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To properly understand the evolution of the hypothesis of using the World Building theoretical framework, it is worth providing an overview of key moments in this evolution. [n 2008, as part of its cultural activities on the heels of Cop21 in Paris, the Société des Arts technologiques was commissioned with creating an immersive work on the theme of climate change. David McConville, then Director of the Buckminster Fuller Institute, responded by imagining a new form of transmission based on relationships between the human body and the environment via embodiment approaches. His idea was to use environmental visualizations from NASA, simulations of living organisms and synthetic environments to convey a certain vision of climate change through the exploration of the sensory dimensions of the immersive medium that was put in the service of the narrative. The intent was to arrange multiple metaphors in order to create a sensory experience demonstrating that human beings are not separate or isolated from the ecosystems they are changing and transforming. The project, entitled Re-Génération, observed the natural world from the standpoint of the ‘ime sequence of day and night, the tides, and land movements, all viewed as one giant breath >xtending across the globe [38].

Figure 1 To properly understand the evolution of the hypothesis of using the World Building theoretical framework, it is worth providing an overview of key moments in this evolution. [n 2008, as part of its cultural activities on the heels of Cop21 in Paris, the Société des Arts technologiques was commissioned with creating an immersive work on the theme of climate change. David McConville, then Director of the Buckminster Fuller Institute, responded by imagining a new form of transmission based on relationships between the human body and the environment via embodiment approaches. His idea was to use environmental visualizations from NASA, simulations of living organisms and synthetic environments to convey a certain vision of climate change through the exploration of the sensory dimensions of the immersive medium that was put in the service of the narrative. The intent was to arrange multiple metaphors in order to create a sensory experience demonstrating that human beings are not separate or isolated from the ecosystems they are changing and transforming. The project, entitled Re-Génération, observed the natural world from the standpoint of the ‘ime sequence of day and night, the tides, and land movements, all viewed as one giant breath >xtending across the globe [38].

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Fig. 2. Les Planétes. Société des Arts Technologiques (2018). Photo: Nathanael Corre The narrative scenario, inspired by the Gaia hypothesis, consisted in identifying different levels of knowledge emerging from studies on the broad theme of regeneration. The second level involved writing a narrative presented in the form of a meditation on climate. The story behind the project, written by David McConville, was scripted on the basis of a succession of metaphors drawing links between the balance of ecosystems and the human body. The narration, or storytelling, was thus built on a succession of continually shifting environments. The structure was guided by the observation that narrativity, in a Full Dome situation, no longer plays out through images but through the environment. Once conceptualized, each environment in this scenario was produced by several teams composed of artists and directors. It is important to point out that while it was performed in the immersive format of a Full Dome projection, the project was created using a transauthor approach.
Fig. 2. Les Planétes. Société des Arts Technologiques (2018). Photo: Nathanael Corre The narrative scenario, inspired by the Gaia hypothesis, consisted in identifying different levels of knowledge emerging from studies on the broad theme of regeneration. The second level involved writing a narrative presented in the form of a meditation on climate. The story behind the project, written by David McConville, was scripted on the basis of a succession of metaphors drawing links between the balance of ecosystems and the human body. The narration, or storytelling, was thus built on a succession of continually shifting environments. The structure was guided by the observation that narrativity, in a Full Dome situation, no longer plays out through images but through the environment. Once conceptualized, each environment in this scenario was produced by several teams composed of artists and directors. It is important to point out that while it was performed in the immersive format of a Full Dome projection, the project was created using a transauthor approach.
Fig. 3. [//umination Frankenstein. Société des Arts Technologiques (2018). Photo Yan Breuleux
Fig. 3. [//umination Frankenstein. Société des Arts Technologiques (2018). Photo Yan Breuleux
Fig. 4. PeterPan360°, Bruno de Coninck, NAD - UQAC (2019).
Fig. 4. PeterPan360°, Bruno de Coninck, NAD - UQAC (2019).
Fig. 5. Hybrid environment. Simon Therrien (2019).
Fig. 5. Hybrid environment. Simon Therrien (2019).
For his part, Simon Therrien has imagined a hybrid world based on a cross between the world of Franz Kafka’s novel Métamorphose and Jim Henson’s Labyrinth. His environmental storytelling project has taken the shape of designing a new video game depicting a number of fantastic environments as settings for action. Therrien’s research has primarily involved defining a series of conceptual tools to nourish reflection on practice.
For his part, Simon Therrien has imagined a hybrid world based on a cross between the world of Franz Kafka’s novel Métamorphose and Jim Henson’s Labyrinth. His environmental storytelling project has taken the shape of designing a new video game depicting a number of fantastic environments as settings for action. Therrien’s research has primarily involved defining a series of conceptual tools to nourish reflection on practice.
Related topics:
Digital ArtSpatial Augmented RealityEnvironmental Storytelling
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