Physiological technology will map the interactions such as breath, heartrate/pulse, Galvanic Skin Response (GSR)or nervousness, and movement and will send out haptic responses to various stimuli from vibration, sound, heat or cold, tightness / squeeze (or not) on top of a vast array of visual input from the ER. To explore participatory engagement we will combine our research approaches:
1) Tactile & Sensory engagement - Working with Ravensbourne, Mr Christison, Prof Rogers, the Pi and Independent Research/ Lead artist will develop the narrative environments to stimulates participant audiences’ other senses, other than sight and sound, but proprioceptive, tactile/haptic, while triggering the emotional, empathic and senses of social responsibility. One design setup will involve turning audience groups into supportive partners, who guide each other's movement, sensory perception and and interaction.
2) Visceral and Emotional engagement
The project explores the transformative power to communicate through narrative and performance of evolving situations in a mode that emphasises creative participation. It explores how performance can motivate and inspire communities into creative collaborative action. It provides a series of group (or individuals) challenges that demand team action for participants to survive and save others within the simulated scenarios, followed by further actions that require them to make more lasting concrete change in the real world and their own lives.
Working with Ravensbourne’s Learning Technology Research Centre (LTRC) directed by Carl Smith the project will develop methods for audiences to experience extreme events around the planet – emotionally, viscerally, and physically in simulated environment/scenario (i.e. environmental disasters, and extreme weather events, but also spiritual and beautiful), and ones that require them to be creative and work together to build/design possible real-world solutions to real-world problems with a positive impact.
The vision is to throw participants into extreme situations with others challenging them to experience simulated, but near-to-“real life” realism of, life-threatening climate change events (weather catastrophes). These simulations are intended to rattle the body and the sense of mortality, shocking participants in action, but also showing them how to prevent or mitigate these events (as much as is possible at this late stage) through community action and individual motivation. Involving mixed reality, VR/AR, theatre/actors, outdoor and indoor spaces, and wearable haptic costumes.
The environments and narrative situation participants experience would include, for example: a wildly out-of-control forest fire encroaching on a house or the house itself catching fire while people are still inside and narrowly escape, but lose everything important to them (possibly even a loved pet or family member). Another scenario might be: being in a ferocious hurricane like Katrina, Sandy or Irma with extreme winds and flooding they are trying to escape, or typhoon or earthquake, etc.
Each performance iteration will explore ways to present realistic and terrifying climate change environments and contexts, using the available and emerging ER technology combined with Immersive theatre to fully engage audiences, developing narrative missions that require users/audiences to take action to make drastic changes to save lives of characters within the simulated worlds, and to change their own attitudes in the real world – to mobilise them into action.
3) Participatory Performance & Narrative Dimension
Focus will be on non-linear narrative constructs and interactive storytelling across media streams. VR allows integrating in performance issues that were simply part of post-human, experimental art or one on one culture: now physical, aural and sensory/haptic interface/costume design and modelling, participatory performance techniques in mixed reality or pervasive media environments, as well as different modes of interaction within these contexts. Narratives explored will include highly personal and emotional first-person perspective on what it is to live as part of the human community. Not so much a one day on earth, but through mixing scenes that open the realities of losing everything to extreme climate events (fire, flood, Tsunami, famine, war, etc.), as well as probable outcomes of poverty, being a refugee, being unemployed, having a mental illness or other social concerns that require empathy and a fully experiential development of being in this crisis together.
Research Question(s)
In a sense we are now inside a participatory and truly epic unfolding drama: the global climate crisis.  
● How might artists and performance practitioners enable and develop the values in others in order that they act on their values - connecting people to similar values, cultivating responsibility and enabling them toward a common goal -- common goals and common values (around environmental stewardship?  Can performance inspire communities of creative collective action?
● How might artists and performance practitioners embrace emerging technologies to act on and assist their audiences to act this moment of structural crisis, creatively?
● How can immersive performance utilise data about the climate crisis within the performance space and online to develop new streams of communication?
Aims and Objectives
To create methods  for enabling / facilitating capability and self responsibility within citizens toward stewardship for the environment; using participatory/interactive performance techniques and contexts, to create immersive visceral experiences that transcend specific tools (VR/AR/MR/ER, wearable / haptic tech) and types of audiences / users to instigate transformative change and real action.