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Q&A: Ipsos Mori - July 2018 Seminar

During the Brains, Waves, and Automated Machines seminar (24th July 2018), attendees were able to submit their burning questions to the speakers. Not all questions could be answered during the seminar. We went back to the speakers for their reponses to some of the unanswered questions.

 

Speaker: Dr Pippa Bailey (Ipsos MORI)

In this article, Pippa from Ipsos Mori answers additional questions posed by members during the seminar, related to their talk titled, Can Shakespeare still shock in VR: Implications for Research and Beyond.

 

1. Did people miss the change to look at their friends and comment/react/smile? Is theatre not a social thing?

We did see that the theatre was more of a shared experience (two-thirds mention this) than cinema and VR.  However, what was interesting was that cinema was no more of a shared experience than VR – contrary perhaps to expectations.  The key difference between the experience in theatre versus cinema and the VR experience is that humour only really comes to life in theatre – and we hypothesise that this is due to the direct interplay between actors and audience. 

 

2. How did you factor in age, demographics and SEG when thinking about the differences between theatre, cinema and VR?

There was over-recruitment for each of the experiences and then the cells were balanced, as far as possible, in terms of age, gender, fitness and familiarity with the story of Titus (although none of the participants would have attended this specific performance of Titus beforehand).   

 

3. How can you tell if the emotional reaction means a good or a bad experience – or did you not need to for this project?  Are there ways to do this if needed?

In terms of the biometric response measure via Heart Rate we were just interested in the intensity of the emotional reaction across the performance rather than the specific positive or negative.  Under other research conditions we could use approaches such as facial coding to code negative and positive emotional response (although this would be difficult in the case of this specific project).  In the analysis of the verbatim feedback we tended to see that the language being used for both the theatre and VR was both more positive (e.g. awesome, amazing, incredible) and negative (e.g. terrifying, chilling, harrowing etc) than the cinema experience. 

 

Ipsos MORI

For more information, please contact Dr Pippa Bailey at Ipsos MORI.