A shift is occurring, particularly evident in art-and- technology practice, in which the artist-led-workshop is transformed into an distinct and distinguishable artistic form. Resulting from, and contributing to, the new access and relationships people have to information, creative culture, materials and like-interested individuals, the "workshop-as-artwork" is herein proposed and outlined. As a set of multiple artistic (material), social and learning agent interactions, thinking this new form as an ecology has shown benefits in terms of the aims and design of these new works, as well as their thinking, planning and execution. Further, from the artist-interventionist point of view, positing the workshop-as-artwork and ecological thinking seeks to update notions of legacy, consequence and significance for the art-and-technology practitioner and his or her audience.

Chiptune Marching Band (CTMB) is a workshop-performance held in diverse public venues internationally (http://chiptunemarchingband.com/). The CTMB project proposes a contemporary form of dialogic art - an inclusive, participatory event designed to provide direct experience of resource, social and creative dynamics. In this poster we invoke the phrase "ecology of practice" to describe CTMB in terms of a number of interrelationships: amongst skills, with materials, in creativity and between participants. We also present our evaluative methods for 'participant' feedback within this type of event that are designed to be congruous with the overall intention.

This paper proposes a public workshop and performance, Chiptune Marching Band, where participants make a sensor-reactive sound instrument, powered by a localized power resource, and perform with their instrument as a band.

Design experience and theoretical discussion suggest that a narrow design focus on one tool or medium as primary may clash with the way that everyday activity involves the interweaving and combination of many heterogeneous media. Interaction may become seamless and unproblematic, even if the differences, boundaries and 'seams' in media are objectively perceivable. People accommodate and take advantage of seams and heterogeneity, in and through the process of interaction. We use an experiment with a mixed reality system to ground and detail our discussion of seamful design, which takes account of this process, and theory that reflects and informs such design. We critique the 'disappearance' mentioned by Weiser as a goal for ubicomp, and Dourish's 'embodied interaction' approach to HCI, suggesting that these design ideals may be unachievable or incomplete because they underemphasise the interdependence of 'invisible' non-rationalising interaction and focused rationalising interaction within ongoing activity.

Museums attract increasing numbers of online visitors along with their conventional physical visitors. This paper presents a study of a mixed reality system that allows web, virtual reality and physical visitors to share a museum visit together in real time. Our system allows visitors to share their location and orientation, communicate over a voice channel, and jointly navigate around a shared information space. Results from a study of 34 users of the system show that visiting with the system was highly interactive and retained many of the attractions of a traditional shared exhibition visit. Specifically, users could navigate together, collaborate around objects and discuss exhibits. These findings have implications for non-museum settings, in particular how location awareness is a powerful resource for collaboration, and how 'hybrid objects' can support collaboration at-a-distance.