Performance and …

In titling our chapter 'Performance and...' our intention is not to privilege performance studies over theatre studies or drama but rather to call to attention the longstanding proposition that performance (studies) 'resists or rejects definition' (Schechner, Richard, 1998, 'What Is 'Performance Studies' Anyway?' in: P. Phelan and J. Lane (eds.), The Ends of Performance, NYU Press, p. 360) and as such highlight the potential it holds for interdisciplinary scholarship and the way in which the idea of performance has been conceived fluidly and expansively, both key concerns of all the volumes reviewed here. We are, we hope, at a point in the development of performance and theatre studies where there is an understanding, acceptance and exploration of the mutually constructive and beneficial interweaving of these two 'traditions' of scholarship within the broader field of drama. In the books we look at, both 'theatre' and 'performance' are brought to bear on the matters at hand almost interchangeably, with established text-based dramas taking their place alongside works in the performance art tradition to further arguments pertaining to a variety of disciplines. Such plurality of approach is a defining feature of the works we have chosen to discuss and binds them to a common purpose: the exploration of drama/theatre/performance in, with and between other disciplines and discourses in the pursuit of illuminating the world around us in more meaningful ways

Throwaway citation of prior work creates risk of bad HCI research

In CHI papers, citation of previous work is typically a shallow, throwaway action that demonstrates little critical engagement with the work cited. We present a citation context analysis of over 3000 citations from 69 papers at CHI2016, which demonstrates that only 4.8% of papers cited are presented as anything other than uncontested fact. In 43% of CHI papers sampled, we found no evidence of any critical engagement. Lack of discussion and critique of previous work can encourage the spread of misunderstandings and errors. Authors, reviewers and publication venues must all change practices to respond to this failure of scholarship

Glimpses of the future: designing fictions for mixed-reality performances

No abstract available

Design fiction for mixed-reality performances

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. physiological states, daily routines, conversations, etc

Performing research: four contributions to HCI

This paper identifies a body of HCI research wherein the researchers take part in digitally mediated creative experiences alongside participants. We present our definition and rationale for "self-situated performance research" based on theories in both the HCI and performance literatures. We then analyse four case studies of this type of work, ranging from overtly "performative" staged events to locative audio and public making. We argue that by interrogating experience from within the context of self-situated performance, the 'performer/researcher' extends traditional practices in HCI in the following four ways: developing an intimate relationship between researchers and participants, providing new means of making sense of interactions, shaping participants' relationship to the research, and enabling researchers to refine their work as it is being conducted

The Rough Mile: Testing a Framework of Immersive Practice

We present our case study on gifting digital music, The Rough Mile, as an example of a Framework of Immersive Practice, intended for researchers and practitioners in HCI and interaction design. Although immersion is a frequently used term in the HCI and related literatures, we find no definitions or frameworks that are robust enough to capture the full range of multi-sensory, emotional, and cognitive engagement that the richest of these experiences can entail. We therefore turn to the theatrical performance literature to distil a theory-based framework of practices that can apply to interdisciplinary projects as well as works with an entirely aesthetic aim. The design choices and findings of The Rough Mile are presented in terms of this framework, leading to a discussion of the design guidelines that can shape its use in any HCI or interaction design project aiming for a deep, personal engagement through technology