Matters of life and death: locating the end of life in lifespan-oriented hci research
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
Pursuing Leisure: Reflections on Theme Park Visiting
Computer Supported Cooperative Work
interactions
Strong concepts: Intermediate-level knowledge in interaction design research
ACM Transactions on Computer-Human Interaction (TOCHI)
ArCHI: engaging with museum objects spatially through whole body movement
Proceeding of the 16th International Academic MindTrek Conference
Performative experience design
CHI '13 Extended Abstracts on Human Factors in Computing Systems
Digital arts: did you feel that?
CHI '13 Extended Abstracts on Human Factors in Computing Systems
see me, feel me, touch me, hear me: trajectories and interpretation in a sculpture garden
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
Crafting interactive systems: learning from digital art practice
CHI '13 Extended Abstracts on Human Factors in Computing Systems
Performance-Led Research in the Wild
ACM Transactions on Computer-Human Interaction (TOCHI) - Special Issue of “The Turn to The Wild”
Communications of the ACM
Mixed reality immersive design: a study in interactive dance
Proceedings of the 2013 ACM international workshop on Immersive media experiences
Enhancing site-specific theatre experience with remote partners in sleep no more
Proceedings of the 2013 ACM international workshop on Immersive media experiences
Being chased by zombies!: understanding the experience of mixed reality quests
Proceedings of the 25th Australian Computer-Human Interaction Conference: Augmentation, Application, Innovation, Collaboration
Rhetorical considerations for innovative approaches to performance and audience engagement
Proceedings of the 2013 Inputs-Outputs Conference: An Interdisciplinary Conference on Engagement in HCI and Performance
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Working at the cutting edge of live performance, an emerging generation of artists is employing digital technologies to create distinctive forms of interactive, distributed, and often deeply subjective theatrical performance. The work of these artists is not only fundamentally transforming the experience of theater, it is also reshaping the nature of human interaction with computers. In this book, Steve Benford and Gabriella Giannachi offer a new theoretical framework for understanding these experiences--which they term mixed reality performances--and document a series of landmark performances and installations that mix the real and the virtual, live performance and interactivity. Benford and Giannachi draw on a number of works that have been developed at the University of Nottingham's Mixed Reality Laboratory, describing collaborations with artists (most notably the group Blast Theory) that have gradually evolved a distinctive interdisciplinary approach to combining practice with research. They offer detailed and extended accounts of these works from different perspectives, including interviews with the artists and Mixed Reality Laboratory researchers. The authors develop an overarching theory to guide the study and design of mixed reality performances based on the approach of interleaved trajectories through hybrid structures of space, time, interfaces, and roles. Combinations of canonical, participant, and historic trajectories show how such performances establish complex configurations of real and virtual, local and global, factual and fictional, and personal and social.