We observed interactions with The Humming Wall, a vibrotactile and vibroacoustic interactive artifact placed in an urban park. Prior studies have focused on interactivity with primarily vision based systems (or with this system, the interaction between the wall and a wearable vibrotactile vest). Here, we concentrated on the passersby and natural inhabitants' responses and interactions to the vibrotactile-vibroacoustic interactive furniture. We analysed infrared footage from a 6 &1/2 day period. We found longer interaction sequences on different days and times frames with solos, groups and groups with children. We contribute incrementally on confirming findings with prior studies on interactive public displays but in this instance the interactions are with vibro-tactile-acoustic responses. In addition, we innovate with the first study that demonstrates the successful use of a vibrotactile-vibroacoustic interactive artifact in a public space.

In this paper we present The Remediation of Nosferatu, a location based augmented reality horror adventure. Using the theory of fictional universe elements, we work with diverse material from Nosferatu's horror genre and vampire themes as a case study. In this interdisciplinary research we intertwine traditional storytelling and scriptwriting skills with interaction design methods. For the game setting, we create hybrid spaces merging the fictional universe and the physical environment into one pervasive experience, centering around a variety of augmented reality activities played out at sunset. Focusing on the phenomenological world of 21 participants, we analyse triangulated data by distinguishing between a range of more "open" and "closed" styles of interactions. Our study illustrates how Speculative Play may enable non-linear storytelling elements within a transmedia fictional universe. We believe our approach can be more generally useful for designing future rich, enjoyable and meaningful transmedia experiences.

We distributed fourteen controllable street lamps in a city square and recorded three comparative and one 'usual' condition, operating the public lighting as if it were an interactive stage. First tested was adaptive lighting that responded to people's occupancy patterns. Second was a mobile phone application that allowed people to customise color and responsive behaviours in the overhead lighting system. Third was ambient lighting, responding to wind velocity. The study extends the discussion on multiuser interaction design in public lighting by asking: how can interactions using mobile phones, thermal tracking and wind inputs afford new social behaviors, without disturbing the usual public functions of street lighting? This research lays foundational work on the affordances of mobile phones for engagement and interaction with public lighting. The study indicates the use of personal phones as a tool for interaction in this setting has potential to provide a stronger ownership to urban place.

Magic lens and static peephole interfaces are used in numerous consumer mobile phone applications such as Augmented Reality browsers, games or digital map applications in a variety of contexts including public spaces. Interface performance has been evaluated for various interaction tasks involving spatial relationships in a scene. However, interface usage outside laboratory conditions has not been considered in depth in the evaluation of these interfaces.

In this paper we introduce and discuss the nature of free-play in the context of three open-ended interactive art installation works. We observe the interaction work of situated free-play of the participants in these environments and, building on precedent work, devise a set of sensitising terms derived both from the literature and from what we observe from participants interacting there. These sensitising terms act as guides and are designed to be used by those who experience, evaluate or report on open-ended interactive art. That is, we propose these terms as a common-ground language to be used by participants communicating while in the art work to describe their experience, by researchers in the various stages of research process (observation, coding activity, analysis, reporting, and publication), and by inter-disciplinary researchers working across the fields of HCI and art. This work builds a foundation for understanding the relationship between free-play, open-ended environments, and interactive installations and contributes sensitising terms useful for the HCI community for discussion and analysis of open-ended interactive art works.

In designing for engagement at a public multi-touch installation, we identified supporting multiple users and allowing for gradual discovery as challenges. In this paper, we present Worlds of Information, a multi-touch application featuring 3D Worlds, which provide access to different content. These 3D widgets gradually unfold and allow for temporal navigation of multimedia in parallel, while also providing a 2D plane where media can be shared. We report on a field trial at an exhibition using questionnaires and video ethnography. We studied engagement through questions adapted from Flow, Presence and Intrinsic Motivation questionnaires, which showed that users, overall, had a positive and social experience with the installation. The worlds effectively invited multiple users and provided for parallel interaction. While functionality was discovered gradually through social learning, the study demonstrates the challenges of designing multi-touch applications for walk-up-and-use displays.

We present findings from field trials of MapLens, a mobile augmented reality (AR) map using a magic lens over a paper map. Twenty-six participants used MapLens to play a location-based game in a city centre. Comparisons to a group of 11 users with a standard 2D mobile map uncover phenomena that arise uniquely when interacting with AR features in the wild. The main finding is that AR features facilitate place-making by creating a constant need for referencing to the physical, and in that it allows for ease of bodily configurations for the group, encourages establishment of common ground, and thereby invites discussion, negotiation and public problem-solving. The main potential of AR maps lies in their use as a collaborative tool.

In this research I explore what elements there may be in common between tangible interactive-technology works that successfully engage their participants. An exploration of existing methods for obtaining useful evaluations for non-use and ambiguous environments forms a part of the discussion.

Designers and artists have integrated recent advances in interactive, tangible and ubiquitous computing technologies to create new forms of interactive environments in the domains of work, recreation, culture and leisure. Many designs of technology systems begin with the workplace in mind, and with function, ease of use, and efficiency high on the list of priorities. [1] These priorities do not fit well with works designed for an interactive art environment, where the aims are many, and where the focus on utility and functionality is to support a playful, ambiguous or even experimental experience for the participants. To evaluate such works requires an integration of art-criticism techniques with more recent Human Computer Interaction (HCI) methods, and an understanding of the different nature of engagement in these environments. This paper begins a process of mapping a set of priorities for amplifying engagement in interactive art installations. I first define the concept of ludic engagement and its usefulness as a lens for both design and evaluation in these settings. I then detail two fieldwork evaluations I conducted within two exhibitions of interactive artworks, and discuss their outcomes and the future directions of this research.

This paper describes an interactive installation work set in a large dome space. The installation is an audio and physical re-rendition of an interactive writing work. In the original work, the user interacted via keyboard and screen while online. This rendition of the work retains the online interaction, but also places the interaction within a physical space, where the main 'conversation' takes place by the participant-audience speaking through microphones and listening through headphones. The work now also includes voice and SMS input, using speech-to-text and text-to-speech conversion technologies, and audio and displayed text for output. These additions allow the participant-audience to co-author the work while they participate in audible conversation with keyword-triggering characters (bots). Communication in the space can be person-to-computer via microphone, keyboard, and phone; person-to-person via machine and within the physical space; computer-to-computer; and computer-to-person via audio and projected text.