IMMERSE 101 Company Report 2019
We at Immerse 101 have has an immensely productive 2019 where 70.3% of our work involved successfully implementing the three immersive principles onto our communications.
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This analysis of our work during the six months since we launched our company back in May and explains why and how our theory works and the types of content it is most successful for creating.
CONTENTS
CHAPTER 1 - RESULTS
CHAPTER 2 - ISSUES WITH THE IMMERSIVE PRINCIPLES
Problems with agency
Breaking the immersive world
Narrative Problems
CHAPTER 3 - PUBLICITY STUNT vs MEANINGFUL EXPERIENCE
CHAPTER 4 - ARGUMENT FOR REAL-WORLD EXPERIENCES
Is AR successful?
CHAPTER 5 - LONG-FORM SUCCESS USING AR
Limitations of current voice technology
The AR audience's Agency
The silent audience
Implication in the advent of 5G
CHAPTER 6 - QUESTS
CHAPTER 7 - PERFORMERLESS EXPERIENCES
CHAPTER 8 - CREATING A FAKE COMPANY OR BRAND
CHAPTER 9 - ACTIVISM AND PROMOTING A CAUSE
Long form
Short form
CHAPTER 10 - WHY IMMERSIVE BILLBOARDS DON'T WORK
CHAPTER 1 - RESULTS
101
Successfully implement the immersive principles
Fails to successfully implement the immersive principles
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Fits this category
Part fits this category
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Long form content
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One off stunt rather than a meaningful experience
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Shorter experiences
Waterstones lost characters
KODAK photographers
With Performers
Marc Jacob Daisy Selflove
Quest
British Red Cross Treasure Trove
Apple Music Silent Disco
Immersive Website
Greenpeace Artefacts from the Future
GBO Love You To The Moon And Back
LIVE AR Experience
John Lewis Mystery
Greenpeace Plastic bottle installation
Without Perfomers
Not for profit
Rebranding
CHAPTER 2 - ISSUES WITH THE IMMERSIVE PRINCIPLES
Narrative Problems
​Where narrative failed it was because the performances created were very short so that they could be addressed to audiences as they passed by which resulted in them not being in-depth or interesting enough.
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Two experiences that failed to provide narrative within their experiences for the same reason were Daisy Dream and KODAK. Both experiences begin with audiences interacting with performers before being instructed to go off and engage with the brands in other ways. This technique isn’t successful as it separates the experience into two sections, fracturing the narrative structure. If the experiences were more fluid in how they connected these two elements together they might have been more successful.
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The British Red Cross’s experience, British Treasure Trove had almost no narrative and therefore isn’t a successful experience created using the immersive principles which was the aim of the research. It could be argued that the narrative for an audience during this experience would be going into the shop and finding unexpected treasure but this is a weak narrative at best.
A strength of this experience is that there are no performers making it cost effective which was a consideration for this brand because it is a charity. However, if performers had been present they could have helped to shape the narrative journey of the audience. Audiences might have been put off buying products if they were being engaged with instore by performers as these shops are often small and full of goods. The intensity of a performer being in the shop might make some shoppers leave quickly and the whole point is for consumers to stumble across the treasure themselves.
Breaking the immersive world
​The KODAK and Daisy Dream experiences are directly trying to sell items to the audiences and as soon as the audience are aware they are being directed towards a purchase the transformative nature of the alternative world is broken. This completely destroys the experience by bringing the audience’s into the real world and that brands are attempting to manipulate them into buying products.
Problems with agency
Getting audiences to choose to engage is the hardest part of an experience whether you use the immersive principles or not. The agency of a lot of these experiences relies upon audiences choosing to participate in the first place, if they don’t make this choice then all other elements of the experience become irrelevant. Ultimately however amazing the experience is not everyone is going to want to engage with it.
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We also found that with shorter experiences it was harder to provide meaningful agency for audiences. This was mostly due to agency being something that audiences often have to warm up to and gain the confidence to engage with through the initial phase of the experience which isn’t possible when an experience is short. Time restrictions also mean that there is a limit to the amount of agency that can be squeezed into an experience.
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KODAK is again an example of this failure where the performers are attempting to engage with lots of small audience groups throughout one day. The agency is limited to choosing to have a photo taken or not followed afterwards by the choice to go to the Kodak pop-up or not. This isn’t true agency for an audience and doesn’t present a successful illusion of agency either and therefore doesn’t make for a particularly engaging experience.
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The Waterstone’s Lost Characters experience was able to overcome this problem by building up layers to their alternative world before the main event that some passer-by’s may have been aware of prior to the performers appearing on the streets. The performers were also representing some recognisable characters from well-known books so their backstories provided a familiar base to their encounter with the audiences.
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This provided a strong context for the performers and acted as an introductory period for the experience which would create an environment where agency felt like a safer and more organic choice for audiences.
CHAPTER 3 - PUBLICITY STUNT vs MEANINGFUL EXPERIENCE
Some of the work created for our clients were one off stunts rather than meaningful experiences.
An example of this is how the publicity from an experience such as KODAK has the potential to be more powerful when reported online than the actual experience for the audience. Whilst this can help a brand’s publicity in the immediate it won’t help to establish a meaningful bond between an audience and the brand and influence purchasing decisions later.
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The experiences of KODAK and Daisy Dreams are also product focused which created a between audiences and the experience which prevented positive connections being built.
CHAPTER 4 - ARGUMENT FOR REAL-WORLD EXPERIENCES
The most important discovery about performer-less immersive experiences is that they do not have to be digital in order to be successful.
Only the Apple Music Silent Disco, Immersive Website and the LIVE AR Experience are digitally run experiences and whilst the Immersive Website design is digital it is an example of rebranding. Rebranding a product, service or company to transform it into an experience for a consumer is not something that is exclusive to the digital sphere as a physical shop could be rebranded like the British Red Cross’s Treasure Trove experience.
See Chapter 8 for more information on rebranding.
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All the experiences apart from the Immersive Website have a real-world element to them where the audience is connected to their real environment through the experiences. The most solitary experience for an audience member is during LIVE AR where the participant navigates the experience alone and via their mobile phone. Whilst a multiple player aspect could be introduced to the experience the use of the mobile phone is an isolating factor that doesn’t affect any other experiences in the same way.
The Apply Music Silent Disco can be interacted with solely by an individual but it is intended to bring people together and connect audiences via their shared interest in music.
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The western world is irreversibly connected to smart technology but there are an increasing number of studies into how this technology affects our lives, in good and bad ways.[1] In our section on current industry knowledge we discussed the growth of the experience economy and how audiences are searching out non-digital activities. The immersive principles can be used to effectively create non-digital lead experiences and provide audiences with what they want.
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An argument in favour of experiences that are set in a real-world location is that it creates a space where the senses can be manipulated to trigger emotive responses from an audience and help create a more realistic environment for the experience. Punchdrunk’s designer Livi Vaughn describes how by keeping “the lighting levels low, so other senses are heightened ”[2] which allows the production team to play with the extremes of the other senses.
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The artistic director of Punchdrunk says that “If you’re walking on a real surface you suspend your disbelief, experientially. Even if it’s subconsciously working it feels touch real.”[3] There is also a strong argument for weaving techniques into an experience such as haptic marketing[4] which makes “use of tactile sensations to influence purchasing ”[5] and increases the chance of product purchase.
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Steven Semoff the co-president of the Scent Marketing Institute[6] says that scent “goes directly to the limbic system…the emotional control centre of your brain…Whereas all the other sense have to be processed first ”[7] making it an important element that can’t be incorporated into a digital experience in the same way.
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The John Lewis and British Red Cross experiences are the only projects we have created that have begun to place objects at the centre of the experience. By repositioning a product as an object of purpose within an experience it could potentially redefine the object for an audience as an emotive symbol that goes beyond existing as a product for purchase.
CHAPTER 5 - LONG-FORM SUCCESS USING AR
For this AR experience we looked specifically at the types of immersive theatre show that use the real-world as it’s theatrical setting such at Parabolic’s Land of Nod [8] and the immersive gaming experiences created by Fire Hazard [9]. These theatre companies don’t have the budgets to build huge sets to transport their audiences so use the landscape of the city, transforming it with props, planted scenic elements and actors.
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AR follows a similar concept as it takes the landscape of the viewer and layers a new element over it to augment the real world. Our theory when developing this experience was that AR has the potential to function much like a low budget immersive theatre show as both can strategically position new visual and interactive features to the real-world landscape and alter reality within a narrative structure.
Limitations of current voice technology
​Our researchers discussed with Parabolic’s Owen Kingston that the reason his immersive show For King and Country[10] couldn’t currently be turned into a truly immersive digital experience is because the technology is not advanced enough yet to provide true audience agency. Kingston says that to create unique content that responds appropriately to the audience’s dialogue the Natural Language Processing technology needs to be in a more advanced place.
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There is a problem with machines being unable to interpret “concepts like irony and metaphors that come second nature to us”[11] which makes complex natural conversation with them impossible. Kingston was able to overcome this problem in his show Bridge Command[12] where audiences can address the ship’s “computer” with simple commands that make sense inworld by programming an Amazon Alexa device to reply logically[13]. However Kingston hasn’t been able to enable audiences to speak with true agency with digital characters in more complex scenarios that go beyond simply speaking to a simple voice assistant.
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The types of voices currently available are also limited and creating several for one digital experience would be incredibly expensive and they would still need to be pre-recorded as the technology is not capable of generating dialogue at the required level of complexity yet.
Due to these current setbacks there is a limit to how many plots can be developed within the digital environment which automatically undermines agency. You could counter this issue by employing actors to respond via a live link but this would limit the number of people who could engage with the experience at any one time and it would be very expensive to maintain long-term.
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The Bandersnatch movie[14] shows us the limitations of digital technology with audience agency at present as there is a limit to where an audience member can direct the story to. With Bandersnatch the audience only has binary choices presented to them whilst with true immersion the audience should feel they have unlimited choices that truly influence the plot.
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This means that when creating a digital immersive experience designers must accept that there will be a limit to the expanse of the narrative but that these limits can be distracted from and blurred through the type of content created. Computer and video games currently do this to great effect where they “have introduced fresh narrative structures and plot devices”[15] using pre-recorded and pre-determined narratives.
The AR audience's Agency
​The question we needed to solve was how does an audience experience agency and communicate within an AR experience without two-way dialogue.
The silent audience
Punchdrunk has overcome the problem of audience members influencing the overall theatre show through dialogue and limiting direct interaction with performers by providing audience members with mandatory masks[16] to wear. These prevent conversation but also stop individuals from picking up on the facial emotions of other audience members. This allows the individual to experience naturally without the influence of a wider group making the event far more personal and unique.
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By introducing a rule to the AR LIVE experience that the audience member cannot speak it negates the issue of having to overcome the problem of the technology not currently being able to provide dialogue. It does still limit the agency to a certain extent but it enables an alternative reality to exist where the audience accepts this, especially if there is a wide range of contents and options within the experience. As with many immersive shows the sense of agency is a highly constructed act where when done successfully the audience doesn’t realise that their sense of agency is actually entirely false.
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For our experience for LIVE we created the inworld rule that audiences cannot speak until the experience is over meaning that anytime they are inworld they lose the ability to speak. This removes the issue of dialogue but also helped to establish how the experience would work with pre-recorded characters talking to audiences and offering instructions and dialogue when they encountered them.
Is AR successful?
Augmented Reality has been successful for implementing immersive principles as it’s potential for longform content provides more opportunity for developing narrative and points of agency. As AR layers images over the real world it is a perfect medium for creating alternative worlds for audiences to experience.
By mapping over the existing landscape you can build an experience that spreads over a wide area, potentially transforming an entire city into an unknown parallel universe. However when using AR an audience must be given a reason to explore this universe whether that be a story, game, journey or quest otherwise the principle of narrative won’t be present.
Implication in the advent of 5G
Soon cities and towns will have 5G coverage and the Internet of Things shall connect us to our environment[17] via our smart devices in a way that at worst is predicted to be a constant bombardment of advertisements. At best the consumer can be targeted holistically and though well-developed across town (or country or world) campaigns.[18]
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There have been discussions during the last year and government funded projects into AR and how it can be successfully curated to enrich audiences lives rather than for gimmick projects. Oliver Kibblewhite is the Head of Special Projects at Rewind and works within the virtual reality sector. He says that “People think it’s about making a shiny VR experience when it’s not, it’s about telling a story and communicating something to someone.”[19] The tech industry is currently struggling with applying narrative and purpose to their products which is a hindrance to the growth of this sector. Though the AR experience we have created for LIVE we have shown how by using the immersive principles meaningful digital experiences can be created that spread across large spaces
CHAPTER 6 - QUESTS
Quests take direct influence from immersive gaming experiences where an audience is immersed in an experience that has actors, props and scenery but instead of following a story narrative the audience actively try to solve a puzzle. These experiences provide the audience with a strong sense of agency and direct narrative as to complete the experience the audience must complete the tasks. These experiences don’t always require performers, an example is Time Run’s The Game is Now[20] where audiences encounter pre-recorded messages from the cast of Sherlock and move through the experience without encountering physical actors.
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IMMERSE 101 has developed two immersive quest experiences; the AR LIVE experience works like a computer game that has been transposed into the real world whilst the John Lewis experience takes inspiration from armchair treasure hunts such as Kit William’s Masquerade[21].
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One great aspect to quests is that they can be as long as a brand wants which extends the experience across a greater period of time which extends the potential moments for an audience to engage with an experience.
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The John Lewis experience also provides opportunities for stand alone experiences within the overall quest which will expand the experience’s reach to those who are not engaged with the quest element. This is useful as it combines short and long form content and expands who the audience is.
CHAPTER 7 - Performerless experiences
​Most of the experiences don’t require actors to be present for the experience to be successful. This removes the costs of paying for performers and for staff to support them. It also eliminates the potential risks for performers from unrulily audience members.[22]
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The experiences without performers were more successful than the experiences with performers except for Waterstone’s Lost Characters experience and enable a wider variety of experiences than the format the experiences with performers follow. These experiences do have the potential for performers to be integrated into them. Some of the experiences such as the Apple Music Silent Disco may require some hired dancers to go and participate in the silent disco to launch it and to encourage members of the public to join in.
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Without a performer to initiate interaction or engagement with an experience it may be difficult to get an audience involved initially.
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The Greenpeace plastic bottle installation uses the mediums of light and sound to create narrative for an audience which is a successful alternative to a performer assisting an audience in navigating the experience. Using light and sound to create narrative is a useful technique within an experience because as well as being self-sufficient they also act to create an alternative environment.
CHAPTER 8 - Creating a fake company or brand
Once this dissertation was looked at through the lens of a fake company it was far easier to apply the immersive principles. Before creating IMMERSE 101 the dissertation’s narrative was so incredibly fractured it was impossible to understand what was being communicated as the reader missed so much vital information without realising that they had. It was also boring as it was just information spread over several web pages with a theatrical aesthetic to it. It didn’t work at all.
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IMMERSE 101 enabled the project to be presented in an alternative world that was relevant and contained a narrative logic to it that was easy to understand. Agency is provided by the audience choosing to explore the website as they want.
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This strategy has the potential to be incredibly successful in a world where every product and service sector is oversaturated as it would be a way of setting a product or brand apart. It is important for anyone using this concept to be wary of pushing this idea too far as some customers might be confused as to what kind of brand they are engaging with.
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Whilst The British Red Cross experience doesn’t successfully implement all three of the immersive principles as it lacks narrative it does successfully reposition the brand as the British Treasure Trove. By positioning itself as an alternative brand to the standard charity shop it will stand out on the high street and draw audiences in with the promise of riches to be discovered as opposed to
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We believe that there may be potential for using this method on TV adverts where advertisers could play with the contrast between dialogue and visuals.
CHAPTER 9 - Activism and promoting a cause
Long form
The Artefacts from the Future experience created using immersive principles for Greenpeace relies upon an audience being engaged enough with a cause to want to participate. Due to this the experience is the most organic and one of the most self-sustaining as it requires minimal supervision with maximum engagement.
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The audience has the most agency within this experience compared with all the other prototypes as they are collectively building a universe and narrative through the work that they create. The possibilities of this world are as endless as the audience’s imaginations. After they have been presented with the initial premise the audience is responsible for the construction of the alternative world, what is there and for making the artefacts that are brought back from this world.
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Whilst this prototype is the most successful it would be difficult to apply it to a commercial venture unless it was for a service or product that already had huge engagement from an audience. This is because brand loyalty is rarely high with data showing “that loyalty programs have little effect.”[23]
This type of experience works for a politically directed campaign as it will already have an audience who believe in the “product” which would make it easier to engage an audience. The technique of creating an experience by getting an audience to create elements of the alternative world and build story elements could also translate well into making an experience for children. This could have potential for being a more product-based experience where a toy or game inspires the alternative world and premise.
Short form
​The Greenpeace Plastic Bottle Installation is, from an audience’s perspective, a short experience that lasts as long as it takes for an audience member to move through the installation. This can be just as powerful as an experience that involves longer engagement and this experience successfully implements the three immersive principles. This experience is very cost effective for an organisation as once set up it requires minimal supervision and maintenance.
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The audience, although guided and influenced by sound and light installations, craft their own narrative in how they choose to respond which enables a strong sense of agency.
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Whilst this experience works well for Greenpeace we believe that this type of short form experience has the potential to be easily transferable to other companies that have a strong brand purpose to communicate to consumers.[24]
CHAPTER 10 - WHY IMMERSIVE BILLBOARDS DON'T WORK
Once we had defined the immersive principles we began thinking about how they could be applied to traditional billboards. We realised that immersive billboards already exist, usually as one-off or limited events.
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This is based on the belief that whilst there is the potential for immersive billboards to create longer experiences it wouldn’t be effective as it would also require the viewer to follow a link or visit a different location. Whilst this is feasible moving to a website from a billboard isn’t an interesting narrative journey and lacks agency. It would be effective as part of a bigger campaign that combined different types of communications such as with the AR LIVE experience where a phone would be used to scan LIVE posters and bring up an AR engagement via the app.
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Whilst it is possible to create a standalone immersive billboard it is often difficult to role this out across an entire city due to cost which limits reach.
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An example of an immersive billboard was Carlsberg’s Probably the best poster in the world by Fold7.
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In April 2015 Carlsberg put up a poster on Brick Lane, London with a beer tap on it from which for one day only between 1 and 7pm passers-by could pour themselves a pint. This was not promoted as a billboard, instead Carlsberg’s senior brand manager Dharmesh Rana referenced it with a “number of stunts like the poster.”[26]
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Audience agency - Choose to pull a pint
Take the audience elsewhere - Transformed an ordinary street wall into an unusual bar
Narrative element - The surprise of finding a beer tap in the wall and the anticipation of the free drink and the satisfaction upon receiving it.
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In this way the Carlsberg billboard is meeting the three immersive principles however it was a one-off experience that only people in the Brick Lane area got to interact with. This is a major theme of the immersive billboard; it is very difficult to roll it out across a wide area for a long stretch of time. This is due mostly to conflict between the narrative and agency elements. As soon as you spread out a purely immersive billboard campaign you risk an audience not witnessing enough story for the campaign to connect narratively and provide a satisfactory experience.
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With audience agency it is very expensive to spread this out across a large area for a long period of time, for example to give out free Carlsberg via billboards for a month across all of London would be hugely expensive. This limits the agency to a small audience.
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This limits cost effective agency to linking the visual to a digital format via a link or QR code or augmented reality filter but considering that the average person looks at a billboard for 1.5 seconds[27] agency in this format is unlikely to occur. Due to this we believe that whilst it is entirely possible to create an immersive billboard it isn’t possible to create an effective cost-effective immersive billboard campaign that can be rolled out across a large area.
[25]
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[2] Machon, J. 2019. The Punchdrunk Encyclopaedia. 1st edition, Routledge, Abingdon
[3] Machon, J. 2019. The Punchdrunk Encyclopaedia. 1st edition, Routledge, Abingdon
[4] Barden, P. 2013. DECODED. 1st edition. John Wiley & Sons, Chichester.
[5] Magnarelli, M [2018] The Next Marketing Skill You Need To Master: Touch [Online] Available at: https://www.forbes.com/sites/margaretmagnarelli/2018/09/14/haptic-marketing/#7dd5ee127a3f [Accessed 30th November 2019]
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[8] Parabolic [2018] Land of Nod [Online] Available at: https://www.parabolictheatre.com/land-of-nod [Accessed 20th August 2019]
[9] Fire hazard [unknown] citydash [Online] Available at: https://www.huntedexperience.co.uk/citydash [Accessed 20th October 2019]
[10] Parabolic [2018] For King and Country [Online] Available at: https://www.parabolictheatre.com/for-king-and-country [Accessed 25th October 2019]
[11] Keary, T [2019] Topics AI & Machine Learning [Online] Available at: https://www.information-age.com/nlp-natural-language-processing-123479054/ [Accessed 25th November 2019]
[12]Parabolic Theatre [2018] Bridge Command [Online] Available at: https://www.parabolictheatre.com/bridge-command [Accessed 19th November 2019]
[13] Gonfalonieri, A [2018] How Amazon Alexa work? Your guide to Natural Language Processing (AI) [Online] Available at: https://towardsdatascience.com/how-amazon-alexa-works-your-guide-to-natural-language-processing-ai-7506004709d3 [Accessed 25th November 2019]
[14] IMDb [2019] Black Mirror: Bandersnatch (2018) [Online] Available at: https://www.imdb.com/title/tt9495224/ [Accessed 23rd November 2019]
[15] McMullan, T [2014] The immersed audience: how theatre is taking its cue from video games [Online] Available at: https://www.theguardian.com/technology/2014/may/20/how-theatre-is-taking-its-cue-from-video-games [Accessed 15th October 2019]
[16] Machon, J. 2019. The Punchdrunk Encyclopaedia. 1st edition, Routledge, Abingdon
[17] Jordan, A. Rogers, D [2019] 5G will change the world - but who will keep it safe [Online] Available at: https://www.weforum.org/agenda/2019/09/5g-will-change-the-world-but-who-gets-to-write-the-rules/ [Accessed 19th September 2019]
[18] Hansford, K [2019] Why advertisers can’t afford to screw up 5G [Online] Available at: https://www.campaignlive.co.uk/article/why-advertisers-cant-afford-screw-5g/1593996 [Accessed 15th November 2019]
[19]Innovate UK [2018] Audience of The Future: The Challenges organisations face [Online] https://www.youtube.com/watch?time_continue=15&v=zf0ZQpFWe8Q [Accessed on October 16th 2019]
[20] Time Run [unknown] Sherlock the official live game [Online] Available at: https://www.thegameisnow.com/ [Accessed 10th November 2019]
[21] The Dreams of Gerontius [2016] Masquerade by Kit Williams: The Solution [Online] Available at: https://dreamsofgerontius.com/2016/10/05/masquerade-by-kit-williams-the-solution/ [Accessed 20th November 2019]
[22] Soloski, A [2018] The problem with immersive theatre: why actors need extra protection from sexual assault [Online] Available at: https://www.theguardian.com/stage/2018/feb/12/immersive-theatre-punchdrunk-sleep-no-more [Accessed 21st November 2019]
[23] Sharp, B. 2017. how brands grow what marketers don’t know. 8th edition, Oxford University Press, Melbourne
[24] Fromm, J [2019] Purpose Series: A Purpose – Driven Brand Is A Successful Brand [Online} Available at: https://www.forbes.com/sites/jefffromm/2019/01/16/purpose-series-a-purpose-driven-brand-is-a-successful-brand/#4f78b56b437d [Accessed 12th November 2019]
[25] Hinde, N [2015] Carlsberg Poster In Brick Lane Lets Passer By Pour Their Own Pint (Yes Really) [Online] Available at https://www.huffingtonpost.co.uk/2015/04/10/carlsberg-poster-free-beer-brick-lane-shoreditch_n_7039036.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAKANoY-67z1oR9w3wfE6ksyYI6S8P9thvqGwAO5n90xkUNjyk1F_Z9qNkP8n6FAbFWn6NAtrcDazgfMCIYMuc2Alp6q_t5x3RGIpiq-P7Yz4xFN21Ex5TlaeixXBOAkOKvegES0aEsPEE-Pw246hJjJoJuUEv0WiolcM3LPrWWTt [Accessed 2nd December 2019]​
[26] Joseph, S [2015] Carlsberg: ‘Free billboard poster is the first in year-long stunt drive’ [Onlince] Available at: https://www.thedrum.com/news/2015/04/08/carlsberg-free-billboard-poster-first-year-long-stunt-drive [Accessed October 10th 2019]
[27] Barden, P. 2013. DECODED. 1st edition. John Wiley & Sons, Chichester.