II. Zip-Scene Conference on Analogue and Digital Immersive Spaces

Proposed dates:

10-12 November, 2019


Moholy-Nagy University of Art and Design, Budapest, Hungary


Interactive Narratives – the Future of Storytelling and Immersion in mixed reality mediums and performing arts

New digital tools provide novel opportunities for interactive digital narratives (IDN) in mixed reality environments, performance art and analogue immersive spaces. But does this mean that we can tell existing stories in a better way in these environments? Or should we change our way of thinking about how we perceive our world in order to create more comprehensive narrative experiences? In a recent keynote (ICIDS 2018 conference) Janet H. Murray – author of the groundbreaking volume Hamlet on Holodeck – the Future of Narrative in Cyberspace (1997/2016), reminds us that “a kaleidoscopic habit of thinking” can help us “envision a more integrated transformational future” and “open up the possibility of expanding our understanding of the world and our cognitive capacity” (Murray, 2018:17). To better grasp the complexity of the world, it is important to enhance emerging artistic practices in order to create opportunities for critical reflection while acknowledging the changed relationship between creators and audiences turned participants/prosumers/experiencers.

This conference aims to investigate whether XR/extended reality (VR/AR/MR) works will acquire a status comparable to film, performing arts and video games in the near future. On this basis, we are looking forward to papers that address narrative experiences enabled by XR and especially VR technologies. Papers should address either one or several of the following questions:

  • What kind of narratives can be used to create possibility spaces in such immersive productions?
  • How much engagement with and control over the narrative path is desirable for the audience turned participants?
  • What design strategies can guide these participatory experiences: for example, live performers, orchestrators, and set designers using the sensorium of New Horror (see Ndalianis, 2012) or somaesthetic design concepts (see Höök, 2018) to create novel forms of immersion in these environments?
  • What kind of design strategies can we use to provide a satisfying level of agency to participant audiences and provide opportunities for co-creation?
  • What is the current status of interactive digital narrative experiences, have they completed their evolution from being media of attraction (see Rouse, 2016) or there is still a long way for them to go in order to find the right direction?
  • What can we learn from a comparison of site-specific live arts productions with those of VR projects?
  • How can we explore free-form play and rule-based gaming as different types of performances within mixed-reality theatre and immersive theatre?

In addition, we want to challenge established storytelling strategies and instead more thoroughly analyze ways of creating engaging experiences:

  • What kind of principles of video game design do XR productions make use of (e.g. puzzle dependency charts and plot-shaped level design - see Short, 2019)?
  • What design strategies createed the experience of full immersivity and presence for their users-turned-participants (see 2018/4 issue of the journal of Performance Arts and Digital Media).

Further developing Murray’s perspective on the ‘kaleidoscopic habit’, we expect presentations that engage with the practice of transdisciplinary creators to adapt video game mechanics, various sensorium settings and interactive narrative design strategies in order to create fully immersive environments. Possible analyzes can be on topics such as overall aesthetics authorial affordances, design principles and conventions (Koenitz et al, 2018) as well as the audience’s experience (especially engagement and empowering mechanisms) and, last but not least, as interactive narratives. Some possible perspectives include Murray’s affordances and aesthetic qualities of the digital medium, Bogost’s procedural rhetoric, Kwastek’s “aesthetics of interactivity”, somaesthetic design concepts (Höök), guiding strategies based on New Horror’s sensorium (Ndalianis, 2012) the trajectories offered by them (based on Benford-Giannachi’s concept) and interactive narrative systems (Koenitz, 2015).

Conference themes:

  • Interactive storytelling methods
  • Interactive videos
  • Video games
  • Location-based technology (with augmented reality)
  • Virtual reality experiences&movies
  • Augmented reality in interactive storytelling
  • Games-based performing arts practices using new technology tools
  • Interactive Museum
  • Immersive environments (media archeology and phenomenological approach)
  • Transmedia storytelling

Proposals may be for a paper or a panel and should be related to at least one of the conference themes. Deadline for submitting the proposals is June 17 July 1, 2019. Please send us your abstract (max 350 words) and a short bio (max. 300 words) to the address: zipscene@mome.hu and please in CC: bakk@mome.hu. The papers will be reviewed by the conference committee. If your proposal will be accepted you will be given 20 minutes for your presentation.

Registration fee: EUR 50

The organizers cannot cover travel, accommodation and lodging costs. Upon request we can provide you invitation letter.

For Whom

The conference addresses scientific researchers, game professionals, programmers, artists, scholars and professionals from the field of performing arts, game studies, interactive storytellers, experience designers, narrative designers, VR-professionals and philosophers concerned with the conference topics. The conference aims to bring together emerging scholars, professionals and creators in order to create a joint platform which would later help individuals to understand and to develop these types of productions.

Regional relevance:

Besides the lack of financial sources especially in Central Eastern Europe, the artists who are willing to use new technology tools in a coherent manner can’t find partners from the region as there is no platform for them. The conference will bring together artists & researchers based in the region forum and we plan to form pilot projects amongst the participants and create new regional collaborations. We also want to create a regional lobby in cultural policy for this type of performance art. The Moholy-Nagy University of Art and Design Budapest can offer a lively context for a conference that gathers professionals from different fields and will further enrich the event’s program by presenting researchers from the university’s curriculum.

Organised by:

Moholy-Nagy University of Art and Design Budapest

Strategic partner:

  1. Sapientia Hungarian University of Transylvania, Department of Film, Photography and Media
  2. Code and Soda Company codeandsoda.com
  3. Random Error Studio randomerror.studio
  4. Verzio Human Rights Documentary Film Festival www.verzio.org

Supported by:

National Cultural Fund (NKA), International Visegrad Fund, Wacław Felczak Foundation

Consultant on behalf of ARDIN:

Hartmut Koenitz


Benford S.& Giannachi, G. Performing Mixed Reality. 2011, MIT Press, Massachusetts

Bogost, I. (2007). Persuasive Games: The Expressive Power of Videogames. Cambridge, MA: The MIT Press.

Höök, K. (2018). Designing with the Body. Cambridge MA, MIT Press

Koenitz, H. (2015). Towards a Specific Theory of Interactive Digital Narrative. In H. Koenitz, G. Ferri, M. Haahr, D. Sezen, & T. I. Sezen (Eds.), Interactive Digital Narrative (pp. 91–105). New York: Routledge.

Koenitz, H., Roth, C., Dubbelman, T., & Knoller, N. (2018). Interactive Narrative Design beyond the Secret Art Status: A Method to Verify Design Conventions for Interactive Narrative. Materialities of Literature, 6(1), 107–119.

Kwastek, K. (2013) Aesthetic of Interaction in Digital Art, MIT Press, Cambridge-London

Murray, J. Research into Interactive Digital Narrative: A Kaleidoscopic View. In: Rouse R., Koenitz H., Haahr M. (eds) Interactive Storytelling. ICIDS 2017. Lecture Notes in Computer Science, vol. 11318. Springer, Cham, 2018. 17

Murray, J. (1998/2016 (new edition)). Hamlet on the Holodeck: The Future of Narrative in Cyberspace. Cambridge: The MIT Press.

Ndalianis, A. (2012). The Horror Sensorium. Media and the Senses. Jefferson, McFarland&Company

Rouse, R. (2016). Media of attraction: a media archeology approach to panoramas, kinematography, mixed reality and beyond. In: Nack, F., Gordon, A.S. (eds.) ICIDS 2016. LNCS, vol. 10045, Springer, Cham, 97–107.

Short, E. (2019) Mailbag: Self-Training in Narrative Design. https://emshort.blog/2019/01/08/mailbag-self-training-in-narrative-design/?fbclid=IwAR2PgubIPnP69Pw-1UyBkBqlyh1_D2SxfGmDtnIiuk1rDITSQEAnVmiE9Js. Accessed 19 April 2019.


Rebecca Rouse (USA)

Assistant Professor, Rensselaer Polytechnic Institute (Troy, NY)

10 November

Rebecca Rouse is an Assistant Professor in the Department of the Arts at Rensselaer Polytechnic Institute (Troy, NY). Rouse is a core faculty member in the Games and Simulation Arts and Sciences (GSAS) program, and a member of the Emergent Reality Lab (ERL). In January 2020, Rouse will join the faculty at University of Skövde, Sweden in January 2020 as a Senior Lecturer in Media Arts, Aesthetics, and Narration in the School of Informatics, in the Media, Technology, and Culture research group.

Rouse holds a PhD in Digital Media from the Georgia Institute of Technology (Atlanta, GA), an MA in Communication & Culture from the joint program at York University and Ryerson University (Toronto, Canada), and a BA in Theatre Studies and German Studies from Brown University (Providence, RI).

With over a decade of experience working with Augmented Reality (AR) and other interactive media, Rouse’s research focuses on theoretical, critical, and design production work with storytelling for new technologies. Rouse designs and develops projects across games, digital heritage, interactive installations, and theatrical performance, all with the thread of investigating and inventing new modes of storytelling. This design work dovetails with Rouse’s research in design methods, media theory, and media archeology. Rouse teaches courses in Games, Augmented Reality Design, Mixed Reality Performance Design, Playwrighting, and the History of Technology at World’s Fairs and Expositions.

Pola Borkiewicz (PL)

Head of VR/AR Studio vnLab PWSFTviT, VRLab IPPAN, Lodz

11 November

Pola Borkiewicz - interdisciplinary artist, researcher, designer, director, cognitive scientist. Head of VR / AR Studio Visual Narratives Laboratory of the Film School in Łódź. She conducts research on a new paradigm of narrative spherical 3D VR film, as part of codification of the audiovisual language of virtual and augmented reality. Currently directing the cinematic VR experience: CITY, editing the interactive publication: xR (PWSFTviT) and designing VR game: The Curator (IAM). She develops the CVR experience scenario: Man With a VR Camera (Creative Europe, Development 2019). Doctoral candidate at Virtual Reality Lab and Psychophysiology at the Psychology Institute of Polish Academy of Sciences. Her publications concern the language of cinematic VR narration and bioethical consequences of development of virtual environments. Co-author of the research: The impact of VR technology on the effectiveness of transferring knowledge and film skills conducted by VRLab IPPAN for NCKF (PISF 2018). Co-founder of the XR Association. Jury Transatlantyk VR SpaceTime Award 2018. She conducted as a lecturer following courses: CinematicVR (Crash Course, Pro) and Film & Percepcja (DreamScreen, NeuroCinematics). Initiator and co-founder of the Narrative Systems Open Lab, interdisciplinary project implemented at the Academy of Fine Arts in Warsaw (2016). Organizer of the Immersive Storytelling conference (ASP 2018). Dream Director at DreamJay, responsible for the audiovisual department and research of the Nightly app (2015/2017). Interaction designer of the exhibition Poland at EXPO2015 in Milan. Designer and producer [muzyka_jest], opening of the National Forum of Music, by Extended Studio (2015). Creative director of the Copernicus Festival, ed. 1st Revolution (2014). She deals with broadly understood psychology of perception, new technologies and neuroesthetics.

Mathieu Triclot (FR)

Professor, Université de Technologie de Belfort-Montbéliard

12 November

Mathieu Triclot is Senior Lecturer in Philosophy at the University of Technology of Belfort-Montbéliard as well as a member of the RECITS team at the FEMTP-ST Institute. His work on the philosophy of technology focuses on the history of computer science, artificial intelligence, cybernetics, the concept of information and video games and his research falls within the scope of the philosophy of technology and engineering. Triclot has authored such books as Le moment cybernétique and Philosophie des jeux vidéo. He is also head of the scientific interest group “Unité des Technologies et des Sciences de l’Homme” which promotes the principle of technological research in the field of human and social sciences.


DAY 1 – Sunday, 10th November

  • 9.30 - 10.00
    Registration, morning coffee
  • 10.00 - 10.30
  • 1st Session

    AR: Experience and Narrative

    Chair: Dimitar Uzunov

  • 10.30 - 10.50
    Sonic Landscapes and Interactive Narratives. An Experiment in Augmented Audio
    Ambrus Ivanyos (independent creator, Hungary)
  • 10.50 - 11.10
    Meaningful Agency in Immersive and Participatory AR Experiences
    Astrid Breel & Sharon Clark & Matthew Freeman (Bath Spa University, UK)
  • 11.10 - 11.30
    History Re-experienced Implementing Mixed Reality Systems Into Historic House Museums
    Shadrick Addy (The Ohio State University, USA)
  • 11.30 - 11.50
    Augmented Reality in Interactive Storytelling: Hamlet's Breed
    Dietmar Godina (independent creator, Austria)
  • 11.50 - 12.10
  • 12.10 - 13.10
  • 2nd Session

    Interactive Digital Storytelling in Museums and Heritage Sites

    Chair: Petr Salaba

  • 13.10 - 13.30
    Immersive exhibitions and game design as a tool for storytelling in museums
    Fredrik Trella, Gabriella Di Feola, Erik Einebrant (Research Institute of Sweden (RISE)
  • 13.30 - 13.50
    VR/AR system facilitating artifact discovery and meaning-making
    Joseph Chambers (The Ohio State University, USA)
  • 13.50 - 14.10
    No Story Without a Backstory. The role and importance of the backstory in an augmented reality application for cultural heritage. (Scan4Stories project)
    Fauve Vanoverschelde (Howest University of Applied Sciences, Belgium)
  • 14.10 - 14.30
    Methodology for designing Augmented Reality (AR) interactive experiences in cultural heritage sites
    Mariza Dima (Brunel University London, UK)
  • 14.30 - 14.50
    WalkAR at Népsziget. Designing an AR app and Pursuing Alternate Facts
    Dóra Ferenczy (Moholy-Nagy University of Art and Design, Hungary)
  • 14.50 - 15.00
  • 15.00 - 15.20
  • 3rd Session

    Interactive Cinema

    Chair: Kata Szita

  • 15.20 - 15.40
    Evaluating the Impact of Interactive Cinema in Audiovisual Literacy and Education: an Eye-Tracking Study
    Giorgos Dimitriadis & Katerina Gouleti & Michalis Kokonis (Aristotle University of Thessaloniki, Greece)
  • 15.40 - 16.00
    A Walkthrough Movie: Intermediality and Interactivity in Black Mirror: Bandersnatch
    Mihály Lakatos (Sapientia University, Romania)
  • 16.20 - 16.40
    Narrative Puzzle in a Post-industrial City
    Teodora Ungureanu & Maria Mandea (Ion Mincu University of Architecture and Urbanism, National University of Arts in Bucharest, Romania)
  • 16.40 - 17.00
    Designing Quests in a Questless World
    Petr Salaba (FAMU, Prague, Czech Republic)
  • 17.00 - 17.10
  • 17.10 - 18.00
  • 18.00 - 19.00
    Keynote speech
    Rebecca Rouse (Rensselaer Polytechnic Institute, USA)
  • 19.00 - 20.00

DAY 2 – Monday, 11th November

  • 4th Session

    Personal Immersion via Theatre

    Chair: James Simpson

  • 9.30 - 9.50
    The Justice Syndicate: A case study in using interactive technologies and procedural design to encourage Flow and increase the intensity of interaction in participatory and immersive theatre
    Dan Barnard (London South Bank University, UK)
  • 9.50 - 10.10
    Immersive Perspectivalism: Theatre in the Information Age
    Joseph Dunne-Howrie (City, University of London, UK)
  • 10.10 - 10.30
    Avatar’s Journey - Immersive experience design framework based on participant-protagonist integration
    Eero Tiainen (Aalto University, Finland)
  • 10.30 - 10.50
    Journey to the Beginnings – Edutainment by using VR technologies within a Participatory Theatre Adventure Game
    Czakó Máté (independent creator, Hungary)
  • 10.50 - 11.00
  • 11.00 - 11.15
  • 5th Session

    “Ways of Getting Immersed”

    Chair: Dr. Joseph Dunne-Howrie

  • 11.15 - 11.35
    Dissenting Narratives: Sharing the UnderStory
    Madison Sabatelli & Noor Murteza (The Ohio State University, USA)
  • 11.35 - 11.55
    Various Ways of Knowing: Perspectives on Human Sensory Discernment in Visually Restrictive Immersive Environments
    Adrienn Lestyán (Erasmus Mundus Excellence, Hungary)
  • 11.55 - 12.15
    Translating Immersion in Remediated Theme Park Rides
    Péter Kristóf Makai (Linnaeus University, Sweden)
  • 12.15 - 12.25
  • 12.25 - 13.30
  • 6th Session

    Virtual Meets Reality?

    Chair: Richárd Fejes

  • 13.30 - 13.50
    Mixed reality performances as interlinear showcases
    Otilia Armean (Sapientia Hungarian University of Transylvania, Romania)
  • 13.50 - 14.10
    “Physical narrative” as a Lesson for VR experiences. On “Turnton Docklands” and “Mother/Home/Heaven”.
    Agnieszka Przybyszewska (University of Lodz, Poland)
  • 14.10 - 14.30
    Designing for Audience Experience - From Relational Performance to 360° Interactive Video
    Scott Palmer (University of Leeds, UK)
  • 14.30 - 14.50
    Mario Simon (Academy for Theatre and Digitality, Germany)
  • 14.50 - 15.10
    Can We Still Create and Encounter Magic in VR?
    Ágnes Karolina Bakk (Moholy-Nagy University of Art and Design Budapest & Sapientia Hungarian University of Transylvania)
  • 15.10 - 15.15
  • 15.15 - 15.30
  • 7th Session

    Transmedia and Multisensory

    Chair: Makai Péter Kristóf

  • 15.30 - 15.50
    Mobile Virtual-Reality Platforms and Post-Cinematic Storytelling
    Kata Szita (University of Gothenburg, Sweden)
  • 15.50 - 16.10
    A? R? G? - Narratological and Procedural Aspects of Alternate Reality Games
    Richard Fejes (ELTE University, Hungary)
  • 16.10 - 16.30
    Multisensory Design in Interactive Narrative
    Marsha Courneya & Roger McKinley (Manchester Metropolitan University, UK)
  • 16.30 - 16.40
  • 16.40 - 16.50
  • 8th Session

    Case Studies

    Chair: Ágnes Karolina Bakk

  • 16.50 - 17.20
    Summer Scriptwriting Base: An Immersive Learning Experience
    Dimitar Uzunov (Arte Urbana Collectif, Bulgaria)
  • 17.20 - 17.50
    Theatre, Game Design and Societal Choices
    Georg Hobmeier (independent creators, Austria)
  • 17.50 - 18.20
    Co-working with Artists/Designers and Software Developers
    András Szabó (Code and Soda and Random Error Studio)
  • 18.20 - 19.00
  • 19.00 - 20.00
    Keynote speech
    Pola Borkiewicz (Lodz Film School, Poland)

DAY 3 – Tuesday, 12th November

  • 9th Session

    Guidance with VR

    Chair: Mariza Dima

  • 9.30 - 9.50
    Beyond Virtual Scenography
    Rebekka Bohse Meyer (independent creator, Denmark)
  • 9.50 - 10.10
    XR Worldbuilding and the Affective Potential of Virtual Reality Experiences
    Nick Higgins (University of the West of Scotland, UK)
  • 10.10 - 10.30
    Immersive Memory Spaces: Interactive Narratives of Trauma and Mental Disorder Through VR
    Monika Górska-Olesińska (University of Łódź, Poland)
  • 10.30 - 10.50
    “Virtual reality experiences as intimate performance”
    Dr. Harry Robert Wilson (independent creator, UK)
  • 10.50 - 11.00
  • 11.00 - 11.10
  • 10th Session

    Perceiving the Virtual

    Chair: Roger McKinley

  • 11.10 - 11.30
    The Role of Storytelling as User Involvement in VR Documentaries
    Dr. Florian Mundhenke (University of Leipzig, Germany)
  • 11.30 - 11.50
    Ludonarrative Meaning-Making
    Christian Roth (University of the Arts, Utrecht (HKU), Netherlands)
  • 11.50 - 12.10
    Normalising experiences in a digital immersive environment; the importance of on-boarding users to visual interfaces and controls
    James Simpson & Zoë O’Shea (Goldsmiths University of London, Rose Bruford College and Royal Shakespeare Company/Magic Leap, UK)
  • 12.10 - 12.30
    Continuous adaptation of artificial agents in complex dynamic environments
    Robert B. Lisek, PhD & Karolína Kotnour (Faculty of Architecture CTU Prague, Czech Republic - Poland)
  • 12.30 - 12.50
  • 12.50 - 14.15
  • 11th Session

    Artistic Case Studies

    Chair: Dimitar Uzunov

  • 14.15 - 14.35
    Whichcraft - interactive VR installation
    Botond Tobai & Adrienn Pintér (Moholy-Nagy University of Art and Design, Hungary)
  • 14.35 - 14.55
    Suprematist VR space
    Rita Vándor (Moholy-Nagy University of Art and Design, Hungary)
  • 14.55 - 15.15
    Virtual surrealism and site specific VR
    Linnea Bågander & Joakim Envik Karlsson & Nicole Neidert (University of Borås, Sweden)
  • 15.15 - 15.25
  • 15.25 - 15.40
  • 12th Session

    Divination and Digital Narratives

    Chair: Ágnes Karolina Bakk

  • 15.40 - 16.00
    Act, Gesture, and Space: Calvino’s Invasive Hand in the Tarot
    Cécile Guédon (University of California, Los Angeles, USA)
  • 16.00 - 16.20
    Indigenous Technologies and Spatial Divination in Cecilia Vicuña
    Kythe Heller (Harvard University, USA)
  • 16.20 - 16.40
    Computational Poetics: Artificial Intelligence and Indie Tarot
    Emilie Hardman (Massachusetts Institute of Technology, USA)
  • 16.40 - 17.00
    Closing remarks
  • 17.00 - 18.00
  • 18.00 - 19.00
    Keynote speech
    Mathieu Triclot (Université de Technologie de Belfort-Montbéliard, FR)
  • 20.00 -     
    Goodbye drinks


The Media Institute and the Doctoral School of Moholy-Nagy University of Art and Design

Moholy-Nagy University of Art and Design Budapest (MOME) is one of the most significant European institutions of visual culture due to its traditions and intellectual background. In its effort to visualize its professional concepts MOME compounds its own character and traditions with the most up-to-date trends. Its educational structure comprises architecture, design, media, as well as theory. Therefore, MOME has a great international potential considering its broad field of education and synthesis of students. The three-cycle study structure (BA/MA/DLA) provides adequate flexibility and mobility for its students. MOME’s definite ambition is to further broaden its international relations. It welcomes every professional co-operation which inspires its educational and artistic work. MOME on the one hand is a university which educates professional designers, and on the other hand an intellectual workshop with the aim of setting up creative process in order to enhance design consciousness in Hungary.

Main organizer:

Ágnes Karolina BAKK / Zip-Scene (1986) graduated from Theatre Studies and Hungarian-Finnish Department at Babes-Bolyai University, Cluj, later acquired her MA degree in Theatre Studies from Károli Gáspár University, Budapest. In 2015 she was member of the organizing committee of IETM Budapest meeting responsible for the new technology sessions. She is the founder of the performing arts&new technologies blog: zip-scene.com and is currently a PhD student at Moholy-Nagy Art and Design University in Budapest. She is currently a member of the research project Rethinking Intermediality in Contemporary Cinema: Changing Forms of In-Betweenness led by Ágnes Pethő (Sapientia University, Cluj) and organizer of the Zip-Scene Conference on immersive storytelling (8-10 November, Budapest). Her latest publication: How Interactivity is Changing in Immersive Performances. In: Interactive Storytelling. ICIDS 2017. Lecture Notes in Computer Science, vol 10690. Cham, Springer. Currently she is also a fellow of National Excellency program 2018-2019.

Design by:

Katinka CSENGE



Moholy-Nagy University of Art and Design Budapest
1121 Budapest
Zugligeti str. 9-25


We also recommend booking on Airbnb.


Currently our university doesn’t have a canteen. We will serve you during the conference sandwiches, pastry, coffee and water.

Nearby restaurants, bistros:


Coming from the airport:

  1. Take bus no. 100 (1000 HUF, paid in the bus). You can get out at Deák Square and then take the metro no 4. towards Déli pályaudvar and you can get out at Széll Kálmán Square. From here take the bus 22, 22A and get out at Szép Ilona, a 5 minutes walk is required to reach the university building. Or take the bus 222 (it leaves in every 30 minutes) and get out at Moholy-Nagy Művészeti Egyetem.

If you wish to commute by the local city transport we recommend you the following options:

  1. Buying a 10-ticket package, 3000 HUF (in case if you do not wish to commute many times) (https://bkk.hu/en/tickets-and-passes/prices/block-of-10-tickets/)
  2. Buying a 3-days ticket, 4150 HUF (valid for all public transport in the city, except for ships D-11 or D-12 in the weekends) (https://bkk.hu/en/budapest-72-hour-travel-card/)
  3. A single ticket costs 350 HUF
  4. You can buy these at any BKK Ticket vending machines or ticket counters. The vending machines can be found at most of the stations (link) (including at Budapest Ferihegy Airport) but some stations don't have ticket counters. We would strongly recommend to use bank cards at the vending machines.


Zip-Scene Conference and Vektor Festival in Visegrad region

As part of the Zip-Scene conference and Vektor VR-section (within the frame of 16th Verzio International Human Rights Documentary Film Festival and co-organized with Random Error Studio and Code and Soda Ltd.), we are planning to organize a special section dedicated for professionals from the Visegrad region where the work and the research of cca. 40 international researchers and creators can be presented. Our goal is to organize the conference for the second time, and with this edition we propose to offer a special focus on our region. The conference and the VR-section will be a unique scientific and artistic event in Visegrad region and in Central Eastern Europe. The event will bring together practitioners from Poland, Czech Republic, Slovakia, Romania and Austria by offering them space to present their work in the frame of the conference and the VR-section. This way they can meet personally and exchange their practice, expertise and best practices especially related to how to fund their work. This is also a good opportunity for networking and starting new collaborations (as it happened at the previous edition as well). By presenting these works in one section we can prove that our region can "also be put on the map" of immersive storytelling and we can also generate more visibility for them. In order to enhance their visibility we are also conducting and publishing English interviews online (on zip-scene.com) with the invited guests. At the VR-focused event there will be a showcase of approximately 10 of the interactive works including productions by the artists who are delegated by the partner NGO's. This will be a unique event in the region: It is the only artistic/entertainment VR-festival that has a scientific framework offered by the conference.


The program is funded by:

International Visegrad Grant

Waclaw Felczak Foundation

National Cultural Fund

Supported by the ÚNKP-19-3-I-MOME-2 New National Excellence Program of the Ministry for Innovation and Technology


Causa Creations (AU)
Institute of Documentary Film (CZ)
Digital Stories Lab / Total Immersion Foundation (PL)

On the behalf of the organizers:

Artopolis Association / PLACCC Festival (HU)

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