Bodily play systems are becoming increasingly prevalent, with research aiming to understand the associated player experience. We argue that a more nuanced lexicon describing "bodily play experience" can be beneficial to drive the field forward. We provide game designers with two German words to communicate two different aspects of experience: "Erfahrung", referring to experience where one is actively engaged in and gains knowledge from; and "Erlebnis", referring to a tacit experience often translated as "lived experience". We use these words to articulate a suite of design strategies for bodily play experiences by referring to past design work. We conclude by discussing these two aspects of experience in conjunction with two previously established perspectives on the human body. We believe this more nuanced lexicon can provide a clearer understanding for designers about bodily play allowing them to guide players in gaining the many benefits from such experiences.

Movement-based digital games typically make it clear whose movement representation belongs to which player. In contrast, we argue that selectively concealing whose movement controls which representation can facilitate engaging play experiences. We call this "innominate movement representation" and explore this opportunity through our game "i-dentity", where players have to guess who makes everyone's controller light up based on his/her movements. Our work reveals five dimensions for the design of innominate movement representation: concealing the association between movement and representation; number of represented movements; number of players with representations; location of representation in relation to the body and technical attributes of representation. We also present five strategies for how innominate representation can be embedded into a play experience. With our work we hope to expand the range of digital movement games.

Interactive technology is increasingly used to support physical activities. However, there is limited knowledge about how interactive technology should be designed to support trick-focused experiences such as skateboarding. We developed Copy Paste Skate, a novel multimodal feedback system, and studied its use by 21 avid skateboarders to explore the design of interactive technology for skateboarding. Based on observations and interviews we articulate two key design dimensions that highlight how designing for skateboarding means supporting execution quality of tricks as well as supporting the trick originality. We also present 4 design strategies to help designers support both dimensions in one integrated design. Our work extends designers' knowledge about how to design interactive technology for skateboarding, ultimately extending our understanding of how interactive technology can support people being physically active.

Interactive technology can support exertion activities, with many examples focusing on improving athletic performance. We see an opportunity for technology to also support extreme sports such as skateboarding, which often focus primarily on the experience of doing tricks rather than on athletic performance. However, there is little knowledge on how to design for such experiences. In response, we designed 12 basic skateboarding prototypes inspired by skateboarding theory. Using an autoethnographical approach, we skated with each of these and reflected on our experiences in order to derive four design themes : location of feedback in relation to the skater's body, timing of feedback in relation to peaks in emotions after attempts, aspects of the trick emphasized by feedback, and aesthetic fittingness of feedback. We hope our work will guide designers of interactive systems for skateboarding, and extreme sports in general, and will therefore further our understanding of how to design for the active human body.