Beginning on April 9th, 2024, a team at the University of Central Florida ran an alternate reality game that lasted until April 12th, 2024.This game, called Penumbra, followed the story of two students who started noticing weird happenings on campus, eventually leading to the discovery of a secret society called Penumbra that created an AI "cryptid" called the Umbra, with nefarious intentions.The story was made to give students nearing finals an exciting adventure and encourage them to explore their campus while raising caution and awareness about using AI responsibly.The contents of this paper describe the original design of the ARG, focusing on the narrative and how lore and atmosphere were used to push those points forward.The game utilizes a lore-heavy narrative to entice players to explore and learn more about the story and further immerse themselves in it.The lore and atmosphere of the game were built to create a cohesive and comprehensive storyline that allows players to dive as deep as they want while still giving the players a rich story at any level.Gaining a more lore-heavy story as the players explore throughout the week allows deeper levels of immersion to be achieved.Lore and atmosphere affect immersion within a narrative-driven augmented reality game.

Khong Khro is a reflected light artwork that visualizes the participant's focus and attention. It uses a commercial EEG headset to monitor the participant's beta and theta brainwaves. When the viewer is focused the displayed color field unifies into a single hue, and when distracted the field separates into multiple different hues with a mottled pattern. The movement of the color patterns is regulated by a three-dimensional flocking algorithm, and the system runs on a microprocessor. Using biofeedback adds interactive dynamics to the aesthetics of the artwork. This paper describes the techniques and processes used in the artwork's design and places it in context with other brain art pieces.

This paper explores the use of rear projected fabric panel tangible interfaces for use in music performance, interactive sculpture, and experiential systems. This idea is explored using the piece What We Have Lost / What We Have gained as an example. This paper demonstrates how HCI can be applied to and included within art disciplines to increase engagement with the artworks by transforming viewers into performers, participants, players, and co-creators. It further argues that by including embodied interactions artworks expand their ability to convey meaning to users.