Foursquare is a location-based social network (LBSN) that combines gaming elements with features conventionally associated with social networking sites (SNSs). Following two qualitative studies, the paper sets out to explore what impact this overlaying of physical environments with play has on everyday life and experiences of space and place. Drawing on early understandings of play (Caillois, 2001;Huizinga, 1992), alongside the flâneur (Benjamin, 1991) and 'phoneur' (Luke, 2006) as respective methods for conceptualising play in the context of mobility and urbanity, the paper examines whether the suggested division between play and ordinary life (Apter, 1991;Caillois, 2001;Huizinga, 1992) is challenged by Foursquare, and if so, how this reframing of play is experienced. Secondly, the paper investigates what effect this LBSN is having on mobility choices and spatial relationships. Finally, the novel concept of the 'phoneur' is posited as a way of understanding how pervasive play through LBSNs acts as a mediating influence on the experience of space and place.

Foursquare is a location-based social network (LBSN) that allows people to share their location with friends by 'checking-in' at a given place using their smartphone. The application can also access the location-based recommendations left by other users. Drawing on original qualitative research with a range of Foursquare users, the article sets out to examine this LBSN and its impact on identity in three ways. Using Schwartz and Halegoua's 'spatial self' as 'a theoretical framework encapsulating the process of online self-presentation based on the display of offline physical activities', the article first examines the extent to which users understand check-ins as mediating identity. Second, the article explores whether the act of using Foursquare beyond the sharing of location can similarly be seen as contributing to identity. Last, the article examines what effect location-based recommendations might be having on how users subsequently experience themselves.

Research in the field of mobile communication studies (MCS) has generally moved away from focusing on how mobile phones distract users from their physical environment to considering how the experience of space and place can be enhanced by locative smartphone applications. This article argues that trajectory may be complicated by the emergence of a new type of mobile technology: mobile virtual reality (MVR). While an increasing number of handsets are specifically developed with MVR in mind, there is little to no research that situates this phenomenon within the continuum of MCS. The intention of this paper is accordingly twofold. First, the article conceptualizes MVR as a connective tissue between the two sequential tropes of MCS: physical distraction and spatial enhancement. Second, the article introduces the concept of ‘dislocated space’ as a way of understanding the embodied space MVR might configure.

Virtual Reality (VR) has traditionally required external sensors placed around a designated play space. In contrast, more recent wired and wireless systems, such as the Oculus Rift S (released in March 2019) and the Oculus Quest (released in May 2019) use cameras located on the outside of these devices to monitor their physical position. Users can now mark out a physical space that is then digitally tracked within their display. Once a play space has been established, users are alerted if they come close to breaching this boundary by the visual inclusion of a grid. Should this threshold be breached, the headset display shifts to an image of the surrounding concrete environment. We contend that physical space is increasingly being incorporated into the digital space of VR in a manner that meaningfully differs from older systems. We build our argument in the following way. First, the article explores how theories surrounding VR have implicated only a limited relationship with physical space. Second, the article introduces the concept of coextensive space as a way of understanding the developing relationship between the physical, digital and concrete reality enacted by current VR systems.

Art museums implicate established spatial and social norms. The norms that shape these behaviours are not fixed, but rather subject to change as the sociality and physicality of these spaces continues to develop. In recent years, the re-emergence of virtual reality (VR) has led to this technology being incorporated into art museums in the form of VR-based exhibits. While a growing body of research now explores the various applications, uses and effects of VR, there is a notable dearth of studies examining the impact VR might be having on the spatial and social experience of art museums. This article, therefore, reports on an original research project designed to address these concerns. The project was conducted at Anise Gallery in London, United Kingdom, between June and July 2018 and focused on the multisensory, and VR-based, exhibition, Scents of Shad Thames. The research involved 19 semi-structured interviews with participants who had just experienced this exhibition. Drawing on scholarly literature that surrounds the spatial and social norms pertaining to art museums, this study advances along three lines. First, the research explores whether the inclusion of VR might alter the practice of people watching, which is endemic of this setting. Second, the research explores whether established ways of navigating the physical setting of art museums might influence how users approach the digital space of VR. Third, the research examines whether the incorporation of VR might produce a qualitatively different experience of the art museum as a shared social space.