We are grateful for the honor to participate as editors of the scholarly thematic essays section in this inaugural volume of the Panoramic and Immersive Media Studies Yearbook. The section draws from the theme of the 2023 International Panorama Council conference Panoramas, Immersive Media, and Lost Worlds. The papers come to this topic of lost worlds from a multitude of interdisciplinary and intersectional perspectives, suggesting a very lively and vibrant state of current panorama and immersive media studies. Situated at the intersection of panorama studies and game engine design, Thiago Leitão's project integrates a game engine into the digital recreation of a now lost nineteenth-century panorama. Doing so enables the viewer/participant to digitally traverse the boundary between painted and lived worlds mediated in physical panoramas by the area of the faux terrain-in Leitão's words, that "continuum space, of sorts, that moved the panorama's illusion to immersion." Part of a larger, on-going project, Leitão imagines the future possibility of introducing multiple participants, enabling a communal experience that would find much dialogue with several other papers in this section. The paper by Weiling Deng, Sara Velas, Ruby Carlson, and Jonathan Banfill locates itself in downtown Los Angeles in order to travel across space and time to early twentieth-century China. In embracing the vernacular and the global, it manages to give voice to very human actors in a sea of colonizing power without losing sight of either. The paper's attention to the present, lived experience enfolds its considerable historical and theoretical content, allowing it to present, as the writers describe, "a thicker, more open, non-prescribed experience." This goal finds expression not only in the writers' scholarly inquiry, but even more directly in the connections the panorama has made with its local neighborhoods. These authors accept the unwieldy experience of panoramas and the ways in which they entwine contemporary experience with the past and the loss attendant to it. Deng, et al. share their understanding, even embrace, of this multitudinous experience with Nicholas Lowe, whose paper reminds us of the important role performative elements-the musical accompaniment, song, and spoken narration-played in the immersive experience of moving panoramas. Lowe considers a speculative re-enactment of a moving panorama, and invites readers to "sit comfortably" with the lost elements. He suggests activating the creative and generative scaffolding of conjecture and speculation to shape our experience and, indeed, to be candidates as a viable apparatus of inquiry for historical events. He posits
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