Creating the spectacle: Designing interactional trajectories through spectator interfaces (original) (raw)
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ACM Transactions on Computer-Human Interaction, 2011
An ethnographic study reveals how professional artists created a spectator interface for the interactive game Day of the Figurines, designing the size, shape, height and materials of two tabletop interfaces before carefully arranging them in a local setting. We also show how participants experienced this interface. We consider how the artists worked with a multi-scale notion of interactional trajectory that combined trajectories through individual displays, trajectories through a local ecology of displays, and trajectories through an entire experience. Our findings shed light on discussions within HCI concerning interaction with tangible and tabletop displays, spectator interfaces, ecologies of displays, and trajectories through cultural experiences.
Performing perception—staging aesthetics of interaction
ACM Transactions on Computer-Human Interaction, 2008
In interaction design for experience-oriented uses of technology, a central facet of aesthetics of interaction is rooted in the user's experience of herself “performing her perception.” By drawing on performance (theater) theory, phenomenology and sociology and with references to recent HCI-work on the relation between the system and the performer/user and the spectator's relation to this dynamic, we show how the user is simultaneously operator, performer and spectator when interacting. By engaging with the system, she continuously acts out these three roles and her awareness of them is crucial in her experience. We argue that this 3-in-1 is always already shaping the user's understanding and perception of her interaction as it is staged through her experience of the object's form and expression. Through examples ranging from everyday technologies utilizing performances of interaction to spatial contemporary artworks, digital as well as analogue, we address the notio...
Designing Interfaces to Experience Interactive Installations Together
Researchers at the Making Culture Lab use ethnographic methods to study how interactive technology supports digital practices in diverse cultural environments. This paper reports on how certain design aspects of display systems implemented in public space can induce social encounters and awareness. Field observations made since 2012 show that interface design may be a key factor in structuring such shared experiences. In 2014, HCI researchers introduced the Social Natural User Interfaces (Social NUIs) analytical framework to help HCI practitioners design interfaces that better support collaboration and cooperation in co-located multiuser interaction scenarios. This study describes four interactive media façades deployed in Montréal's Quartier des Spectacles to suggest that electronic artists intuitively anticipated the Social NUIs relational approach to interface design. Analyses highlight how the artists used crossmodal interfaces-also based on intuitive modes of interaction such as gesture, touch, and speech-to design interactive installations that engage people beyond the ubiquitous single-user "social cocooning" interaction scenario. The aim of this research is to illustrate how artistic architecturalscale digital public display installations has the potential to parallel, drive, and contribute to, socially concerned design thinking.
Indie Game and Media Art Exhibition Spaces as Interface Layers
CHI PLAY '17 Extended Abstracts Publication of the Annual Symposium on Computer-Human Interaction in Play, 2017
This paper explores how the human computer interface of the experimental indie game Control was augmented through five different exhibitions across both new media art and indie game spaces. Interface elements considered include the tangible control input type, the style of visual display used, as well as the situated space of the game installation itself. Each installation setup encouraged a different style of interaction with the artifact. Observation of users in the exhibition spaces both live and through promotional video documentation alongside feedback given both in-situ and through press reviews provided valuable feedback into the development of the game, influencing its future development path. You can download the paper at: https://dl.acm.org/authorize.cfm?key=N47806
I-com, 2015
Designing interactive surfaces for walk-upand-use scenarios in semi-public spaces like museums is a challenging task, since they need to be intuitive and appealing for a broad range of users. We describe the iterative development of two tabletop prototypes and their applications with a combination of interaction design and different types of ethnography. We outline the extensive development process and describe a user study with our second prototype, conducted in an exhibition about new media and digital cooperation for one week. Especially the physical setup of our tabletops distinguishes them from others. It consists of several seating elements to make interaction more comfortable for a heterogeneity of active users and onlookers. As an example for the analysis of the collected data we outline an interaction session of a group of 15 people. Results show that the artifact was well received and that groups and their interactions benefited from the physical setup.
Designing the spectator experience
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 2005
Interaction is increasingly a public affair, taking place in our theatres, galleries, museums, exhibitions and on the city streets. This raises a new design challenge for HCIhow should spectators experience a performer's interaction with a computer? We classify public interfaces (including examples from art, performance and exhibition design) according to the extent to which a performer's manipulations of an interface and their resulting effects are hidden, partially revealed, fully revealed or even amplified for spectators. Our taxonomy uncovers four broad design strategies: 'secretive,' where manipulations and effects are largely hidden; 'expressive,' where they tend to be revealed enabling the spectator to fully appreciate the performer's interaction; 'magical,' where effects are revealed but the manipulations that caused them are hidden; and finally 'suspenseful,' where manipulations are apparent but effects are only revealed as the spectator takes their turn.