is the knowledge-sharing platform for the 

. Explore the experiments and bold ideas behind the Academy's Fellowship programme, delve into the science behind the projects of our HIDA researchers, and explore the results of international collaborations.

is a platform for discovery and documentation. Each 

showcases a unique artistic-technological research project, with topics as diverse as the use of AI in theatrical design, choreography for and with robotics, and the possibilities for theatre in virtual spaces. Each 

 offers the chance to learn more about the members of our artistic research network. By pooling our knowledge in such a way, creative research into theatre, performance and digital technologies can become more accessible, sustainable, and artistically innovative.

Funded by the Federal Cultural Foundation, the Academy will award a total of 54 fellowships between 2019 and 2022, each lasting for five months. The 

 are designed for people interested in artistic-technical research which explores the possibilities for digital narratives in theatrical spaces, as well as their practical implementation. Fellows have researched a variety of digital methods (motion capture, coding, XR, VR, AR, sensor technologies, robotics, and more) across artistic fields including opera, dance, orchestra and drama. 

Helmholtz Information & Data Science Academy

(HIDA), the Academy for Theatre and Digitality has offered joint research fellowships at the interface of digital art and cutting edge scientific research since 2021. The HIDA fellowships are kindly supported by the 

PlayOn! New Storytelling With Immersive Technologies

 is a larger scale cooperation project, funded by Creative Europe, designed to understand, learn, test and apply immersive technology to theatre, in order to shift classical storytelling to interactive narrative formats.

Artificial Intelligence

VR (Virtual Reality)

Interactive

Sound Design

Projection/Mapping

3D Printing

XR (Extended Reality)

AV (Audiovisual Design)

Theater Dortmund
Theater Karree 1-3
44137 Dortmund
Germany
Fon: +49 (0) 231 226 14330

Address and location of the Academy for Theater and Digitality:
Speicherstrasse 17
44147 Dortmund
Germany

E-Mail: akademie@theater.digital
Web: theater.digital

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Management Team:

Executive Director
Tobias Ehinger

Administrative Director
Martin Lizan

Director of the Opera
Heribert Germeshausen

Director of the Ballet
Xin Peng Wang

General Music Director
Gabriel Feltz

Artistic Director of the Schauspiel
Julia Wissert

Director of the Children's and Youth Theater
Andreas Gruhn

Director of the Academy for Theatre and Digitality
Marcus Lobbes

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Fellowship

HIDA

PlayOn!

discover cutting-edge digital research in theatre and performance 
meet our research fellows and collaborators in the 

Portal: Academy for Theatre and Digitality

Christiane is working on a framework of how to prototype and evaluate social protocols and society building methods in play and theatre context with (inter)active audiences. Markus is curious about playing around/hacking different technologies. A shared interest that we figured out is smartwatches as social devices.

For interesting group interactions with smartwatches as devices (that do not require mobile phones), it would be interesting to have them interconnected, being able to sense (the distance and more) of each other, to measure the carrier's body-information (heart-rate, movement-pattern) and to be able to function as a communication device (with each other e.g. to push and receive game elements or to receive global push notifications).

Here are the specifications of the hardware we need:

how to organize subgroups (tribes) of an instant society in a way that their actions have meaningful impact and can be evaluated afterwards

how to prototype new kinds of social protocols with intuitive instructions/means

how to model a kind of “social sense” (to feel closeness and distance, to feel attention and aversion)

how to model abstract resources (as time) in an intuitive way

how to make the interface as intuitive as possible

build a network where the watches communicate with one another

build a server which saves game state and communicates with the smartwatches

2 x bangle.js *All the Espruinos!* edition

(Since some months we are watching the following watch  makers 

. Unfortunately through the outbreak of Corona the supply chain of the makers is interrupted, so we do not know if we can receive the devices (that were promised not before March 2020) in time. We started looking for alternatives now.)

a simple notebook which functions as a server

bluetooth hubs and maybe wiFi access points

Christiane Hütter

Markus Schubert

We like to see technology as possible space, or making possible space, for participatory processes. During this fellowship, we will use theatre as a living space for encounters, with the research questions: How can we construct society together? And how can we make this process visible for audiences? 
We want to develop a sustainable format for collaborative discourse, in which people can together experiment with different forms of organisation for society. This could start on a small scale, with a family, and can become quite big: How to organise a country?

******

Performance

Networked Objects

Sensors

2020

Besides the aesthetic implementation, we are interested in two main elements:

1. How can non-verbal communication between space (built from sound and scenography) and spectators imply a plot line or narrative?

2. How can the environment's own characteristics play a role, so that they can allow conclusions to be drawn about motivations and correlations? 

Jakob Lorenz

Stella Lennert

'PALIMPSEST' engages with virtual space as an interactive stage, and explores narration through interaction instead of representation. For this, the project takes theatrical literature as an anchor and combines it with elements of gaming. The dramatic texts act as a common ground, a guideline through unfamiliar virtual environments that follow strange rules. PALIMPSEST is experienced via VR goggles and headphones. 

PALIMPSEST

Drama

Stage Design

2022

Humane Methods (2019-present) is a project consisting of happenings and stage productions where dancetheatre, bio-art, interactive music, adaptive lighting, and AI technology integrate into living ecosystems. Each work in the series acts as a branch of a rhizome: each dives into different facets of the same theme and world. The works created so far – 

 (2020) and the forthcoming ΣXHALE (2021-) – combine in different ways performing arts with technology and the human with the non-human to reveal algorithmic violence through sensory, physical and ahuman strategies. It is an aesthetic research into how a synthesis of symbols, movement, music and AI can enable posthuman forms of empathy.

℧R is a solo performance for a body, AI algorithms, lights and the vibrational force of sound. 

Embodied in Donnarumma’s musical instrument XTH Sense, an interactive, machine learning algorithm transforms the inner sound of muscles, blood, and bones into a real-time choreography of movement, sounds and light. Drawing on Donnarumma’s more recent movement research, the piece combines multi-sensorial stimulation with human-computer interaction and somatic practices to test the seeming impossibilities of bodily articulation and repetition. 

℧R is a walk in the dark. A thin body walks while a dim light shines. A path covered in soil is between them. Gazeless, the figure walks and prays, walks and prays, walks and, entranced, pries into the darkness. Its red cloth sanctifies it. Its missing face alienates it. The walk is a loop, a prayer, an aggression, an annihilation and a transformation. An AI computer vision system watches over the body, attempting to distinguish the body from the ‘noise’ surrounding it. The AI wants to represents what it sees, but the system works against itself in a paradoxical loop; the more the algorithm learns to see, the brighter the light becomes. In the eyes of the algorithm, the body is eaten by the storm of light.

The latest chapter in the Humane Methods series is ΣXHALE (2021-). A poetic reflection on ethics in algorithmic societies, ΣXHALE is a procedural and participatory piece lasting several days.

It develops in loops, performed simultaneously by 6 performers* and an AI computer-vision system. As it watches the performers repeat a proto-prayer ritual, the AI learns their movements in the space and then begins searching for anomalies, something that deviates from what it expects to see. The learning process is accurately transformed in real time in music and lighting, influencing thus the events in the form of audiovisual stimuli. With each repetition, each variation and each anomaly, the loops mutate into stories of violence and empathy and the audience is asked to choose how they want to participate in these stories. The interaction between audience, performers and AI gives life to an endless sequence of micro-narratives.

AI in theatre and performance: Strategy & Questions

Technical Infrastructure

The Autoencoder

A Performing Machine

How To: Technological Infrastructure

Andrea Familari

Marco Donnarumma

Humane Methods (2019-present) is an ongoing project by Fronte Vacuo (Marco Donnarumma, Margherita Pevere, Andrea Familari) that reflects on the new forms of violence emerging in algorithmic societies. The technological research for ℧R and ΣXHALE have been conducted at the Academy for Theater and Digitality and this page describes our research questions, workflow and findings in relation to these projects. Please note that this page does not discuss the theatre pieces we created in their entirety, but focuses only on the technological research that underpins those pieces. For further information about the aesthetic, conceptual and dramaturgical research behind these works please visit our website.

Humane Methods

Lighting Design

The human being is not generally thought of as a staple food source.
Observing the anatomy and skeleton, one can see that the animal is neither built nor bred for its meat, and as such will not provide nearly as much flesh as a pig or cow.
The large central pelvis and broad shoulder blades also interfere with achieving perfect cuts.
There are advantages to this however, especially due to the fact that the typical specimen will weigh between 100-200 pounds, easily manipulated by one person with sufficient leverage. 

'Butchering the Human Carcass for Human Consumption'

In March 2001, 39yo German IT professional FRANKY and 43yo German engineer CATOR made an appointment on the internet. After meeting at Kassel main station for the first time in “reality” after their extensive online communication, FRANKY drove the two men to his house, where he cut off CATOR’s penis - which proved too chewy for the both of them to eat -, proceeded to kill him with a stab to the throat and then stored the pieces of meat from CATOR’s cut-up body in the freezer. Both had previously agreed to this, for while FRANKY longed to fully internalize another human being by eating it, CATOR wished to be fully disintegrated and disappear. The two men recorded parts of their meeting, wherein they were constantly forced to synchronize their quite different imaginations of the encounter with the reality of their shared physical and social situation.

15 years later, Taiwanese electronics producer HTC cooperated with US company Valve for launching a virtual reality headset they had christened “Vive”. Together with similar products, it marked the beginning of a slow mainstreaming of VR applications - a technology long envisioned with a moniker first coined by French playwright Antonin Artaud, the proponent of a “theatre of cruelty”. The “Vive” headset enabled its users to move in a small space within a computer-generated surrounding and interact with it. VR experiences proved to be highly immersive - and for many people at first physically quite disorienting, because they entailed being present in two realities at the same time. The headset was originally meant to be called “reVive” - but the name was changed before it hit the market; the notion of a new wondrous device transcending death or mortality thus obscured.

Subject Matter: Interviews, Autonarrations, Artistic Production

“Virtually incomprehensible - but he was happy, sitting there in his own blood.” In an interview, FRANKY thus comments on the sight of castrated CASTOR sitting in his bath tub. The desire for understanding, imaginations of fulfilment and redemption and their conflict with reality are recurring themes of the Rotenburg cannibal case. “Whatever you imagine, in reality it is basically always different,” says FRANKY later in the same interview, formulating a core experience of artistic work - only to dismiss it at once, chastened by his own experience: “Why should I do something, knowing it will never be like I imagined?”

Interviews and autonarrations by FRANKY form part of this project’s material as well as protocols of chat conversations by the two involved. Research also covers cases of other confirmed sexual cannibals (Jeffrey Dahmer, Issei Sagawa, Arthur Shawcross, Albert Fish…) as well as an extensive collection of images, videos and writings by people from the internet community of cannibalism fetishists - i.e. the artistic production of the scene itself. Here, not the shock value - the 

 - is of interest, but rather the genre’s recurrent figurations and formal rules. What are the conventions for depicting the not only unconventional, but outright taboo? An additional testament to the fundamental discrepancy between imagination and reality are documents of the thousands-of-years-long history of insinuations and mise-en-scènes of cannibalistic desire, which 

: From Saturn’s cruelty and St. Erasmus’ suffering, collective colonialist projections on the “other” and the monistic ecstasy of Kleist’s Penthesilea to Hannibal Lecter’s unsettling pop appeal. These may also hint at the function of said discrepancy.

The question remains: Why imagine something, knowing I will never fully understand it?

Working with “cases” that are in one way or the other “radical” or “extreme” is always in danger of giving in to sensationalism in representation and deprecation, belittling or denial in reception. Not surprisingly, the cannibalism case of 2001 has already undergone wholesale journalistic and artistic processing - not least, it inspired numerous films and theatre plays. Its spectacular value has been cannibalised for good. Unlike real flesh though, memories and fantasies are not destroyed through consumption. Today, rather will they be externalized digitally and reproduced forever.

The subject matter of sexual cannibalism is especially suited for performative VR application because it reformulates fundamental problems of the medium itself: the experience of being physically absent and present simultaneously, the relationship of a technologized world (both men came from technical professions) to the “flesh” we inhabit this world with, not least the desire for encounter and singular experience that is not only the basis of 

 performance and of the arts’ hunger for transgression, but for so many of today’s practices and services. VR as a medium - and XR/MR as its follow-up - performs such transgression by first and foremost creating the experience of being alive and present with one body in two distinct spaces at once - the “virtual” and the “real”. It is a lucid challenge for our consciousness, comparable to the first cinematic experiments - and a challenge for theatre, too.

The fellowship time will be used for research and technical try-outs regarding the setting, 3D visualization und interaction of the planned piece. Self-education on Unity 3D's shader graph, re-creating the physical performance space in VR & avatar creation and live control will also be part of the work. In the unlikely case of a global pandemic interfering with schedules, efforts will be made to boil down plans in a way so as to still achieve a presentable outline of the project involving VR elements.

Development will focus on cable connected higher end consumer HMDs, specifically on HTC Vive / Steam VR. Besides a Vive/Vive Pro headset with base stations and controllers, at least two Vive trackers will be part of the setup (more if used for performer body mocap). Wireless microphones for performer(s) and a computer being able to run the VR elements are also necessary.

The piece will reproduce a model of the actual physical performance space in VR, so knowledge of it and development time to produce the appropriate design beforehand as well as enough setup time to ensure correct alignment of virtual and real space are necessary.

As of now development aims for a ca. 30 minute 1-on-1 performance alternating between real and virtual space in the course of its narration.

Arne Vogelgesang

A guided, interactive VR performance which explores transgression, sensationalism and spectacle through the subject matter of sexual cannibalism. This topic is especially suited for performative VR application because it reformulates fundamental problems of the medium itself: the experience of being physically absent and present simultaneously, the relationship of a technologized world to the "flesh" we inhabit this world with, and the desire for encounter and singular experience that is the basis of one-to-one performance and of the arts' hunger for transgression. It is a lucid challenge for our consciousness, comparable to the first cinematic experiments - and a challenge for theatre, too. 

New Flesh

Avatars

Motion Capture/Tracking

The main question was how to integrate an immersive digital tool into a production. Our focus was to find a strong connection between the technology used in the production and the theme of the performance.

In our performance, we used a special voting application. The audience had the opportunity to influence the course of the events on stage and the fate of individual characters in the performance.

How did the collaborators work together on this project?

At the start, we have created working groups. Since Kolibri Theatre was interested in working with a voting app in their production (Traitor), too, we started to discover the possibilities together with them. Kolibri Theatre had involved Ben Kirman from the University of York as an expert, who had worked before on a similar app (O Bando: Football) that allowed the audience members to vote during the show. At one point in the preparation phase, we decided to use an existing voting app (reaction.link), but Kolibri Theatre continued working with Ben Kirman, who, in the end, created the app for the production from scratch.

In the following months, we worked on the script and the app parallel developing them together.

1. How do we make actually believe they affect the plot and convince them it‘s not fake?

2.We have 340 seats. How do we handle a system this size. How do we handle errors or equal results of voting? We don‘t want people to only be passive observers, we want to drag them into a narrative. How?

Did you use existing software and/or applications?

We haven’t used any existing software; it was all developed by Ben Kirman (University of York) and by reaction.link and customized to our needs.

Did any of your questions or goals change?

The awareness that the performance is to be addressed especially to young audiences was with us from the very beginning. It also directly influenced the decision to think of the audience as an active participant, a member of the Ministry of Love community. Their vote cast through the use of the voting application allows the audience to feel their active role and real impact on the shape and development of the story being told, even when in the end, it turns out that in a totalitarian world the choice is a false one, and everyone - the artists, viewers, art, science and technology, become victims of an authoritarian manipulation, while also showing how totalitarian power works.

What were the key milestones in the development of the production?

In our opinion, it is extremely important that the dramatic material we use responds to the current problems of the young viewer.

Before the production process, we organized focus groups of young people, who were our experts in the selection of topics, texts, and artistic media. It was extremely important for them to have a genuine impact on the course of creative processes.

The performance, dedicated especially to young audiences, is a warning against the tendencies that we may notice in the modern world.

This applies primarily to social and political tendencies, but also to the use of science, education, new technologies, as well as various manipulation techniques aiming to achieve the goals intended by those in power. In this respect, the performance presents the fears of totalitarian tendencies present in the contemporary world.

In what ways was the production a success?

The critical reception of the production is very positive, and interest for the production is more extensive than what the theatre has expected. But our major success is that the production can provoke our young audiences and lead to fruitful discussions about responsibility, decision-making, dangers of manipulation.

What elements of the final production would you change?

We think the production focuses too much on its content and details. We think the audience should more feel actually make an influence the plot and have really an active role in it shaping and development

What advice would you give to artists taking a similar approach?

Give yourself more time to work on the software and find the right balance and more strong connections between the usage of technology and between the content of the production, the software should be an internal part of the plot‘s development not only a kind of a tool.

Is the coding for this project open source? What language was used, what is the function of this code, and where can we find it?

The coding is not open source; it is entirely reaction.link

Team

Interaction Design Studio Head, Academy of Fine Arts Krakow

Kamil Kamysz

Ben Kirman

Piotr Froń

Katarzyna Minkowska

Based on George Orwell's dystopic novel, in which the individual is deprived of freedom in every possible way, this performance - dedicated especially to young audiences - is a warning against totalitarian tendencies we may notice in the modern world. Through the use of a special voting application, the audience had the opportunity to influence the course of the events on stage and the fate of individual characters in the performance.
___________________________________________________________
A Teatr Ludowy production as part of the Creative Europe project PlayOn! in collaboration with Kolibri Theatre and the University of York

1984: Ministry of Love

App/UI Design

How can we (as a field) make a dance in a virtual environment so that the audience “feels” the presence of the digital body?

What is needed for the audience to find new aesthetics when dance is mediated with digital environments like VR headsets?

, which explores the performative possibilities of VR/XR technologies through dance. It questions the concept of a 'stage' when dance occurs simultaneously upon hybrid stages (for instance, in both virtual and physical realities) and asks: how can this kind of content be shared with an audience?

 Virtual reality creates an experience where introspection can be achieved. This opens up possibilities for somatic and other movement practices. Working with the body and technology presents the opportunity to explore rigid computer systems through an ontological approach (praxis/doing), and to explore the medium's own possibilities. Often, dancers who work with technology forget their own embodied language (the 'why/how') and get confused and carried away by the pragmatic reality of technology, focusing instead on the content (the 'what'). They forget their own embodied power. The result is a superfluous object.

To tackle this I propose a praxis which privileges the process over the result. I work with avatars and sigils as a ritual practice with a non-anthropocentric approach, and the key aspect is to shift the focus in choreographic strategies. Instead of asking "what to 

This project continues my research into dance in VR that started in 2022 at 

Motion Bank - University of Applied sciences Mainz

 (Project originally founded by choreographer William Forsythe). 

Using a markerless motion capture system I created, I explored and documented simple visual representations of the body (avatars) in VR. 

. I achieved this using a non-anthropocentric approach. In the documentation it was important to use an inclusive, clear language that addressed both dancers and technologists. In the 1st cycle at Motion Bank, the focus was on the dancer.

In the 2nd cycle at the Academy I want to add a layer where I introduce the stage, thus exploring the relation between audience and dancer.

The new performance rather offers different entry points to the audience so that every audience member can have a different interpretation. Nevertheless, the core of the performance remains the same; we investigate a theatrical narrative while having virtual reality as an actor at the center of the stage. In the first performance, we used a linear narrative around VR to convey how we conduct a research. In the second performance, we used a less rigid structure, namely structured improvisation, to show how we develop a performance. It can be seen as a making-of where Jorge runs around the stage and prepares each technical element for a “real” performance although there is no such a “real” performance that comes out of the making-of.

Though our intention is to show behind-the-scenes of developing a VR-performance, we do not want to limit the scope to “struggle of working with technology in theater” because this theme may be too specific in the industry. We try to add embodied elements and add breaks in between to show humanness of a theater maker. The audience can relate this process to everyday technology such as smartphones, smart devices and potentially VR headsets, which are becoming a commodity.

For the overall structure, we divided the performance into small skits so that each skit features one element (e.g, video of eyes, VR meditation app). As a structure, we might think it follows an idea of Fluxus or it is minimalist; nonetheless, in the actual performance, we see that each element is not separable from each other and we can notice the interconnection between the selected element and other actors on the stage that are not mentioned (Jorge’s body, desk, floor, …). This is because working with technology is inherently a complex process.

Between Information and Noise :: a Practice on dance and VR

: To explore different perceptions of realities when dance happens within Hybrid stages - (VR and on-site)

Missing conceptual context to apply technical tools.

The natural empathic and embodied relation between dancer audience is partially lost when using VR headsets. This research aims to help the audience to find new aesthetics (

mediated experience of time created between the artwork, the artist, the interface and the audience

), to find engagement, new meanings and purpose when dance is mediated with digital environments like VR headsets In hope to 

create a visceral sense of unfolding or revelation, but also a feeling of immediacy and loss.

Exercises on subjective perception of time and space. The aim with this series of videos is in questioning, What is happening in real time.

. An action of a person drinking water (action 1) is recorded with 2 different camera perspectives. A setup in OBS is set to switch between 3 different perspectives of the camera; the 2 recordings and a 3rd live feed. A person comes into the space. There is a projection that switches between the 3 perspectives while a person is in the space doing the action of drinking water. This action is recorded. 


Sigil

Pathfinder

Choreographer, Media and Interaction Designer, Researcher

Jorge Guevara

The natural empathic-embodied relation between dancer - audience is partially lost when using VR headsets. This research aims to help the audience to find new aesthetics, new engagement, new meanings and purpose when dance is mediated with digital environments. Through two live performances, I created a visceral sense of unfolding or revelation, but also a feeling of immediacy and loss. 


Sigil :: bringing the inner world out

2023

Dance

Choreography

What happens to the narrative when dissolving the singularity of virtual reality?

How do group dynamics work in a virtual environment?

One technician to run the show (could be the same person)

A mark to help with calibration (optional)

We have setup our working area. Find the first steps we want to make with the VR - APP. Creating the pitch and looking for the best words for the pitch, which took longer than expected.

create first prototyp of the calibration App for the Oculus - so far with haptic controller

setup network environment for communication between the headsets

Research IP fragmentation - alternative to UDP → Protocol Buffer (Google OpenSource) - check out repro

We discussed the form of the R. - we want to focus on women's perspectives on the Fall of the Berlin Wall, maybe also the difference between GDR and FRG women. We prepared a timeline for the 09.11.1989. Started contacting “Stiftung Berliner Mauer” for contempary witnesses - will get feedback asap. Prepared the Berlin Trip for the next week.

Setup Unity Project for calibration - we are nearly ready with the basic programming. We only have the read/writer yet to solve, permissions/possibilities for apk /android.

Visual research of “digital humans” without uncanny valley effect…

Learned how to use the 3d printer. Started playing with a webcrawler module.

Wrote an abstract and worked on a concrete structure for the narrative - discussing this with the dramaturg. 

Visual research and finding best workflow between Unity/Blender/Substance/Photoshop […]

Testing the VR app on the oculus quest, and find a positional deviation from 5 to 10 cm. Solution: physical point, there you could dock with the headset - start model a negative of the VR Glass and make a test print. Now we waiting that the laser cutter gets safe and we could use this.

First UDP Test failed, the lack of data transport is huge, we have to find another API. Opportunities could be:

DOTS Netcode System from Unity, very new, maybe buggy, the complete object orientaded version have to change

UNET High Lever API / Low Level API, good documentation, many examples, in some months outdated

manage the UDP package design by yourself

We went to Berlin and we're now well informed about the history of the wall. Impressive was the huge 180 degree Panorama from Asisi, a hyper realistic picture, where you stand above the wall and see East and West.

considered steering more to embodiment less reenectment of Fall of Berlin Wall

figuring out the maths of boundary point calibration

more research in unity audio, accessing quest mic and effecting things with inpu

The backend of the network is now dynamic and react on user count, that you decide in the calibration app

Clean up the Code, make remarks for better reading (also for other people)

move to Hamburg because of covid-19 find a solution for the situation, we want to create an tool with many people thats not the best experience in times of corona..

Create the Design of the User Interface (UI) for the Calibration App, now you can choose how many people would join the VR Performance and some other things

beginn to discover Substance Painter, to generate textures, normal maps, heightmaps etc.. - get into PBR Shading for mobile

get an Mirror Shader for Android/mobile/VR Glasses (have to test it this week extremly)

got deeper into audio stuff, find out that the normal Unity Audio API have some delay.. maybe switch them - tbc.

get deeper into Inverse Kinematics for animation - we want to get the hand tracking combine with our avatars tbc.

Research Blog

This is a tool to dissolve the singularity of virtual reality. It has two components. The first one is an app that helps calibrate and connect multiple virtual reality headsets of a constrained physical area to a shared virtual environment. The second one is a supportive software for managing and monitoring of the devices used.

RESEARCH PLATFORM

Academy for Theatre and Digitality

multiVRse

Alexander Nham Gloria Schulz

VR (Virtual Reality)App/UI Design Narrative Design 2020
completedFellowship

Research Questions

Personnel needed

Equipment needed

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