Engaging spect-actors with multimodal digital puppetry

Coutrix, Céline; Spagnolli, Anna; Ma, Lingyi; Helin, Matti; Richard, Gabriela T.; Parisi, Lorenza; Roveda, Stefano; Narula, Prayag

doi:10.1145/1868914.1868934

Cited by 3 publications

(2 citation statements)

References 21 publications

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“…In Coutrix et al [3], visitors' interactions with a virtual puppet on a public screen were analysed, detailing performative resources and recurring dramatic structure of sessions. Similarly, phases of collaborative explorations of a multimodal art installation were analysed in Jacucci et al [10].…”

Section: Performative Interaction In Hcimentioning

confidence: 99%

Understanding performative interactions in public settings

Williamson

Hansen

Light

et al. 2014

Pers Ubiquit Comput

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Interactive digital technologies pervade our shared spaces in personal, mobile, infrastructural and other embedded forms. These changes challenge the ways we understand and investigate the relationships between people, computing and settings. Responding to this situation-where ubiquitous computing is not only personal but also public, and where digital interactions may happen anywhere-this special issue explores how HCI research can use the strengths of an intersection of theory, practice and innovation in order to best address this conjunction of interactive technologies, public spaces and people interacting with or within both.With this shift to interaction happening in public spaces, people can no longer be seen as just 'users' but have to be understood as acting assemblages of bodies and technologies in the space they inhabit. This shift highlights the need to understand users in every setting-including those at desks and at work-as socially and culturally situated humans with agency. While this is not a new research development, this special issue speculates on and discusses how the shift to 'everywhere interactions' makes it important for research in human-computer interaction to reach beyond existing conventions. With this work comes a need to understand the interacting human as a situated body that is at any moment also a possible spectacle: as a body, a human and a user who engages with technology in response to the situation while also being a 'performance' for others to witness. Understanding people as actors in their context allows us to regard every user as a 'performing body' and a 'performing subject', and it enables us to analyse the performative aspects of interaction in many other situations than those where we design for actually staged performances in a defined performance space or stage. In this sense, 'performative interaction' is both concerned with technologies for on-stage performers using technologies as part of artistic expression, and an analytical frame for understanding every situation in which people engage with technologies (in public space). The question becomes: where and in which situations is this analytical frame relevant and useful?Recognising a growing interest in the HCI community to work with ubiquitous computing as a personal but also public technology, the editors set out to explore a number of topics within performative interaction that would develop and possibly consolidate contemporary work into a nuanced perspective on human-computer interaction in public space. Partly based on previous work with these questions, we selected contributions that expand our understanding of performative interfaces in a variety of settings as well as demonstrate ways of participating in performative interaction, of developing techniques for hiding and showcasing different elements of performance and of evaluating the experience of performing in public.

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Section: Performative Interaction In Hcimentioning

confidence: 99%

Understanding performative interactions in public settings

Williamson

Hansen

Light

et al. 2014

Pers Ubiquit Comput

Self Cite

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“…Two of the theorists invoked most frequently by HCI researchers (e.g., Kuutti, Iacucci, and Iacucci 2002;Dalsgaard and Hansen 2008;Coutrix et al 2010) are Augusto Boal and Erving Goffman. Boal was a theatre practitioner and theorist from Brazil, active in the second half of the twentieth century and into the twenty-first, and arguably best known for his Theatre of the Oppressed.…”

Section: Performance In Hcimentioning

confidence: 99%

Performative experience design: where autobiographical performance and human–computer interaction meet

2013

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This paper identifies theories and practices specific to performance art for the purpose of describing a potentially fruitful area of exchange between non-representational performance and human-computer interaction (HCI). We identify three strands of current HCI research that are already working in this area of overlap, which we have termed Performative Experience Design. We then single out one of these strands, digitally augmented autobiographical performance, for further examination. Digitally augmented autobiographical performance draws on both autobiographical performance, which we see as rooted in performance and performance art, and media sharing, a field of research within HCI.Drawing on our experiences of designing a digital system for autobiographical performance, we offer a series of proposals for HCI research and applications of Performative Experience Design. KeywordsPerformance art, performance, human-computer interaction, interaction design, experience design, Performative Experience Design, autobiography, digitally augmented autobiographical storytelling, user roles, play Main text IntroductionThe field of human-computer interaction (HCI) has incorporated an increasingly wide range of approaches over the years. First-wave HCI, with its focus on the usability of a particular machine for a particular task, gave way to second-wave HCI, which paid attention to situated, contextualised use. The second wave has in recent years begun to give way to a third wave, which reaches for new theoretical and methodological tools to understand the rapidly shifting terrain of ubiquitous technologies that are 'non-work, non-purposeful, non-rational' (Bødker The first aim of this paper is to identify an existing and potentially fruitful area of overlap between the fields of performance art and HCI, which we argue can usefully be termed Performative Experience Design (PED). We have created this label not just to give a new name to existing work but to illuminate the specific ways in which performance art might further enrich these and other areas of HCI research that share similar goals. Having established the rationale for understanding PED as a category of the juncture of performance and HCI, this paper moves on to its second aim: a more detailed analysis of one of the strands of PED, called digitally augmented autobiographical performance. We argue that this strand grows out of traditions of performance and overlaps with research into media sharing within HCI, which is becoming increasingly important in light of the rapid development of social networking and the 'free' digital photography available via every smartphone. We then offer the third aim of the paper, a set of proposals for HCI research, particularly in media sharing, drawn from theories and practices of autobiographical performance.

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A pen user interface for controlling a virtual puppet

Vanderdonckt

Vatavu

2020

Companion Proceedings of the 12th ACM SIGCHI Symposium on Engineering Interactive Computing Systems

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Engaging spect-actors with multimodal digital puppetry

Cited by 3 publications

References 21 publications

Understanding performative interactions in public settings

Understanding performative interactions in public settings

Performative experience design: where autobiographical performance and human–computer interaction meet

A pen user interface for controlling a virtual puppet

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