Contenu du sommaire : Trans-immersion

Osmosis, Symbiosis, Dizziness and Ecstasy are experiences which makes feel since the body and except the master of self and the control of action, an emersion no representational, otherwise irreprésentable, difficulty bearable by the subject by the nonsense of the sensory intensity of the immersive trance.

In enlightened century, theosophists brings a new cosmology foundation between Heraclite energetics and Parmenide emergence. Franz von Baader's Sensorium Dei is the pathfinder from this new cosmology. Naturphilosophy has appropriate this new age of nature especially by the work of Hölderlin, Schelling and Hegel like intern astrology, weather sensibility and paganist daemon. Those three topical will improve European Boheme from Mallarmé's Mardis to Schwabing's cosmical circle. Celebration from Dionysian cults is the inspiration of all utopians communities from Monte Verità to the Beat generation.

This article deals with the spaciousness of territories in order to highlight the fact that this notion refers to the possibility for the individuals to seize the spirit of the place, to transform chaos into cosmos, and to experience their being to the world. Fortified by the hypothesis saying the advent of space proves the sensitive appropriation of the sites by the individuals, this article defines the concerns of a sensitive geography. Defined as the interpretation of the emotional resources the individuals convoke to create their territorialities, i.e. to perform the mutation of the place into space within an ontological perspective, the sensitive geography intends to contribute to the exploration of the reasons why the individuals give in to new forms of immersive “recreativity”, which draw again the outline of the relation of man to wilderness and within which the immersive body experiences entail glorifying a form of existential well-being.

The concept of immersion is becoming increasingly successful on both sides of the Atlantic, be it with artists, cultural actors or researchers. Indeed, a growing number of artists are relying on the notion of immersion to define their work. The term's pervasiveness has done nothing to harm its popularity, but has rather extended its scope to include a wide range of practices from various disciplines. Cinema and video games are the obvious examples, but we can also name theatre, installation, performance, dance and the fine arts. The concept of immersion has been employed in such an intensive manner that it is becoming more and more metaphorical, sometimes even impenetrable and contradictory. We thus find ourselves faced with the following question: to what extent can the idea of immersion constitute a paradigm, taking into account the specificity of the varied devices and issues emerging as a result of aesthetic and/or ludic steps? How does immersive dramaturgy make use of intermediality and interaction? In this article, we will put forward a definition of immersive theatre and consequently its dramaturgical aspects. In this paper, we will suggest a definition of immersive theatre as a fluctuating interaction between the real and the imaginary, made up of three stages experienced by the spectator: firstly physical integration, secondly sensory and dramaturgical immersion and finally bodily indeterminacy.

Alternate Reality Games have a growing success and tell so much about their immersive aspect that we could question if this ludic form could be a paradigm of immersion. But, on what interaction form is about? Are these games really immersive? And what would be the impact of such an immersion on the public? To try answering these questions, we offer to study in this paper an example of ARG: the « Ghost Invaders – Les Mystères de la Basilique » project. We will see how the immersive aspect of the game has been created by the authors, received by the players and what its impact on player's experience was. The analysis will use both quantitative (datas from the main website, survey) and qualitative data (interviews with players, feedbacks from actors interacting with players, messages left on forums, etc.).

The question of immersion is often seen in terms of interlocking spaces. But as Claire Buisson has put it, there is another dimension to immersion, to be understood this time as a sensory experience. To do this, we will discuss the nature of the latter in the context of contemporary dance performances. In order to understand better the interactional dimension of the choreographic and spectacular experience, this article argues for a better consideration of the sensorial and emotional dimension of artistic immersion.

The radioactive share of Fukushima is not spectacular but spectral. We assume that the symbolic impact – fear and anxiety caused by radioactivity – have more impact than its measurable and rational part. Can it be understand based on a drama and a classical epistemology? Dealing with disasters, what is the relevance of myths?

Although traditionally perceived as an individual sport, athletics tends to be practised in groups, in tribes. In order to better understand the tribal forms of participation among young people, qualitative and quantitative analyses have been performed. The qualitative analysis was in the form of a participative observation, at regular intervals (three times a week), with 26 young athletes and 12 individual interviews. The quantitative analysis was based on the records provided by the French Athletics Federation (23,104 young licence holders). Results reveal three types of participants. The first category is called Postmodern/Dionysian and corresponds to those who practise without competing: it includes young people who practise athletics for well-being and pleasure. The second category is called Modern/Promethean and corresponds to those who compete: it includes young competitors who want to see progress and beat their records. The third and final category is a combination of the two. It includes young people who go to competitions but are not bothered by their performance. Their objective is essentially to share valuable experiences with friends and to party. The distinct nature of these three categories of participants should be better recognised by the French Athletics Federation, the local athletics committees, and coaches.