Lisa Simon, NHTV University of Applied Sciences Breda Marloeke Van der Vlugt, HKU Licia Calvi, NHTV University of Applied Sciences Breda

1. Triggers to Entice an Audience to ‘Perform as
Interface’ in an Interactive Installation
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Lisa U. Simon1, Marloeke van der Vlugt2, Licia Calvi1
1NHTV University of Applied Sciences, Breda (NL)
2Research Center Performative Processes
HKU University of the Arts, Utrecht (NL)
http://www.marloekevandervlugt.com/
Marloeke van der VlugtLisa Simon

2. Table of Contents
What I will do is to:
– introduce the JUMP_CHAIR_CHUTE installation
– discuss what it means for an audience to “performance as interface”
– talk about the factors that trigger this aesthetic experience
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3. Perform as Interface
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Marloeke van der Vlugt: CHAIR_JUMP_CHUTE (2016)
©Photographer
Hanne
Nijhuis

4. The Performance
In this artistic installation:
– each wearable (in combination with
the interactive stage) is associated to
a variety of music clips
– each wearable and soundclip trigger
different movements
– each wearable moves the parachutes
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Marloeke van der Vlugt: CHAIR_JUMP_CHUTE (2016)
©Photographer
Hanne
Nijhuis

5. The Rationale
Why?
– to discuss the influence of new technologies on our experience of the
world, the body of the audience has become the relevant space for
actual theatrical and performative experiences
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6. Performing as Interface
The experience for the players:
– is not only an oscillating movement between immersion and detachment
– this oscillation is rather experienced as a continuously shifting power relation
between participant, viewer and installation, as an exploration, as the
awakening in the audience of a desire to be engaged in the interaction, in
stimulating reflection on oneself in relation to the technology/installation/world
This is what it means to “perform as interface”
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7. The Experimental Design
A mixed method research:
– Observations in the semi-public setting of a cultural institute over a 5-day
festival
• 41 people were observed
– Questionnaire divided into 3 parts to cover the before, during and after
experience
• an adaptation of the PLEX cards
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What we did

8. The Results
From the content analysis, these themes emerged:
– Embarrassment in Public
– Internal versus External Motivation
– Curiosity
– Aesthetic Experience
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Four themes

9. Embarrassment in Public
Dual feelings:
– no explicit mention of feeling embarrassed while performing in public
– some hesitation by the people in the restaurant below the banister
• caused by the difficulty to distinguish between the aesthetic and
instrumental experience
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10. Internal v/s External Motivation
Equally important:
– external motivation: vicarious observations and triggers or invitation by
others
• also in the choice of the wearable
– internal motivation: interaction possibilities and curiosity
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11. Curiosity
Curiosity was triggered by:
– Exploration
– Humor
– Discovery
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12. Aesthetic Experience
Influenced by:
– visual appearance of the installation
• parachutes movements
• sound
– results in a pleasing experience that offers more performing opportunities
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13. Discussion
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We found that:
– all motivation factors (internal and external) must be present
– curiosity is present before during and after the interaction
– curiosity is amplified in open-ended play, which unfolds through the
performance
– social embarrassment was not a major barrier to perform
– inherent difficulty to perform due to the purely physical experience

14. Conclusion
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General findings
We noted that:
– some perceived thresholds - like other people watching, physical
challenges or “apparative resistance” (Kwastek, 2009) - give meaning
and depth to the interactive experience
– motivation and curiosity allow participants to become fully, mentally and
physically, engaged with the installation.

15. Thank you!
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Licia Calvi
Calvi.L@nhtv.nl