Experience Design 1
Playful World
Computers as Theatre
Interface Culture: How New Technology Transforms the Way We Create and Communicate
Interface Culture: How New Technology Transforms the Way We Create and Communicate
Virtual Community: Homesteading on the Electronic Frontier
Virtual Community: Homesteading on the Electronic Frontier
Dark Fiber: Tracking Critical Internet Culture
Dark Fiber: Tracking Critical Internet Culture
The Design of Everyday Things
Beings in the game-world: characters, avatars, and players
IE '07 Proceedings of the 4th Australasian conference on Interactive entertainment
Creating an Emotionally Adaptive Game
ICEC '08 Proceedings of the 7th International Conference on Entertainment Computing
Using affective trajectories to describe states of flow in interactive art
Proceedings of the International Conference on Advances in Computer Enterntainment Technology
Information Systems Frontiers
Shake-your-head: revisiting walking-in-place for desktop virtual reality
Proceedings of the 17th ACM Symposium on Virtual Reality Software and Technology
Interactive films and coconstruction
ACM Transactions on Multimedia Computing, Communications, and Applications (TOMCCAP)
Playing the museum: towards a rationale for games in exhibition design
Proceedings of the 7th Australasian Conference on Interactive Entertainment
Facilitating TV production using StoryCrate
Proceedings of the 9th ACM Conference on Creativity & Cognition
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This paper argues that true interactivity is a feedback loop of action-reaction-interaction and involves collaboration or exchange (with real or computer agents). Central to this argument is physical interactivity as a defining feature of new media in addition to the psychological interaction with a work as Lev Manovich [27] describes. It is also argued that interactivity will always remain opposed to traditional narrative forms, but that a similar engagement and willing suspension of disbelief are equally important within interactive works if explored on interactivity's own terms, especially through an understanding of play.The psychologist Mihaly Csikszentmihalyi [12, 13] has written extensively on the intrinsic pleasures of creative action and argues that activities can be rewarding in and of themselves, regardless of any goals or outcomes. Csikszentmihalyi describes this theory of the autotelic experience as the flow principle and it relates directly to the engagement with interactive experiences. Case studies are cited in which the flow principle can be applied to interactivity and shows that engagement may begin and end with playful experiences that are satisfying in their own right.