Bio-Sensed and Embodied Participation in Interactive Performance

Rostami, Asreen; Segura, Elena Márquez; Rossito, Chiara; Barkhuus, Louise

doi:10.1145/3024969.3024998

Cited by 28 publications

(20 citation statements)

References 54 publications

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“…The theme of ambiguity and complex mappings also emerged as a strong need in the use of interactive technology in dance [27]. Interpreting our results in light of the research by Rostami et al [33], we confirm that all our performances are in the "visible" axis of their visibility of input categorization -aligning with the audience members' recognition of interaction in the performances. Most of them fit within Rostami's "bodily tracking" category (performances 1, 3 and 4), which is mostly classified as "visible", whereas breath sensors (as in performance 2) are classified by Rostami as belonging to the visible axis of the "bio-sensing" category.…”

Section: Balancing Trade-offs Within a Mapping Clarity Spectrumsupporting

confidence: 85%

“…Our insights in section 5.1 Balancing Trade-offs Within a Mapping Clarity Spectrum, and the Mapping Clarity diagram, can assist in achieving a balance in terms of ambiguity of mappings. As Rostami et al state, there is an "inherent visibility" of the input (bodily tracking tends to be more visible, and bio-sensing less) [33], but we demonstrate that, with visuals, this can be challenged and fine-tuned (e.g. visibility of bodily tracking can be obscured, and bio-sensing data can be highlighted).…”

Section: Extending Findings To Other Domainsmentioning

confidence: 47%

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Proceedings of the Fifteenth International Conference on Tangible, Embedded, and Embodied Interaction

2021

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There has been a growing interest in interactive visuals in contemporary dance performances. These visuals often rely on embodied interaction techniques, such as motion capture or biosignal sensors. However, there is a lack of research into how audience members experience these interactive visuals, and how to enhance that experience. We conducted an audience study, involving four different dance performances. Each of the performances explored a different approach for interaction involving visuals. We collected data from audience members, regarding their experience of the performances, using questionnaires and interviews. The analysis of this data allows us to identify implications for design: balancing trade-offs within a mapping clarity spectrum; connecting layers; visuals as co-creative mediator; defined territory and individuality of visuals; exploration of perspective shift and abstract fragmentation. We argue that these considerations are relevant for designers of systems visualizing embodied interaction, not just for dance, but also for other related applications.CCS Concepts: • Human-centered computing → Empirical studies in HCI; HCI theory, concepts and models; • Applied computing → Performing arts.

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Section: Balancing Trade-offs Within a Mapping Clarity Spectrumsupporting

confidence: 85%

Section: Extending Findings To Other Domainsmentioning

confidence: 47%

Proceedings of the Fifteenth International Conference on Tangible, Embedded, and Embodied Interaction

2021

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“…see [15]). Bio-sensing is compelling for MRPs, making use of traditionally personal data (a racing heartbeat can only be felt by the individual) as material for performance [16]. This potentially uncomfortable experience, which makes users vulnerable during interaction, can be used to create deeply meaningful experiences [6].…”

Section: Bio-sensing and Iotmentioning

confidence: 99%

Design Fiction for Mixed-Reality Performances

Rostami

Rossitto

Barkhuus

et al. 2017

Proceedings of the 2017 CHI Conference Extended Abstracts on Human Factors in Computing Systems

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Designing for mixed-reality performances is challenging both in terms of technology design, and in terms of understanding the interplay between technology, narration, and (the outcomes of) audience interactions. This complexity also stems from the variety of roles in the creative team often entailing technology designers, artists, directors, producers, set-designers and performers. In this multidisciplinary, one-day workshop, we seek to bring together HCI scholars, designers, artists, and curators to explore the potential provided by Design Fiction as a method to generate ideas for Mixed-Reality Performance (MRP) through various archetypes including scripts, programs, and posters. By drawing attention to novel interactive technologies, such as bio-sensors and environmental IoT, we seek to generate design fiction scenarios capturing the aesthetic and interactive potential for mixed-reality performances, as well as the challenges to gain access to audience members' data -i.e.

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“…An anecdote can serve as evidence of this. The third author of this paper, together with the first author and three other colleagues who had not participated in our bodystorming workshop, was drafting a paper about novel bio-sensors and bodily tracking technologies to design interactive performances (a later version of that paper will be published as Rostami, McMillan, Márquez Segura, Rossito, & Barkhuus, 2017). The authors used the Movie:ie workshop and another previous workshop organized by the third author of this paper to explore the role that sensor-based interaction modalities could take in the context of interactive performances.…”

Section: Packaging the Ephemeralmentioning

confidence: 99%

Bodystorming for movement-based interaction design

2016

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After a decade of movement-based interaction in human-computer interaction, designing for the moving body still remains a challenge. Research in this field requires methods to help access, articulate, and harness embodied experiences in ways that can inform the design process. To address this challenge, this article appropriates bodystorming, an embodied ideation method for movement-based interaction design. The proposed method allows for early consideration of the physical, collocated, and social aspects of a designed activity as illustrated with two explorative workshops in different application domains: interactive body games and interactive performances. Using a qualitative methods approach, we used video material from the workshops, feedback from participants, and our own experience as participants and facilitators to outline important characteristics of the bodystorming method in the domain of movement-based interaction. The proposed method is compared with previous ones and application implications are discussed.

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Bio-Sensed and Embodied Participation in Interactive Performance

Cited by 28 publications

References 54 publications

Proceedings of the Fifteenth International Conference on Tangible, Embedded, and Embodied Interaction

Proceedings of the Fifteenth International Conference on Tangible, Embedded, and Embodied Interaction

Design Fiction for Mixed-Reality Performances

Bodystorming for movement-based interaction design

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