Co-designing with families for environmental sustainability relies on participatory imagination, yet habitual family roles and uneven participation, especially between adults and young children, often constrain it. A second challenge is continuity: workshop relationships and embodied ways of working do not easily survive into the final design, where artefacts travel more readily than roles or interactional dynamics. We report on a nationally toured mixed-reality installation developed through applied-theatre-led co-design with families. Across three workshops and user testing, applied theatre methods supported families to co-create narratives, artefacts, and interactional roles that shaped the public event. We show how theatrical co-design can rebalance child–adult participation through playful status shifts, and how selected workshop dynamics can be re-staged within a public mixed-reality installation. We contribute a theatrical account of participatory design in which designers work not only with artefacts and ideas, but with roles, rhythms, authority, and the social conditions that support collective imagination.

Group snacking contexts are typically unstructured and frequently associated with the consumption of snack product FMCGs (fast-moving consumer goods). Snacks are generally low value, shared and potentially over consumed. To explore the potential of digital interventions to playfully elevate the value of these snacks, we created a sharing snack bowl technology probe embedding simple game mechanics to track individual turns for taking a snack. This paper presents both in-lab and home studies where participants used the snack bowl whilst simultaneously playing a quiz card game. Findings from thematic analysis revealed how the snack bowl elicited togetherness, reflection, and social pressure whilst also disrupting group snacking habits. Our contributions include implications for reconfiguring snacking and enhancing the value of low-cost FMCGs through ludic design elements, and augmenting everyday tangible objects for use in group settings.

This study examines user acceptance of generative AI in cultural heritage contexts through a Reflection Story Generator deployed at an interactive exhibition in Malacca, a UNESCO World Heritage site. Using the AI Technology Acceptance Model (AI-TAM), the research combined survey responses from 121 participants with semi-structured interviews involving 34 participants. Results indicate that trust significantly enhances perceived usefulness (PU) and perceived ease of use (PEU), both of which strongly shape user attitudes. A positive attitude, in turn, emerges as the strongest predictor of behavioral intention to use the AI tool. These findings underscore the critical role of trust and usability in the adoption of generative AI for cultural learning and reflection. The study highlights the importance of trust in AI systems for cultural education and highlights the need for developers to focus on creating user-friendly, trustworthy AI technologies.

Despite the prevalence of digital gifting, designing meaningful and emotionally engaging digital gifts remains a challenge. One promising approach is Hybrid gifting, which combines digital and physical elements to improve the perceived value of gifts and provide opportunities for interpersonalisation. However, there is limited understanding of how hybridity shapes the dynamics of gifting in everyday contexts. To explore this, we developed a connected coffee machine prototype as a technology probe to study how givers personalise hybrid gifts and how recipients experience them. A study with seven pairs in intimate relationships revealed key insights: hybridity fosters slow, deliberate engagement; supports personalisation aligned with daily routines; grants recipients autonomy in receiving gifts; and reveals tensions between giver anxiety and recipient enjoyment. We discuss design implications for hybrid gifting systems that encourage recipients to savour digital gifts through slow, reflective interactions.

We report on a six-year collaboration with a small community organisation to develop and deploy a permanent physical / digital locative media experience as part on an ongoing community regeneration project. We describe how this unfolded over four phases: approach and pilot; public deployment; supporting subsequent community-led spin-off experiences; and planning legacy and technology handovers. The project was distinctive for being a Knowledge Exchange project in which we were approached and formally contracted by the community to deliver the digital technology, rather than instigating and leading a research project. We identify seven considerations for handing over technologies that combine both digital and physical elements to communities of stakeholders that encompass businesses, councils, and volunteers, and how this illuminates the unique strengths and weaknesses of Knowledge Exchange projects within the wider design research landscape.

We present the design of the Memory Machine (MeMa), a technology probe that can store, contextualise, and document media to represent memories. We accumulate vast physical and digital possessions throughout our lives, making it difficult to distinguish value in amassed images, albums, videos, mementos, and music. One option we wanted to explore via MeMa was to frame personal memories as a gift, in turn providing a way to revisit, share, and collate personal archives. We deployed MeMa into participants’ homes and tasked them to create a digital gift involving an autobiographical memory. Through qualitative methods we uncovered the experience of twelve gift-givers. We found that the framing as a gift brought meaning to a collection of media, promoting reflection and emotional reminiscence in participants. Our contributions include design implications involving the relationship between emotions, technology, and gifting.

This study focuses on the hybrid gifting model, where both physical and digital objects combine to create a single gift. For this in-the-world study, we turn to nostalgic emotions. We aimed to uncover if hybrid gifting can facilitate nostalgic experiences through repurposed digital media. In this case, we used a physical chocolate box and a QR code, that when scanned presented nostalgic images and text. Findings from gift exchanges and eighteen semi-structured interviews with givers and receivers are presented through thematic analysis. We reveal the impact on exchanges when nostalgia is evoked, and outline the roles of people, emotions, and objects. The contribution of this work is an understanding of repurposing our growing digital archives to frame nostalgic memories as gifts.

This workshop uses the outputs of a two-year Research through Design project as a springboard for bringing together a community of researchers interested in Hybrid Gifting. We have discovered that the many creative and socio-psychological processes involved in choosing or making a gift inform a great deal about interactions with common digital technologies, especially when they are used to make a hybrid gift with both physical and digital components. This workshop will be a temporally extended opportunity to experience the full cycle of giving and receiving gifts, whether you use our outputs or prototypes or your own ideas, artworks, or design fictions. Let’s take this opportunity to use our research to celebrate and care for each other, and perhaps envision new ways of celebrating and caring for others.

IoT solutions is their long-term socio-technical infrastructural nature, and therefore long-term installation and maintenance needs. This adds complexity to both the practice of digital plumbing and to the work of design that supports it. In this paper we study a commercial company producing and installing IoT alarm systems. We examine video recordings that capture how a digital plumbing representative and software development team members make changes to both the installation process and supporting technology. Our data enables us to critically reflect on concepts of infrastructuring, and uncover the ways in which the team methodically foreground hidden elements of the infrastructure to address a point of failure experienced during field trials of a new version of their product. The contributions from this paper are twofold. Firstly, our findings build on previous examples of infrastructuring in practice by demonstrating the use of notions of elemental states to support design reasoning through the continual foregrounding and assessment of tensions identified as key factors at the point of failure. Secondly, we build on current notions of digital plumbing work. We argue that additional responsibilities of 'reporting failure' and 'facilitation of change' are part of the professional digital plumbing role and that commercial teams should support these additional responsibilities through collaborative troubleshooting and design sessions alongside solid communication channels with related stakeholders within the product team.

Gifting is socially and economically important. Studies of gifting physical objects have revealed motivations, values, and the tensions between them, while HCI research has revealed weaknesses of digital gifting and explored possibilities of hybrid gifting. We report an “in the wild” study of a hybrid chocolate gift deployed as a commercial product. Interviews reveal the experiences of receivers and givers, as well as the producer's friction points and tangible benefits. We reveal how in hybrid gifts the digital elevates the physical while the physical grounds the digital. We discuss how hybrid gifts bridge the tension between receiver-preference and relationship-signalling motivations, the need to further strengthen the exchange and reveal stages of hybrid gifting, and to manage the privacy of sensitive personal messages. We propose to extend the concept of hybrid wrapping to include a finer-grained interleaving of digital into complex packaging and multi-layered wrappings to create more holistic gifting experiences.

Hybrid gifting combines physical artefacts and experiences with digital interactivity to generate new kinds of gifts. Our review details how gifting is a complex social phenomenon and how digital gifting is less engaging than physical gifting for both givers and receivers. Employing a Research Through Design approach, we developed a portfolio of four hybrid gifting experiences: an augmented advent calendar; edible music tracks; personalized museum tours; and a narrated city walk. Our reflection addresses three concepts: hybrid wrapping where physical gifts become wrapped in digital media and vice versa; the importance of effortful interactions that are visible and pleasurable; and the need to consider social obligation, including opportunities for acknowledgement and reciprocation, dealing with embarrassment, and recognizing the distinction between giving and sharing. Our concepts provide guidance to practitioners who wish to design future gifting experiences while helping HCI researchers engage with the concept of gifting in a nuanced way.

This paper presents the GIFT smartphone app, an artist-led Research through Design project benefitting from a three-day in-the-wild deployment. The app takes as its premise the generative potential of combining the contexts of gifting and museum visits. Visitors explore the museum, searching for objects that would most appeal to the gift-receiver they have in mind, then photographing those objects and adding audio messages for their receivers describing the motivation for their choices. This paper charts the designers' key aim of creating a new frame of mind using voice, and the most striking findings discovered during in-the-wild deployment in a museum -- 'seeing with new eyes' and fostering personal connections. We discuss empathy, motivation, and bottom-up personalisation in the productive space revealed by this combination of contexts. We suggest that this work reveals opportunities for designers of gifting services as well as those working in cultural heritage.

The domestic environment is a key area for the design and deployment of autonomous systems. Yet research indicates their adoption is already being hampered by a variety of critical issues including trust, privacy and security. This paper explores how potential users relate to the concept of autonomous systems in the home and elaborates further points of friction. It makes two contributions. The first one is of a methodological nature and focuses on the use of provocative utopian and dystopian scenarios of future autonomous systems in the home. These are used to drive an innovative workshop-based approach to breaching experiments, which surfaces the usually tacit and unspoken background expectancies implicated in the organisation of everyday life that have a powerful impact on the acceptability of future and emerging technologies. The other contribution is substantive, produced through participants’ efforts to repair the incongruity or “reality disjuncture” created by utopian and dystopian visions, and highlights the need to build social as well as computational accountability into autonomous systems, and to enable coordination and control.

Visual markers, in particular QR codes, have become widely adopted in museums to enable low cost interactive applications. However, visitors often do not engage with them. In this paper we explore the application of visual makers that can be designed to be meaningful and that can be created by visitors themselves. We study both the use of these markers as labels for portraits that link to audio recordings and as a mechanism for visitors to contribute their own reflections to the exhibition by drawing a marker and linking an audio comment. Our findings show visitors appreciated the use of the aesthetic markers and engaged with them at three levels -- physical placement, aesthetic content and digital content. We suggest that these different levels need to be considered in the design of future visiting systems, which make use of such markers, to ensure they are mutually supporting in shaping the experience.

We explore how the convergence of the digital and physical into hybrid products leads to new possibilities for customization. We report on a technology probe, a hybrid advent calendar with both paper form and digital layers of content, both of which were designed to be customizable. We reveal how over two hundred active users adapted its physical and digital aspects in various ways, some anticipated and familiar, but others surprising. This leads us to contribute concepts to help understand and design for hybrid customization -- the idea of broad customization spanning physical and digital; end-to-end customization by different stakeholders along the value chain for a product; and the combination of these into customization maps.

The convergence of theatre and digital technologies can play a valuable role in theatre for early years, but, how an audience of under-5's experiences and engages with these spaces is largely unexplored. We present an interactive performance installation and demonstrate how concepts from early years practice, in particular schemas, children's repeated play patterns, can be used as a design framework. We integrated sensors and microcontrollers into objects, puppets, and scenography and invited eight groups of very young children and their grownups to explore the performance. We discuss how schemas useful as a design and analysis tool in TEY, how schemas need to be expanded to include multi-sensory interactions with hybrid physical-digital objects, and how designers need to consider the roles of adults who scaffold interaction between very young children and their surroundings.

As locative media and augmented reality spread into the everyday world so it becomes important to create aesthetic visual markers at scale. We explore a designer-centred approach in which skilled designers handcraft seed designs that are automatically recombined to create many markers as subtle variants of a common theme. First, we extend the d-touch topological approach to creating visual markers that has previously been shown to support creative design with two new techniques: area order codes and visual checksums. We then show how the topological structure of such markers provides the basis for recombining designs to generate many variations. We demonstrate our approach through the creation of beautiful, personalized and interactive wallpaper. We reflect on how technologies must enable designers to balance goals of scalability, aesthetics and reliability in creating beautiful interactive decoration.

A myriad of digital artifacts are routinely exchanged online. While previous studies suggest that these are sometimes considered to be gifts, CSCW has largely overlooked explicit digital gifting where people deliberately choose to give digital media as gifts. We present an interview study that systematically analyzes the nature of digital gifting in comparison to conventional physical gifting. A five-stage gift exchange model, synthesized from the literature, frames this study. Findings reveal that there are distinctive gaps in people's engagement with the digital gifting process compared to physical gifting. Participants' accounts show how digital gifts often involve less labor, are sometimes not perceived as gifts by the recipient and are rarely reflected on and reciprocated. We conclude by drawing out design implications for digital gifting services and rituals.

We explore the crafting of interactive decoration for everyday artefacts. This involves adorning them with decorative patterns that enhance their beauty while triggering digital interactions when scanned with cameras. These are realized using an existing augmented reality technique that embeds computer readable codes into the topological structures of hand-drawn patterns. We describe a research through design process that engaged artisans to craft a portfolio of interactive artefacts, including ceramic bowls, embroidered gift cards, fabric souvenirs, and an acoustic guitar. We annotate this portfolio with reflections on the crafting process, revealing how artisans addressed pattern, materials, form and function, and digital mappings throughout their craft process. Further reflection on our portfolio reveals how they bridged between human and system perceptions of visual patterns and engaged in a deep embedding of digital interactions into physical materials. Our findings demonstrate the potential for interactive decoration, distilling the craft knowledge involved in creating aesthetic and functional decoration, highlight the need for transparent computer vision technologies, and raise wider issues for HCI’s growing engagement with craft.

We present a research-through-design exploration of transforming large-scale public illustrations into interactive media. We collaborated with creative practitioners to extend an existing visual marker technology to support spatial and layered interaction with wall-sized images. We document how these techniques were used to design interactive illustrations and how visitors to an exhibition engaged with these. We conclude that it is feasible to combine spatial and layered interactions to attach complex narratives to public illustrations, and highlight challenges around instruction giving, sociality and repeat experiences.

Visiting museums as part of a group poses the challenge of managing engagement with exhibits while preserving group cohesion. We respond to this by reconfiguring the social dynamic of visiting with an experience designed specifically for groups, that invites the group members themselves to design and 'gift' interpretations to one another. We present a trial of this experience with groups of family and friends at a museum. We show how groups managed and configured themselves during the visit, revealing the strategies involved in maintaining different group behaviors. We discuss how our design accommodated different visiting styles by making objects social and scaffolding rather than directing the group experience. We interpret our findings to frame group coherence as a flexible and configurable phenomenon within CSCW.

This paper introduces FugaciousFilm, a soap film based touch display, as a platform for Attentive Interaction that encourages the user to be highly focused throughout the use of the interface. Previous work on ephemeral user interfaces has primarily focused on the development of ambient and peripheral displays. In contrast, FugaciousFilm is an ephemeral display that aims to promote highly attentive interaction. We present the iterative process of developing this interface, spanning technical explorations, prototyping and a user study. We report lessons learnt when designing the interface; ranging from the soap film mixture to the impact of frames and apertures. We then describe developing the touch, push, pull and pop interactions. Our user study shows how FugaciousFilm led to focused and attentive interactions during a tournament of enhanced Tic-Tac-Toe. We then finish by discussing how the principles of vulnerability and delicacy can motivate the design of attentive ephemeral interfaces.

The designers of mobile guides for museums and galleries face three major challenges: fostering rich interpretation, delivering deep personalization, and enabling a coherent social visit. We propose an approach to tackling all three simultaneously by inviting visitors to design an interpretation that is specifically tailored for a friend or loved one that they then experience together. We describe a trial of this approach at a contemporary art gallery, revealing how visitors designed personal and sometimes provocative experiences for people they knew well. We reveal how pairs of visitors negotiated these experiences together, showing how our approach could deliver intense experiences for both, but also required them to manage social risk. By interpreting our findings through the lens of 'gift giving' we shed new light on ongoing explorations of interpretation, personalization and social visiting within HCI.

We apply the HCI concept of trajectories to the design of a sculpture trail. We crafted a trajectory through each sculpture, combining textual and audio instructions to drive directed viewing, movement and touching while listening to accompanying music. We designed key transitions along the way to oscillate between moments of social interaction and isolated personal engagement, and to deliver official interpretation only after visitors had been given the opportunity to make their own. We describe how visitors generally followed our trajectory, engaging with sculptures and making interpretations that sometimes challenged the received interpretation. We relate our findings to discussions of sense-making and design for multiple interpretations, concluding that curators and designers may benefit from considering \'18trajectories of interpretation'.

We explore the idea of making aesthetic decorative patterns that contain multiple visual codes. We chart an iterative collaboration with ceramic designers and a restaurant to refine a recognition technology to work reliably on ceramics, produce a pattern book of designs, and prototype sets of tableware and a mobile app to enhance a dining experience. We document how the designers learned to work with and creatively exploit the technology, enriching their patterns with embellishments and backgrounds and developing strategies for embedding codes into complex designs. We discuss the potential and challenges of interacting with such patterns. We argue for a transition from designing 'codes to patterns' that reflects the skills of designers alongside the development of new technologies.

We explore the approach of performance-led research in the wild in which artists drive the creation of novel performances with the support of HCI researchers that are then deployed and studied at public performance in cultural settings such as galleries, festivals and on the city streets. We motivate the approach and then describe how it consists of three distinct activities -- practice, studies and theory -- that are interleaved in complex ways through nine different relationships. We present a historical account of how the approach has evolved over a fifteen-year period, charting the evolution of a complex web of projects, papers, and relationships between them. We articulate the challenges of pursuing each activity as well as overarching challenges of balancing artistic and research interests, flexible management of relationships, and finally ethics.

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.

The novel experience Anywhere allowed participants to explore an urban area, tying together information not normally available, new points of views and interaction embedded into physical places. Guided by 'unseen', on-the-street performers in an ongoing conversation maintained over mobile phones, they gained access to locative media and staged performances. Our analysis demonstrates how Anywhere produced engaging and uniquely personalised paths through a complex landscape of content, negotiated by the performer-participant pair around various conflicting constraints. We reflect our analysis through the lens of the key characteristics exhibited by mechanisms that support city exploration, before focussing on possible extensions to the technological support of teams of professional and amateur guides.

The idea of interactional trajectories through interfaces has emerged as a sensitizing concept from recent studies of tangible interfaces and interaction in museums and galleries. We put this concept to work as a lens to reflect on published studies of complex user experiences that extend over space and time and involve multiple roles and interfaces. We develop a conceptual framework in which trajectories explain these user experiences as journeys through hybrid structures, punctuated by transitions, and in which interactivity and collaboration are orchestrated. Our framework is intended to sensitize future studies, help distill craft knowledge into design guidelines and patterns, identify technology requirements, and provide a boundary object to connect HCI with Performance Studies.

This paper presents the evolution of a tool to support the rapid prototyping of hybrid museum experiences by domain professionals. The developed tool uses visual markers to associate digital resources with physical artefacts. We present the iterative development of the tool through a user centred design process and demonstrate its use by domain experts to realise two distinct hybrid exhibits. The process of design and refinement of the tool highlights the need to adopt an experience oriented approach allowing authors to think in terms of the physical and digital "things" that comprise a hybrid experience rather than in terms of the underlying technical components.

This paper charts the distinctive challenges of designing mobile experiences for cyclists and presents two studies of mobile cycle-based experiences: one a heritage tour; the other an exploration of a city at dusk involving recording and listening to personal stories. To understand the cyclists' experiences questionnaires, interviews and observations are drawn on to derive eight lessons for designing cycle-based interaction including: cycling proficiency, physicality, impact of the environment, media and hardware design, collaboration, and safety. The conclusion is that design has to respect the distinctive nature of cycling as a mode of transport and needs to carefully interweave moments of interaction with it.

Mixed Reality Architecture (MRA) supports distributed teams in their everyday work activities by linking multiple physical spaces across a shared three-dimensional virtual world. User configurable audio-visual connections give the inhabitants of MRA full control over whom they want to be in contact with and when they make themselves available, as well as over the overall configuration. We report on the design of MRA, its deployment in an office environment and results from a long-term observational study. The study shows that MRA supports the management of awareness, social interaction and privacy well, that the architectural design features are crucial for this process and that the dynamic architectural topology of MRA and social interaction within it are linked in a fundamental way.

Movements of interfaces can be analyzed in terms of whether they are expected, sensed, and desired. Expected movements are those that users naturally perform; sensed are those that can be measured by a computer; and desired movements are those that are required by a given application. We show how a systematic comparison of expected, sensed, and desired movements, especially with regard to how they do not precisely overlap, can reveal potential problems with an interface and also inspire new features. We describe how this approach has been applied to the design of three interfaces: pointing flashlights at walls and posters in order to play sounds; the Augurscope II, a mobile augmented reality interface for outdoors; and the Drift Table, an item of furniture that uses load sensing to control the display of aerial photographs. We propose that this approach can help to build a bridge between the analytic and inspirational approaches to design and can help designers meet the challenges raised by a diversification of sensing technologies and interface forms, increased mobility, and an emerging focus on technologies for everyday life.

This paper presents the development of a lightweight component model that allows user to manage the introduction and arrangement of new interactive services and devices in the home. The model is responsive to ethnographic studies of the interplay between the Space-plan or interior layout and Stuff or artefacts placed within the fabric of the home. Interaction techniques developed through user-participation enable household members -- rather than designers -- to configure and reconfigure interactive devices and services to meet local needs. As a result, we have developed a tablet-based editor that discovers available ubiquitous components and presents these to users as 'jigsaw pieces' that can be dynamically assembled and recombined.

The augurscope is a portable mixed reality interface for outdoors. A tripod-mounted display is wheeled to different locations and rotated and tilted to view a virtual environment that is aligned with the physical background. Video from an onboard camera is embedded into this virtual environment. Our design encompasses physical form, interaction and the combination of a GPS receiver, electronic compass, accelerometer and rotary encoder for tracking. An initial application involves the public exploring a medieval castle from the site of its modern replacement. Analysis of use reveals problems with lighting, movement and relating virtual and physical viewpoints, and shows how environmental factors and physical form affect interaction. We suggest that problems might be accommodated by carefully constructing virtual and physical content

A study of a professional touring mixed reality performance called Desert Rain yields insights into how performers orchestrate players' engagement in an interactive experience. Six players at a time journey through an extended physical and virtual set. Each sees a virtual world projected onto a screen made from a fine water spray. This acts as a traversable interface, supporting the illusion that performers physically pass between real and virtual worlds. Live and video-based observations of Desert Rain, coupled with interviews with players and the production team, have revealed how the performers create conditions for the willing suspension of disbelief, and how they monitor and intervene in the players experience without breaking their engagement. This involves carefully timed performances and “off-face” and “virtual” interventions. In turn, these are supported by the ability to monitor players' physical and virtual activity through asymmetric interfaces.

We describe a pilot study of the use of a mixed reality environment for distributed presentations involving virtual and physical audiences and speakers. Our aims were to establish mutual awareness between all participants; to present physical and virtual worlds as being spatially integrated; and to support moderate sized audiences. We used a mixed reality boundary to join a physical space to a collaborative virtual environment so that the two appeared to be adjacent but distinct components of a single space. Two presentations were staged to a mixed physical and virtual audience, one by a virtual speaker and one by a physical speaker. Each presentation was followed by a question and answer session. Qualitative analysis of semi-structured interviews and video recordings revealed that some degree of mutual awareness was established between participants and that physical participants may have viewed the environment as being more spatially integrated than virtual participants. We propose that improving avatars and video textures in the virtual environment may further enhance the experience.

Traversable interfaces establish the illusion that virtual and physical worlds are joined together and that users can physically cross from one to the other. Our design for a traversable interface combines work on tele-embodiment, mixed reality boundaries and virtual environments. It also exploits non-solid projection surfaces, of which we describe four examples. Our design accommodates the perspectives of users who traverse the interface and also observers who are present in the connected physical and virtual worlds, an important consideration for performance and entertainment applications. A demonstrator supports encounters between members of our laboratory and remote visitors.

We propose an approach to creating shared mixed realities based on the construction of transparent boundaries between real and virtual spaces. First, we introduce a taxonomy that classifies current approaches to shared spaces according to the three dimensions of transportation, artificiality, and spatiality. Second, we discuss our experience of staging a poetry performance simultaneously within real and virtual theaters. This demonstrates the complexities involved in establishing social interaction between real and virtual spaces and motivates the development of a systematic approach to mixing realities. Third, we introduce and demonstrate the technique of mixed-reality boundaries as a way of joining real and virtual spaces together in order to address some of these problems.