In this paper, we propose to consider the sonic interactions that occurs in a dance performance from an ecological perspective. In particular, we suggest using the conceptual models of artefact ecology and design space. As a case study, we present a work developed during a two weeks artistic residency in collaboration between a sound designer, one choreographer, and two dancers. During the residency both an interactive sound artefact based on a motion capture system, and a dance performance were developed. We present the ecology of an interactive sound artefact developed for the dance performance, with the objective to analyse how the ecology of multiple actors relate themselves to the interactive artefact. CCS CONCEPTS • Human-centered computing → Interaction design process and methods; Empirical studies in interaction design; • Applied computing → Sound and music computing; Performing arts.

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There has been a growing interest in interactive visuals in contemporary dance performances. These visuals often rely on embodied interaction techniques, such as motion capture or biosignal sensors. However, there is a lack of research into how audience members experience these interactive visuals, and how to enhance that experience. We conducted an audience study, involving four different dance performances. Each of the performances explored a different approach for interaction involving visuals. We collected data from audience members, regarding their experience of the performances, using questionnaires and interviews. The analysis of this data allows us to identify implications for design: balancing trade-offs within a mapping clarity spectrum; connecting layers; visuals as co-creative mediator; defined territory and individuality of visuals; exploration of perspective shift and abstract fragmentation. We argue that these considerations are relevant for designers of systems visualizing embodied interaction, not just for dance, but also for other related applications.CCS Concepts: • Human-centered computing → Empirical studies in HCI; HCI theory, concepts and models; • Applied computing → Performing arts.

This paper presents an interactive media installation that aims at providing users with the experience to sing like an opera singer from the 19th century. We designed a set of tangible and body-related interaction and feedback techniques and developed a singing voice synthesizer system that is controlled by the user's mouth shapes and gestures. This musical interface allows users to perform an aria without real singing. We adapted techniques from 3D body tracking, face recognition, singing voice synthesis, 3D rendering and tangible interaction to integrate them into an interactive musical interface.