Contemporary performance artists use Virtual Reality (VR) tools to create immersive narratives and extend the boundaries of traditional performance mediums. As the medium evolves, performance practice is changing with it. Our work explores ways to leverage VR to support the creative process by introducing the Virtual Rehearsal Suite (VRS) that provides users with the experience of a large-scale rehearsal or performance environment while occupying limited physical space and minimal real-world obstructions. In this paper, we discuss findings from scene study experiments conducted within the VRS. In addition, we contribute our thresholding protocols a framework designed to support user transitions into and out of VR experiences. Our integrated approach to digital performance practice and creative collaboration combines traditional and contemporary acting techniques with HCI research to harness the innovative capabilities of virtual reality technologies creating accessible, immersive experiences for actors while facilitating user presence through state change protocols.

We present an autobiographical design journey exploring the experience of returning to long-term single player games. Continuing progress from a previously saved game, particularly when substantial time has passed, is an understudied area in games research. To begin our exploration in this domain, we investigated what the return experience is like first-hand. By returning to four long-term single player games played extensively in the past, we revealed a phenomenon we call The Pivot Point, a ‘eureka’ moment in return gameplay. The pivot point anchors our design explorations, where we created prototypes to leverage the pivot point in reconnecting with the experience. These return experiences and subsequent prototyping iterations inform our understanding of how to design better returns to gameplay, which can benefit both producers and consumers of long-term single player games.

BreachMob is a virtual reality (VR) tool that applies open design principles from information security to physical buildings and structures. BreachMob uses a detailed 3D digital model of a property owner's building. The model is then published as a virtual environment (VE), complete with all applicable security measures and released to the public to test the building's security and find any potential vulnerabilities by completing specified objectives. Our paper contributes a new method of applying VR to crowd source detection of physical environment vulnerabilities. We detail the technical realization of two BreachMob prototypes (a home and an airport) reflecting on static and dynamic vulnerabilities. Our design critique suggests that BreachMob promotes user immersion by allowing participants the freedom to behave in ways that align with the experience of breaching physical security protocols.

Our work extends contemporary research into visualizations and related applications for automobiles. Focusing on external car bodies as a design space we introduce the External Automotive Displays (EADs), to provide visualizations that can share context and user-specific information as well as offer opportunities for direct and mediated interaction between users and automobiles. We conducted a design study with interaction designers to explore design opportunities on EADs to provide services to different road users; pedestrians, passengers, and drivers of other vehicles. Based on the design study, we prototyped four EADs in virtual reality (VR) to demonstrate the potential of our approach. This paper contributes our vision for EADs, the design and VR implementation of a few EAD prototypes, a preliminary design critique of the prototypes, and a discussion of the possible impact and future usage of external automotive displays.

We present Mutation: performing arts based approach that can help decrease the cognitive load associated with cyborg transitioning. Cyborgs are human-machine hybrids with organic and mechatronic body parts that can be implanted or worn. The transition into and out of experiencing additional body parts is not fully understood. Our goal is to draw from performing arts techniques in order to help decrease the cognitive load associated with becoming and unbecoming a cyborg. Actors constantly shift between states, whether from one character to another, or from pre- to post- performance. We contribute a straightforward adaptation of classic performing art practices to cyborg transitioning, and a study where actors used these protocols in order to enter a cyborg state, perform as a cyborg, and then exit the cyborg state. Our work on Mutation suggests that classic performing art practices can be useful in cyborg transitioning, as well as in other technology augmented experiences.

We are interested in the interactive aspects of deploying humanoid robots as instructors for industrial assembly tasks. Training for industrial assembly requires workers to become familiar with all steps of the assembly process, including learning and reproducing new tasks, before they can be employed in a production line. The derived challenges in current practice are limited availability of skilled instructors, and the need for attention to specific workers' training needs. In this paper, we propose the use of humanoid robots in teaching assembly tasks to workers while also providing a quality learning experience. We offer an assembly robotic instructor prototype based on a Baxter humanoid, and the results of a study conducted with the prototype teaching the assembly of a simple gearbox.