We present a study of a mobile mixed reality game called Can You See Me Now? in which online players are chased through a virtual model of a city by ‘runners’ (professional performers equipped with GPS and WiFi technologies) who have to run through the actual city streets in order to catch the players. We present an ethnographic study of the game as it toured through two different cities and draws upon video recordings of online players, runners, technical support crew, and also on system logs of text communication. Our study reveals the diverse ways in which online players experienced the uncertainties inherent in GPS and WiFi, including being mostly unaware of them, but sometimes seeing them as problems, or treating the as a designed feature of the game, and even occasionally exploiting them within gameplay. In contrast, the runners and technical crew were fully aware of these uncertainties and continually battled against them through an ongoing and distributed process of orchestration. As a result, we encourage designers to deal with such uncertainties as a fundamental characteristic of location-based experiences rather than treating them as exceptions or bugs that might be ironed out in the future. We argue that designers should explicitly consider four potential states of being of a mobile participant: connected and tracked, connected but not tracked, tracked but not connected, and neither connected nor tracked. We then introduce five strategies that might be used to deal with uncertainty in these different states for different kinds of participant: remove it, hide it, manage it, reveal it, and exploit it. Finally, we present proposals for new orchestration interfaces that reveal the ‘seams’ in the underlying technical infrastructure by visualizing the recent performance of GPS and WiFi and predicting the likely future performance of GPS.
MATT ADAMS, NICK TANDAVANITJ, and JU ROW FARR, Blast TheoryWe explore the approach of performance-led research in the wild in which artists drive the creation of novel performances with the support of HCI researchers that are then deployed and studied at public performance in cultural settings such as galleries, festivals and on the city streets. We motivate the approach and then describe how it consists of three distinct activities -practice, studies and theory -that are interleaved in complex ways through nine different relationships. We present a historical account of how the approach has evolved over a fifteen-year period, charting the evolution of a complex web of projects, papers, and relationships between them. We articulate the challenges of pursuing each activity as well as overarching challenges of balancing artistic and research interests, flexible management of relationships, and finally ethics.
Abstract. We present a study of people's use of positional information as part of a collaborative location-based game. The game exploits self-reported positioning in which mobile players manually reveal their positions to remote players by manipulating electronic maps. Analysis of players' movements, position reports and communications, drawing on video data, system logs and player feedback, highlights some of the ways in which humans generate, communicate and interpret position reports. It appears that remote participants are largely untroubled by the relatively high positional error associated with self reports. Our analysis suggests that this may because mobile players declare themselves to be in plausible locations such as at common landmarks, ahead of themselves on their current trajectory (stating their intent) or behind themselves (confirming previously visited locations). These observations raise new requirements for the future development of automated positioning systems and also suggest that selfreported positioning may be a useful fallback when automated systems are unavailable or too unreliable.
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