title: Envisioning VR theatre: Virtual reality as an assistive technology in theatre performance

authors: Srinivasan, Saikrishna

subjects: Virtual Reality

abstract: This research project focuses on exploring the potential artistic advancements provided by the inclusion and incorporation of Virtual Reality (VR) within theatre. The incorporation of VR technology into theatre performance ultimately aims to alter a theatre experience by adding spatial presence for audiences and adding new production considerations for theatre practitioners. This project investigated the conceptual nature and practical aspects of using 360-degree cameras placed on stage to enable virtual teleportation onto the stage from the audience or remote viewing.
This thesis constitutes a PhD ‘with publication’ and includes reprints of quality assured peer reviewed scholarly articles produced at different stages on the project. The first study examines the early development and use of three-dimensional theatre prototyping to identify the technical requirements for VR theatre. A digital theatrical prototype was designed, along with mathematical calculations to determine the optimal placement of 360-degree cameras on stage. The study reveals multiple camera angles that can be utilized to capture a 360-degree/VR theatre experience.
Building upon the findings of the first study, the second study focuses on practical and technical factors such as visibility, sound, lighting, and visual intensity to enhance audience access and proximity to live performances. Different camera positions were found to be suitable for different theatre styles. The study suggests that the application of VR technology in theatre stages can yield highly satisfying results, as reported by participating actors.
Following initial prototyping and planning, the PhD then experienced the impact of COVID-19 that prevented planned collaboration with local theatre practitioners that would have enabled a substantive practical application of VR, technical refinements and, user and audience testing. However, in response to the impact of COVID-19 on the theatre industry, the third study investigated the use of virtually designed spaces and the inclusion of 3D avatars/characters or real actors in performances. It explores the creation of photorealistic virtual worlds that mimic real-world environments and examines audience perceptions of virtual theatre experiences. The study presents a modernization of theatre performance by incorporating 3D virtual spaces, akin to VR games, but with limited interactive freedom for the audience.
The fourth and final study involved the development of a post-pandemic experimental theatre performance based on the insights and data collected from the previous studies. It focuses on the virtual teleportation of an audience onto the stage during a performance, facilitated by VR headsets and a 360-degree camera mounted on the actor. Within the experiment participants experienced the performance through VR headsets. The audience and theatre practitioners were then invited to participate in a post interview session, to note their feedback and comments regarding the experience. Despite the limited number of participants due to COVID-19 restrictions, the study highlighted the positive nature of the VR experience pointing to the possibilities for increased virtual access to live theatre beyond this research.
Overall, the results of these studies shed light on key practical considerations involved in the integration of VR into theatre performances. The approaches taken in each study support and guide best practice but also opens up VR-assisted theatre to grass roots level community and local theatre so that VR can become a common consideration and tool for all forms of theatre.

text: Envisioning VR theatre: Virtual reality as an assistive technology in theatre performance This research project focuses on exploring the potential artistic advancements provided by the inclusion and incorporation of Virtual Reality (VR) within theatre. The incorporation of VR technology into theatre performance ultimately aims to alter a theatre experience by adding spatial presence for audiences and adding new production considerations for theatre practitioners. This project investigated the conceptual nature and practical aspects of using 360-degree cameras placed on stage to enable virtual teleportation onto the stage from the audience or remote viewing.
This thesis constitutes a PhD ‘with publication’ and includes reprints of quality assured peer reviewed scholarly articles produced at different stages on the project. The first study examines the early development and use of three-dimensional theatre prototyping to identify the technical requirements for VR theatre. A digital theatrical prototype was designed, along with mathematical calculations to determine the optimal placement of 360-degree cameras on stage. The study reveals multiple camera angles that can be utilized to capture a 360-degree/VR theatre experience.
Building upon the findings of the first study, the second study focuses on practical and technical factors such as visibility, sound, lighting, and visual intensity to enhance audience access and proximity to live performances. Different camera positions were found to be suitable for different theatre styles. The study suggests that the application of VR technology in theatre stages can yield highly satisfying results, as reported by participating actors.
Following initial prototyping and planning, the PhD then experienced the impact of COVID-19 that prevented planned collaboration with local theatre practitioners that would have enabled a substantive practical application of VR, technical refinements and, user and audience testing. However, in response to the impact of COVID-19 on the theatre industry, the third study investigated the use of virtually designed spaces and the inclusion of 3D avatars/characters or real actors in performances. It explores the creation of photorealistic virtual worlds that mimic real-world environments and examines audience perceptions of virtual theatre experiences. The study presents a modernization of theatre performance by incorporating 3D virtual spaces, akin to VR games, but with limited interactive freedom for the audience.
The fourth and final study involved the development of a post-pandemic experimental theatre performance based on the insights and data collected from the previous studies. It focuses on the virtual teleportation of an audience onto the stage during a performance, facilitated by VR headsets and a 360-degree camera mounted on the actor. Within the experiment participants experienced the performance through VR headsets. The audience and theatre practitioners were then invited to participate in a post interview session, to note their feedback and comments regarding the experience. Despite the limited number of participants due to COVID-19 restrictions, the study highlighted the positive nature of the VR experience pointing to the possibilities for increased virtual access to live theatre beyond this research.
Overall, the results of these studies shed light on key practical considerations involved in the integration of VR into theatre performances. The approaches taken in each study support and guide best practice but also opens up VR-assisted theatre to grass roots level community and local theatre so that VR can become a common consideration and tool for all forms of theatre.

year: 2024

title: Water relations and carbon dioxide exchange of epiphytic lichens in the Namib fog desert

authors: Lange, Otto L.

subjects: dew

abstract: Although there is only negligible rainfall, frequent nocturnal fog, dew and high air humidity support a luxurious lichen vegetation in the coastal zone of the central NamibDesert (Namibia). In earlier publications, we have studied ecophysiological performance of a series of epilithic and terrestrial lichens. Here, we have extended this work to three epiphytic species (Heterodermia namaquana, Ramalina lacera, and Xanthoria turbinata) that inhabit the sparse perennial shrubs growing in this area. Our intention, monitoring lichen CO₂ exchange, their waterrelations and microclimate conditions, was to determine the functional mechanisms that allow these epiphytes to exist under the special conditions of a fogdesert. Measurements were conducted mainly during the spring season.
The epiphyticlichens showed response patterns very similar to the epilithic and epigaeic species at the same site. Their metabolism was activated through moistening by dew and/or fog during the night and, in the very early morning, they exhibited the typical brief peak of net photosynthesis (NP) between sunrise and desiccation. The thalli were almost completely dry for the remainder of the day. Average duration of the positive NP during the morning peak was about 3 h. Dew condensation, alone, resulted in activation that provided 58–63% of integrated carbon income (ΣNP) as compared to fog (plus dew). In the late afternoon, there was a tendency for hydration to increase again, due to water vapour uptake at higher air humidity, and this allowed on some days a brief additional period of very low rates of photosynthesis shortly before sunset.
Light response of photosynthesis showed “sun-plant” characteristics with saturation around 1000 μmol m⁻² s⁻¹ photosynthetically active photon flux density (PPFD). Light compensation point (LCP) of CO2exchange after sunrise was highly dependent on actual water content (WC) for X. turbinata: at low hydration it was ca. 10 μmol m⁻² s⁻¹ PPFD whilst, at high WC, it was almost 80 μmol m⁻² s⁻¹ PPFD. In contrast, LCP of R. lacera was almost independent of WC. This phenomenon was probably due to differences in thallus structure.
Maximal attained NP and daily ΣNP both showed a saturation-type response to previous maximal nocturnal WC. Neither parameter was increased substantially when higher maximal thallus WCs were produced by experimental moistening in the night. All three species, despite their different morphologies, performed optimally at the highest nocturnal moistening achieved by natural fog and were not able to make use of higher hydration.
The three studied epiphytes were similar in their chlorophyll-related rates of NP. Due to lower chlorophyll content, dry weight and carbon-related NP of X. turbinata was only about one-third of that of the other two species. The average carbon income on days with fog and/or dew hydration during the spring season amounted to 2.4 and 2.1 mgC (gC)⁻¹ day⁻¹ (related to thallus carbon content) for H. namaquana and R. lacera, respectively. This primary production was of similar magnitude to those found for the terrestrial species at the same site.

text: Water relations and carbon dioxide exchange of epiphytic lichens in the Namib fog desert Although there is only negligible rainfall, frequent nocturnal fog, dew and high air humidity support a luxurious lichen vegetation in the coastal zone of the central NamibDesert (Namibia). In earlier publications, we have studied ecophysiological performance of a series of epilithic and terrestrial lichens. Here, we have extended this work to three epiphytic species (Heterodermia namaquana, Ramalina lacera, and Xanthoria turbinata) that inhabit the sparse perennial shrubs growing in this area. Our intention, monitoring lichen CO₂ exchange, their waterrelations and microclimate conditions, was to determine the functional mechanisms that allow these epiphytes to exist under the special conditions of a fogdesert. Measurements were conducted mainly during the spring season.
The epiphyticlichens showed response patterns very similar to the epilithic and epigaeic species at the same site. Their metabolism was activated through moistening by dew and/or fog during the night and, in the very early morning, they exhibited the typical brief peak of net photosynthesis (NP) between sunrise and desiccation. The thalli were almost completely dry for the remainder of the day. Average duration of the positive NP during the morning peak was about 3 h. Dew condensation, alone, resulted in activation that provided 58–63% of integrated carbon income (ΣNP) as compared to fog (plus dew). In the late afternoon, there was a tendency for hydration to increase again, due to water vapour uptake at higher air humidity, and this allowed on some days a brief additional period of very low rates of photosynthesis shortly before sunset.
Light response of photosynthesis showed “sun-plant” characteristics with saturation around 1000 μmol m⁻² s⁻¹ photosynthetically active photon flux density (PPFD). Light compensation point (LCP) of CO2exchange after sunrise was highly dependent on actual water content (WC) for X. turbinata: at low hydration it was ca. 10 μmol m⁻² s⁻¹ PPFD whilst, at high WC, it was almost 80 μmol m⁻² s⁻¹ PPFD. In contrast, LCP of R. lacera was almost independent of WC. This phenomenon was probably due to differences in thallus structure.
Maximal attained NP and daily ΣNP both showed a saturation-type response to previous maximal nocturnal WC. Neither parameter was increased substantially when higher maximal thallus WCs were produced by experimental moistening in the night. All three species, despite their different morphologies, performed optimally at the highest nocturnal moistening achieved by natural fog and were not able to make use of higher hydration.
The three studied epiphytes were similar in their chlorophyll-related rates of NP. Due to lower chlorophyll content, dry weight and carbon-related NP of X. turbinata was only about one-third of that of the other two species. The average carbon income on days with fog and/or dew hydration during the spring season amounted to 2.4 and 2.1 mgC (gC)⁻¹ day⁻¹ (related to thallus carbon content) for H. namaquana and R. lacera, respectively. This primary production was of similar magnitude to those found for the terrestrial species at the same site.

year: 2007

title: Have you heard of Hinehau? A research journey of reclamation

authors: Wakefield, Sandy

subjects: Te Tai Tokerau

abstract: As the Māori political and cultural movement continues to grow, issues of representation, power, and control are critiqued by Māori minds.
After discovering a tribal myth about the mana of a woman known as Hinehau, a chain reaction of enquiry develops into the reclamation of tribal knowledge.
By investigating the historical context surrounding the narrative of Hinehau, her story transcends the fairy-tale myth she was confined to, and exposes the rendering down of her story.
Under the umbrella of Western science, European and Pākehā historical archives created an enduring legacy of “Māori myth” that is synonymous with falsehood. Through the assertation of tribal oral tradition and connecting our experiences to our missing histories, Hinehau is relocated. The Hinehau story renews through reconnecting to mātauranga Māori, Ngāpuhi kōrero tuku iho and the creativity of the researcher. In this process, her story renews.
With the guidance of hapū members, mentors, and a diversity of literature, the narrative of Hinehau becomes a part of a much larger inter-tribal narrative held within an ancestral landscape which is sometimes hard to recognise in whenua we no longer have tribal autonomy over. Our Indigenous identity is still under threat as we are still “othered” in our tribal lands. This work contributes to pushing the envelope of what it means to think, exist, and challenge as tangata whenua in Aotearoa, where traditional tribal roles have been minimalised in society, or disappeared through generations of the colonial project (Tuhiwai Smith, 2012).

text: Have you heard of Hinehau? A research journey of reclamation As the Māori political and cultural movement continues to grow, issues of representation, power, and control are critiqued by Māori minds.
After discovering a tribal myth about the mana of a woman known as Hinehau, a chain reaction of enquiry develops into the reclamation of tribal knowledge.
By investigating the historical context surrounding the narrative of Hinehau, her story transcends the fairy-tale myth she was confined to, and exposes the rendering down of her story.
Under the umbrella of Western science, European and Pākehā historical archives created an enduring legacy of “Māori myth” that is synonymous with falsehood. Through the assertation of tribal oral tradition and connecting our experiences to our missing histories, Hinehau is relocated. The Hinehau story renews through reconnecting to mātauranga Māori, Ngāpuhi kōrero tuku iho and the creativity of the researcher. In this process, her story renews.
With the guidance of hapū members, mentors, and a diversity of literature, the narrative of Hinehau becomes a part of a much larger inter-tribal narrative held within an ancestral landscape which is sometimes hard to recognise in whenua we no longer have tribal autonomy over. Our Indigenous identity is still under threat as we are still “othered” in our tribal lands. This work contributes to pushing the envelope of what it means to think, exist, and challenge as tangata whenua in Aotearoa, where traditional tribal roles have been minimalised in society, or disappeared through generations of the colonial project (Tuhiwai Smith, 2012).

year: 2021