Author: Yao Han

·Urban Canal
– A narrow water channel flanked by greenery and gentle flows.

·Shoreline Beach
– A small sandy/pebble bank where water meets land.

·Riverside Walkway
– Paved embankment path with benches and light pedestrian traffic.

·Formal Garden / Park
– Tree‐lined avenue or open lawn with benches, filtered light, and floral accents.

·Playground Nook
– Quiet children’s play area (wooden structures, sand, minimal movement).

·Market Arcade (Stall)
– Covered passage of empty stalls or uniform shopfronts, architectural rhythm.

·Pedestrian Street / Piazzetta (Single Building)
– Cobbled or paved pedestrian zone with moderate crowd flow and street‐level detail.

·Transit Nook
– Small station alcove or bench under an overhang—your contemplative “pause” before Act II.

Tags Structure Of The Experience

Story Board

FMP Submission

FMP Deadline: Thursday 27^th November by 3pm.

24/25 Final Project & Thesis:

Section: Assessment | 24/25 Final Project & Thesis | Moodle

Final Project: Theory & Practice : Assignment Brief File

Submitting Method:

Digital (Moodle): one folder (≤ 1 GB) and one for your portfolio.

OR In person: drop off both folders in room M301a (10am – 3pm).

Final Project (Two Elements):

Element 1: Final Major Project (XR Product and Portfolio) – 50%

Deliverables

XR Experience Build.

– A runnable build of your VR/MR/XR project.

Walk-through Video

– Screen-capture of the experience with voice-over (and Optional Captions).

Portfolio Folder (2)

– Design documents: game/design docs, scripts, storyboards, mood-boards, early prototypes, etc.

– MyBlog: Journal of your process – ideas, inspirations, challenges & solutions – with links or embeds of your design artifacts.

Element 2: Immersive Media Research Report (Thesis) – 50%

Deliverables:

A single PDF (≤ 100 MB) of your academic thesis (6,000–8,000 words, excluding bibliography & appendices), formatted as:

For the experimental/art, the thesis may take the form of an academic report that should include:

Title page

(full name, student number and word count)

2. Abstract (~200–250 words)

One-paragraph summary of your creative intent, method, key findings and significance.

Acknowledgements

Who supported you (supervisors, participants, funders).

4. List of tables & List of figures

5. Body of thesis: (~6,000–8,000 words)

A. Introduction (~500 words)

Contextualise your project within Experimental/Art XR.

State your research aims or questions.

B.State of the art (Theoretical / Art history Context) (~1200 words)

(theoretical and artistic references to XR art history, media art,

performance art, influences from other artists and how your work positions within the broader XR artistic discourse)

Spatial / Embodied Experience Description (~ 1200 words)

Describe your XR environment as a “space”: layout, scale, sensory modalities (visual, audio, haptic)

How does the user move/interact? What gestures, input or bodily movements are requited?

Include annotated screenshots or storyboards to illustrate key moments.

Creative Process and Method (~ 1000 words)

Your artistic process: ideation workshops, sketching, rapid prototyping, experiments, use of specific tools, etc.

Materials and analog practices you integrated (e.g. clay maquettes, light‐painting tests).

Iteration: how user testing or critique sessions shaped your concept.

Technical / Desgin Choices (~ 1000 words)

Hardware: headset, sensors, controllers, custom rigs.

Software: engine (Unity/Unreal), custom shaders, middleware (e.g. haptics SDK).

UX/design rationale: spatial audio placement, affordances, UI metaphors—why these choices support your artistic intent.

Critical Discussion (~ 1500 words)

Reflect on how the final experience meets (or challenges) your original aims.

Analyse participant responses: did the embodied interactions elicit the desired affect or insight？

Position your work within wider art-tech debates

Conclusions & Future Work (~ 600 words)

Summarise your contribution to Experimental / Art XR

Limitations you encountered (technical constraints, user fatigue)

Propose next steps: expanded scale, additional sensory channels, networked / shared experiences.

References (Harvard Style)

Appendix

(Consent forms, full transcripts of interviews or user tests, questionnaires, raw data logs, extended code listings or shader snippets, etc.)

Text editing:

12 points, 1.5 spaced, include page numbers

Word count: between 6,000 – 8,000 words (excluding appendices & bibliography)

Tags Submission

Structure Of The Experience

Post author By Yao Han
Post date 1st July 2025
No Comments on Structure Of The Experience

1. VR Experience (Headset)

Act I – “Peaceful London”

A 6½-minute, fully scripted VR journey through five serene London environments (Regent’s Canal, Tower of London courtyard, Kensington Gardens promenade, Shoreditch market, Paddington Station nook).

Act II – “Ruins of Ukraine”

The same five camera paths replayed, now overlaid with photogrammetry and LiDAR scans of actual wartorn sites in Ukraine. Subtle shader glitches and shifting soundscapes bridge the two acts, culminating in a moment of silence and textual prompt (“This was not here—yet.”). Visitor takeaway: a visceral sense of how ordinary places can be irrevocably transformed.

ACT III – Interactive Desktop

Viewer (PC Station) VR A standalone Unreal build loaded with the identical 3D scans. Visitors navigate via mouse and keyboard to rotate, zoom, and pan each model at their own pace. And can select the model they want to view in VR. Simple UI overlays model metadata (location name, date of scan, photographer/scan credits). Visitor takeaway: an open invitation to explore the raw digital data, inspect details, and draw personal connections.

2. Physical Exhibition (Gallery)

Photographic Prints.

High-resolution stills of the Ukrainian sites featured in Act II, framed and wall-mounted at eye level.

3D-Printed Models.

Scaled, tactile replicas of those same photogrammetry scans on individual pedestals beside each print. Visitor takeaway: tangible evidence of place, texture, and scale—encouraging quiet, contemplative engagement.