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.

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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.

___________________________________________________________We explore the ethical implications of HCI's turn to the 'cultural'. This is motivated by an awareness of how cultural applications, in our case interactive performances, raise ethical issues that may challenge established research ethics processes. We review research ethics, HCI's engagement with ethics and the ethics of theatrical performance. Following an approach grounded in Responsible Research Innovation, we present the findings from a workshop in which artists, curators, commissioners and researchers explored ethical challenges revealed by four case studies. We identify six ethical challenges for HCI's engagement with cultural applications: transgression, boundaries, consent, withdrawal, data and integrity. We discuss two broader implications of these: managing tensions between multiple overlapping ethical frames; and the importance of managing ethical challenges during and after an experience as well as beforehand. Finally, we discuss how our findings extend previous discussions of Value Sensitive Design in HCI.

Abstract. This paper focuses on orchestration work in the first iteration of a mobile game called Day Of The Figurines, which explores the potential to exploit text messaging as a means of creating an engaging gaming experience. By focusing on orchestration we are especially concerned with the 'cooperative work that makes the game work'. While the assemblage or family of orchestration practices uncovered by our ethnographic study are specific to the game -including the ways in which behind the scenes staff make sense of messages, craft appropriate responses, and manage and track the production of gameplay narratives as the game unfolds -orchestration work is of general significance to our understanding of new gaming experiences. The focus on orchestration work reveals that behind the scenes staff are co-producers of the game and that the playing of games is, therefore, inseparably intertwined with their orchestration. Furthermore, orchestration work is 'ordinary' work that relies upon the taken for granted skills and competences of behind the scenes staff; 'operators ' and 'authors' in this case. While we remain focused on the specifics of this game, explication of the ordinary work of orchestration highlights challenges and opportunities for the continued development of gaming experiences more generally. Indeed, understanding the specificities of orchestration work might be said to be a key ingredient of future development.

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