To understand how implicit and explicit biofeedback work in games, we developed a first-person shooter (FPS) game to experiment with different biofeedback techniques. While this area has seen plenty of discussion, there is little rigorous experimentation addressing how biofeedback can enhance human-computer interaction. In our two-part study, (N=36) subjects first played eight different game stages with two implicit biofeedback conditions, with two simulation-based comparison and repetition rounds, then repeated the two biofeedback stages when given explicit information on the biofeedback. The biofeedback conditions were respiration and skin-conductance (EDA) adaptations. Adaptation targets were four balanced player avatar attributes. We collected data with psychophysiological measures (electromyography, respiration, and EDA), a game experience questionnaire, and game-play measures.According to our experiment, implicit biofeedback does not produce significant effects in player experience in an FPS game. In the explicit biofeedback conditions, players were more immersed and positively affected, and they were able to manipulate the game play with the biosignal interface. We recommend exploring the possibilities of using explicit biofeedback interaction in commercial games.

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Tools for supporting performer-audience interaction have been gaining increasing interest in HCI community recently. They encompass a wide range of systems from simple polls to live tweeting and backchannel chats. However, a lack of unifying conceptual framework hampers their efficient development and deployment in events. In this paper, we develop a notion of live participation and present a live participation system that aims to capture performer-audience interaction systems' salient design-relevant characteristics. With user studies, we identify central characteristics of live participation (RQ1) and explore the diversity of types of live participation situations (RQ2). The identified concepts-extended performance, integration work, and episodes-provide the groundwork for further design of live participation systems and more engaging audience interactions.

L arge interactive displays are becoming increasingly prevalent in urban public life. This is due largely to rapid advances in display and projection technologies, input methods that enable different types of interaction mechanisms, and our expanding understanding of the potential for interaction variations and scenarios. Large displays have moved out of research laboratories into public spaces such as museums, libraries, plazas, and architectural facades, where they present information and enhance experiences in a highly visual and often interactive way. Researchers from disciplines such as human-computer interaction, architecture, social sciences, design, art, and media theory have started exploring public-display installations' potential for educational, entertaining, participative, and evocative experiences.The design and development of these installations can be informed by previous research on, for instance, large interactive displays in collaborative and educational scenarios. However, public settings have unique characteristics and therefore impose unique challenges. Public spaces attract diverse audiences who differ in age, interests, and experience with technology and who will engage in spontaneous and often unpredictable activities, individually and in groups. In addition, public settings' spatial layouts, sizes, lighting conditions, and social connotations affect which display technologies and interaction techniques are adequate and how people will interact with and experience an installation.