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.

In the standard models for optimal multiple stopping problems it is assumed that between two exercises there is always a time period of deterministic length δ, the so called refraction period. This prevents the optimal exercise times from bunching up together on top of the optimal stopping time for the one-exercise case. In this article we generalize the standard model by considering random refraction times. We develop the theory and reduce the problem to a sequence of ordinary stopping problems thus extending the results for deterministic times. This requires an extension of the underlying filtrations in general. Furthermore we consider the Markovian case and treat an example explicitly.

There has been an increased interest in HCI research regarding the possibilities of interactive technology applied to the field of dance performance, particularly contemporary dance. This has produced numerous strategies to capture data from the moving bodies of the dancers and to map that data into different types of display formats. In this paper, we look at the role of interactive technology in dance performance from a broader perspective, aiming at understanding the needs of dancers and their relation with the audience. To this end, we ran a focus group with ten dancers with expertise in technology. We analysed the focus group using thematic analysis. We discuss the implications for design of our results by framing the role of technology in dance performance, proposing design guidelines related to the communication to the audience, use of technology, and mapping. Moreover, we propose different levels of ambiguity and appropriation related to the creators of the performance and the audience. CCS CONCEPTS • Applied computing → Performing arts; • Human-centered computing → User studies; Interaction design theory, concepts and paradigms.

This paper presents a case study in the exploration and creative usage of errors and glitches in the real-time markerless motion capture of contemporary dance. We developed a typology of MoCap failures comprised of seven categories, allowing the user to situate each distinct error in the respective stage of the motion capture pipeline. This way, glitch procedures for the creative use of 'bad' MoCap data were designed, resulting in uncommon avatar visualisations. We propose an additional 're-visualisation' module in our motion capture pipeline and avatar staging approach, which enables choreographers and digital artists to rapidly prototype their ideas in a mixed reality performance environment. Finally, we discuss how our extended MoCap pipeline and avatar staging set-up can support artists and researchers who aim at a flexible and adaptive workflow in real-time motion visualization. CCS CONCEPTS• Applied computing → Performing arts; • Computing methodologies → Motion capture; • Human-centered computing → Empirical studies in interaction design;

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