Chapter 2: Crossing the (Distanced) Digital Divide: Games, Art and Immersive Engagement

Building on the forms of immersion in computer games, this chapter argues that games, whether played alone or with others, require a level of engagement equal to that of immersive artworks. Drawing on concepts from Ernest Adams, Staffan Björk and Jussi Holopainen, the chapter explores how games and digital worlds engage and immerse the viewer through sensory-motoric, cognitive, emotional and spatial elements. These digital spaces position the audience as both participants and co-creators, similar to immersive art forms dating from the 1950s and 1960s, where the shift from passive spectator to active participant, as seen in the works of Allan Kaprow and the Light and Space Movement, is mirrored in contemporary digital practices. This chapter examines how digital tools and new thinking enable unique opportunities for representation, display, engagement and interpretation, where the concept of an expanded narrative, incorporating active spaces and cross-disciplinary collaboration, is crucial for contemporary digital and new media practice. This chapter explores the intersection of art and VR gaming, using Half-Life: Alyx as a case study to demonstrate immersive engagement. Highlighting the impact of the COVID-19 pandemic, this chapter also discusses how cultural and heritage institutions have adopted technology to engage remote audiences. By linking research with practical examples, the chapter illustrates how VR and gaming push the boundaries of immersive experiences, creating novel opportunities for audience interaction and engagement.