 3pm, the online booking to reserve your slot for VR works presented at the 2019 Venice Film Festival opened. (...)

“We must learn from theatre to shape the story” – Valentina Paggiarin (DREAMS OF BLUE)

In 2017, one of the works selected for the VR Days Europe was DREAMS OF BLUE, directed by Valentina Paggiarin, an Italian interactive (...)

“The global crisis has sparked another interest in creativity” – Ulrich Schrauth (VRHAM!)

We met artistic director and XR curator Ulrich Schrauth last year before the launch of the new immersive section, LFF Expanded, at the London Film Festival. Back to his own VRHAM! Virtual Reality & Arts Festival in Germany, which starts

XRMust XR Awards 2022: A Year in Immersive Storytelling

Could this be the year of a “return to normal”? In reality, the pandemic years didn’t slow down the release of XR experiences (360 or interactive), but the return of physical events seems to benefit a better exposure of all

“To use technologies in an engaging way” – Vincent Steenhoeck, Urs Nyffenegger (EVOKE STUDIOS)

Over the past two years, the link between virtual worlds and live events has become increasingly close. Covid19 has fast-tracked what was already a road in the making, but some questions still remain. Among them, how to recreate virtually the

Exploring Expanded Narratives: A Conversation with Nancy Baker Cahill

I encountered Nancy Baker Cahill’s work through a seminar at CalArts, where she shared her expansive approach to AR sculpture, expanded cinema and analog relationships with land. What struck me was not just the scale of her projects but her