Detalhes do Documento

La performance Social Media 2: Line propone una forma innovadora de registrar y vivir obras performativas mediante vídeo 360, pasando de la observación frontal tradicional a una experiencia en la que el espectador elige hacia dónde mirar y se convierte en un observador activo desde el ordenador, móvil o gafas de realidad virtual. Inspirada en autores como Michel de Certeau, Tim Ingold y en la coreografía Passage for Par de Rosemary Lee, la pieza reflexiona sobre los comportamientos en redes sociales y reinterpreta el acto de caminar como un dibujo vivo en el espacio. La obra se inscribe en el campo del dibujo performativo y en una renovación de las metodologías visuales, donde las imágenes esféricas e interactivas permiten explorar dimensiones corporales, espaciales y afectivas difíciles de captar con el registro audiovisual frontal. Un estudio con 70 estudiantes evaluó la experiencia de usuario en tres modos de visualización (PC, móvil y gafas de realidad virtual Oculus), mostrando que el aumento del grado de inmersión mejora presencia, inmersión, fluidez, disfrute y adopción tecnológica. En este contexto, el móvil aparece como una opción equilibrada para el uso habitual en el aula, mientras que la versión inmersiva con Oculus maximiza la potencia expresiva y emocional de la obra, aunque requiere controlar la duración de las sesiones para evitar cansancio y malestar en los estudiantes más sensibles.

The performance Social Media 2: Line proposes an innovative way of recording and experiencing performative works through 360 video, shifting from traditional frontal observation to an experience in which the viewer chooses where to look and becomes an active observer using a computer, mobile phone or virtual reality headset. Inspired by authors such as Michel de Certeau and Tim Ingold, as well as by Rosemary Lee’s choreography Passage for Par, the piece reflects on social media behaviors and reinterprets the act of walking as a living drawing in space. The work is framed within the field of performative drawing and within a renewal of visual methodologies, in which spherical and interactive images make it possible to explore bodily, spatial and affective dimensions that are difficult to grasp through conventional frontal audiovisual recording. A study with 70 students evaluated user experience in three viewing modes (PC, mobile phone and Oculus virtual reality headset), showing that higher levels of immersion enhance presence, immersion, flow, enjoyment and technology adoption. In this context, the mobile phone emerges as a balanced option for regular classroom use, while the immersive Oculus version maximizes the expressive and emotional power of the piece, although it requires controlling session duration to avoid fatigue and discomfort in the most sensitive students.

The performance Social Media 2: Line proposes an innovative way of recording and experiencing performative works through 360 video, shifting from traditional frontal observation to an experience in which the viewer chooses where to look and becomes an active observer using a computer, mobile phone or virtual reality headset. Inspired by authors such as Michel de Certeau and Tim Ingold, as well as by Rosemary Lee’s choreography Passage for Par, the piece reflects on social media behaviors and reinterprets the act of walking as a living drawing in space. The work is framed within the field of performative drawing and within a renewal of visual methodologies, in which spherical and interactive images make it possible to explore bodily, spatial and affective dimensions that are difficult to grasp through conventional frontal audiovisual recording. A study with 70 students evaluated user experience in three viewing modes (PC, mobile phone and Oculus virtual reality headset), showing that higher levels of immersion enhance presence, immersion, flow, enjoyment and technology adoption. In this context, the mobile phone emerges as a balanced option for regular classroom use, while the immersive Oculus version maximizes the expressive and emotional power of the piece, although it requires controlling session duration to avoid fatigue and discomfort in the most sensitive students.

The performance Social Media 2: Line proposes an innovative way of recording and experiencing performative works through 360 video, shifting from traditional frontal observation to an experience in which the viewer chooses where to look and becomes an active observer using a computer, mobile phone or virtual reality headset. Inspired by authors such as Michel de Certeau and Tim Ingold, as well as by Rosemary Lee’s choreography Passage for Par, the piece reflects on social media behaviors and reinterprets the act of walking as a living drawing in space. The work is framed within the field of performative drawing and within a renewal of visual methodologies, in which spherical and interactive images make it possible to explore bodily, spatial and affective dimensions that are difficult to grasp through conventional frontal audiovisual recording. A study with 70 students evaluated user experience in three viewing modes (PC, mobile phone and Oculus virtual reality headset), showing that higher levels of immersion enhance presence, immersion, flow, enjoyment and technology adoption. In this context, the mobile phone emerges as a balanced option for regular classroom use, while the immersive Oculus version maximizes the expressive and emotional power of the piece, although it requires controlling session duration to avoid fatigue and discomfort in the most sensitive students.