• Figure 4. A personalized ride
photo-story as an
example of a historic trajectory.
May + June 2012
interactions
well as to distill the craft knowledge
that artists bring to such experiences into a form that is accessible to
the wider HCI community. In other
words, the goal is to create a kind of
boundary object [ 7] that might sit at
the intersection of HCI and theater
and performance studies.
Our first observation is that as
we saw above, mixed-reality per-
formances tend to be inherently
hybrid in their structure: combining
multiple real and virtual worlds in
various relationships; incorporating
multilayered timescales; establish-
ing various roles such as actors,
orchestrators, participants, audi-
ences, and bystanders; and finally,
integrating diverse forms of inter-
face into a single experience [ 2]. As
such, they defy easy classification
in terms of current genres of experi-
ence or interaction paradigms. They
are not simple theater, games, or
installations, but rather combina-
tions of these. Similarly, they are not
just virtual reality, augmented real-
ity, mixed reality, mobile computing,
tangible computing, or ubiquitous
computing, but again often a new
combination thereof.
