The Experts below are selected from a list of 3642 Experts worldwide ranked by ideXlab platform
Oliver Hodl - One of the best experts on this subject based on the ideXlab platform.
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TOWARDS BRIDGING THE GAP IN A MUSICAL LIVE PERFORMANCE
2020Co-Authors: Oliver Hodl, Fares Kayali, Geraldine Fitzpatrick, Simon HollandAbstract:Performances across diverse musical genres conventionally happen with a clear one-way structure; musicians perform while spectators listen, except when they sing along, for instance. In most cases, the Audience’s opportunities for Participation are limited to relatively inexpressive forms of interaction such as clapping, swaying and interjecting. By contrast, recent emerging technologies for Audience Participation allow spectators to collaborate in expressive and targeted ways with performing artists to influence and shape musical live performances in real time. Already, a rich variety of custom-built instruments, devices and systems have been devised for Audience Participation with the potential to facilitate richly collaborative performance. The artistic potential of such technology-driven Audience Participation is high both for musicians and their Audiences. Furthermore, it can bridge the gap between the active role of musicians and the passive role of spectators. Participative technologies can qualitatively change the overall experience in new positive directions for all involved. However, if not considered carefully, Audience Participation can be annoying, may fail, and may lead to frustration. While the reasons for this can be manifold, we posit that the chances of successful Audience Participation are greatly facilitated by well- considered design. To this end, we systematically analysed a vast number of existing approaches of Audience Participation in musical and non-musical domains. In addition, we conducted two case studies at live performances to shed light on conceptual and compositional constraints within the process of designing Audience Participation. Our insights are presented as a collection of structured design aspects able to characterise participatory music performances and their broader contexts. As a result, we propose the design toolkit "LiveMAP", which stands for “Live Music Audience Participation”, and which supports the design and creation of participatory elements in a musical live performance.
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ICMC - DESIGNING INTERACTIVE Audience Participation USING SMART PHONES IN A MUSICAL PERFORMANCE
2020Co-Authors: Oliver Hodl, Fares Kayali, Geraldine FitzpatrickAbstract:In this paper we describe the design and evaluation of an interactive system for Audience Participation in live performances using smart phones to control the stereo panoramaoftheleadguitar. Thesystemwasdevelopedthrough feedback from both spectators and artists. The evaluation was conducted during a live concert and builds on interviews and video analysis. Findings include that musicians seem to be cautious about giving up control and that the Audience at the same time wants a reasonable amount of control and clear feedback which in turn can be obtrusive to other spectators. We outline that balancing constraints with affordances is the key to both the Audience’s and musicians’ acceptance of such a system and that a playful participatory design process can lead to better results in this regard. It is also shown that using smart phones opens up a large possibility space but at the same time their use has to be subtle to not distract too much from the music.
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large scale Audience Participation in live music using smartphones
Journal of New Music Research, 2020Co-Authors: Oliver Hodl, Christoph Bartmann, Fares Kayali, Peter PurgathoferAbstract:ABSTRACTWe present a study and reflection about the role and use of smartphone technology for a large-scale musical performance involving Audience Participation. We evaluated a full design and deve...
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tmap design cards for technology mediated Audience Participation in live music
New Directions in Music and Human-Computer Interaction, 2019Co-Authors: Oliver Hodl, Fares Kayali, Geraldine Fitzpatrick, Simon HollandAbstract:Historically, Audiences have had various ways to participate in live music performances, including clapping, dancing, swaying, whistling, and singing. More recently, mobile and wireless devices, such as smartphones have opened up powerful new opportunities for Audience Participation. However, design for technology-mediated Audience Participation (TMAP) can be challenging: musicians and Audiences have different demands, as does the coherence of the music, and group needs can vary widely. Thus, effective TMAP design requires the balancing of knowledge from diverse perspectives and must take into account the needs of diverse roles in creating and supporting performances. This chapter focuses on the process of creating and evaluating a set of design cards to support the interaction design and evaluation of TMAP systems. The cards are based on a previously created descriptive framework for supporting interaction design and evaluation in this challenging area. We discuss the conception and development of the TMAP design cards in some detail, and present an empirical study to evaluate their practical usefulness. Particular attention is paid to the ability of the cards to support finding ideas, changing ideas, and examining ideas from different perspectives.
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New Directions in Music and Human-Computer Interaction - TMAP Design Cards for Technology-Mediated Audience Participation in Live Music
New Directions in Music and Human-Computer Interaction, 2019Co-Authors: Oliver Hodl, Fares Kayali, Geraldine Fitzpatrick, Simon HollandAbstract:Historically, Audiences have had various ways to participate in live music performances, including clapping, dancing, swaying, whistling, and singing. More recently, mobile and wireless devices, such as smartphones have opened up powerful new opportunities for Audience Participation. However, design for technology-mediated Audience Participation (TMAP) can be challenging: musicians and Audiences have different demands, as does the coherence of the music, and group needs can vary widely. Thus, effective TMAP design requires the balancing of knowledge from diverse perspectives and must take into account the needs of diverse roles in creating and supporting performances. This chapter focuses on the process of creating and evaluating a set of design cards to support the interaction design and evaluation of TMAP systems. The cards are based on a previously created descriptive framework for supporting interaction design and evaluation in this challenging area. We discuss the conception and development of the TMAP design cards in some detail, and present an empirical study to evaluate their practical usefulness. Particular attention is paid to the ability of the cards to support finding ideas, changing ideas, and examining ideas from different perspectives.
Fares Kayali - One of the best experts on this subject based on the ideXlab platform.
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ICMC - DESIGNING INTERACTIVE Audience Participation USING SMART PHONES IN A MUSICAL PERFORMANCE
2020Co-Authors: Oliver Hodl, Fares Kayali, Geraldine FitzpatrickAbstract:In this paper we describe the design and evaluation of an interactive system for Audience Participation in live performances using smart phones to control the stereo panoramaoftheleadguitar. Thesystemwasdevelopedthrough feedback from both spectators and artists. The evaluation was conducted during a live concert and builds on interviews and video analysis. Findings include that musicians seem to be cautious about giving up control and that the Audience at the same time wants a reasonable amount of control and clear feedback which in turn can be obtrusive to other spectators. We outline that balancing constraints with affordances is the key to both the Audience’s and musicians’ acceptance of such a system and that a playful participatory design process can lead to better results in this regard. It is also shown that using smart phones opens up a large possibility space but at the same time their use has to be subtle to not distract too much from the music.
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TOWARDS BRIDGING THE GAP IN A MUSICAL LIVE PERFORMANCE
2020Co-Authors: Oliver Hodl, Fares Kayali, Geraldine Fitzpatrick, Simon HollandAbstract:Performances across diverse musical genres conventionally happen with a clear one-way structure; musicians perform while spectators listen, except when they sing along, for instance. In most cases, the Audience’s opportunities for Participation are limited to relatively inexpressive forms of interaction such as clapping, swaying and interjecting. By contrast, recent emerging technologies for Audience Participation allow spectators to collaborate in expressive and targeted ways with performing artists to influence and shape musical live performances in real time. Already, a rich variety of custom-built instruments, devices and systems have been devised for Audience Participation with the potential to facilitate richly collaborative performance. The artistic potential of such technology-driven Audience Participation is high both for musicians and their Audiences. Furthermore, it can bridge the gap between the active role of musicians and the passive role of spectators. Participative technologies can qualitatively change the overall experience in new positive directions for all involved. However, if not considered carefully, Audience Participation can be annoying, may fail, and may lead to frustration. While the reasons for this can be manifold, we posit that the chances of successful Audience Participation are greatly facilitated by well- considered design. To this end, we systematically analysed a vast number of existing approaches of Audience Participation in musical and non-musical domains. In addition, we conducted two case studies at live performances to shed light on conceptual and compositional constraints within the process of designing Audience Participation. Our insights are presented as a collection of structured design aspects able to characterise participatory music performances and their broader contexts. As a result, we propose the design toolkit "LiveMAP", which stands for “Live Music Audience Participation”, and which supports the design and creation of participatory elements in a musical live performance.
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large scale Audience Participation in live music using smartphones
Journal of New Music Research, 2020Co-Authors: Oliver Hodl, Christoph Bartmann, Fares Kayali, Peter PurgathoferAbstract:ABSTRACTWe present a study and reflection about the role and use of smartphone technology for a large-scale musical performance involving Audience Participation. We evaluated a full design and deve...
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tmap design cards for technology mediated Audience Participation in live music
New Directions in Music and Human-Computer Interaction, 2019Co-Authors: Oliver Hodl, Fares Kayali, Geraldine Fitzpatrick, Simon HollandAbstract:Historically, Audiences have had various ways to participate in live music performances, including clapping, dancing, swaying, whistling, and singing. More recently, mobile and wireless devices, such as smartphones have opened up powerful new opportunities for Audience Participation. However, design for technology-mediated Audience Participation (TMAP) can be challenging: musicians and Audiences have different demands, as does the coherence of the music, and group needs can vary widely. Thus, effective TMAP design requires the balancing of knowledge from diverse perspectives and must take into account the needs of diverse roles in creating and supporting performances. This chapter focuses on the process of creating and evaluating a set of design cards to support the interaction design and evaluation of TMAP systems. The cards are based on a previously created descriptive framework for supporting interaction design and evaluation in this challenging area. We discuss the conception and development of the TMAP design cards in some detail, and present an empirical study to evaluate their practical usefulness. Particular attention is paid to the ability of the cards to support finding ideas, changing ideas, and examining ideas from different perspectives.
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New Directions in Music and Human-Computer Interaction - TMAP Design Cards for Technology-Mediated Audience Participation in Live Music
New Directions in Music and Human-Computer Interaction, 2019Co-Authors: Oliver Hodl, Fares Kayali, Geraldine Fitzpatrick, Simon HollandAbstract:Historically, Audiences have had various ways to participate in live music performances, including clapping, dancing, swaying, whistling, and singing. More recently, mobile and wireless devices, such as smartphones have opened up powerful new opportunities for Audience Participation. However, design for technology-mediated Audience Participation (TMAP) can be challenging: musicians and Audiences have different demands, as does the coherence of the music, and group needs can vary widely. Thus, effective TMAP design requires the balancing of knowledge from diverse perspectives and must take into account the needs of diverse roles in creating and supporting performances. This chapter focuses on the process of creating and evaluating a set of design cards to support the interaction design and evaluation of TMAP systems. The cards are based on a previously created descriptive framework for supporting interaction design and evaluation in this challenging area. We discuss the conception and development of the TMAP design cards in some detail, and present an empirical study to evaluate their practical usefulness. Particular attention is paid to the ability of the cards to support finding ideas, changing ideas, and examining ideas from different perspectives.
Simon Holland - One of the best experts on this subject based on the ideXlab platform.
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TOWARDS BRIDGING THE GAP IN A MUSICAL LIVE PERFORMANCE
2020Co-Authors: Oliver Hodl, Fares Kayali, Geraldine Fitzpatrick, Simon HollandAbstract:Performances across diverse musical genres conventionally happen with a clear one-way structure; musicians perform while spectators listen, except when they sing along, for instance. In most cases, the Audience’s opportunities for Participation are limited to relatively inexpressive forms of interaction such as clapping, swaying and interjecting. By contrast, recent emerging technologies for Audience Participation allow spectators to collaborate in expressive and targeted ways with performing artists to influence and shape musical live performances in real time. Already, a rich variety of custom-built instruments, devices and systems have been devised for Audience Participation with the potential to facilitate richly collaborative performance. The artistic potential of such technology-driven Audience Participation is high both for musicians and their Audiences. Furthermore, it can bridge the gap between the active role of musicians and the passive role of spectators. Participative technologies can qualitatively change the overall experience in new positive directions for all involved. However, if not considered carefully, Audience Participation can be annoying, may fail, and may lead to frustration. While the reasons for this can be manifold, we posit that the chances of successful Audience Participation are greatly facilitated by well- considered design. To this end, we systematically analysed a vast number of existing approaches of Audience Participation in musical and non-musical domains. In addition, we conducted two case studies at live performances to shed light on conceptual and compositional constraints within the process of designing Audience Participation. Our insights are presented as a collection of structured design aspects able to characterise participatory music performances and their broader contexts. As a result, we propose the design toolkit "LiveMAP", which stands for “Live Music Audience Participation”, and which supports the design and creation of participatory elements in a musical live performance.
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tmap design cards for technology mediated Audience Participation in live music
New Directions in Music and Human-Computer Interaction, 2019Co-Authors: Oliver Hodl, Fares Kayali, Geraldine Fitzpatrick, Simon HollandAbstract:Historically, Audiences have had various ways to participate in live music performances, including clapping, dancing, swaying, whistling, and singing. More recently, mobile and wireless devices, such as smartphones have opened up powerful new opportunities for Audience Participation. However, design for technology-mediated Audience Participation (TMAP) can be challenging: musicians and Audiences have different demands, as does the coherence of the music, and group needs can vary widely. Thus, effective TMAP design requires the balancing of knowledge from diverse perspectives and must take into account the needs of diverse roles in creating and supporting performances. This chapter focuses on the process of creating and evaluating a set of design cards to support the interaction design and evaluation of TMAP systems. The cards are based on a previously created descriptive framework for supporting interaction design and evaluation in this challenging area. We discuss the conception and development of the TMAP design cards in some detail, and present an empirical study to evaluate their practical usefulness. Particular attention is paid to the ability of the cards to support finding ideas, changing ideas, and examining ideas from different perspectives.
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New Directions in Music and Human-Computer Interaction - TMAP Design Cards for Technology-Mediated Audience Participation in Live Music
New Directions in Music and Human-Computer Interaction, 2019Co-Authors: Oliver Hodl, Fares Kayali, Geraldine Fitzpatrick, Simon HollandAbstract:Historically, Audiences have had various ways to participate in live music performances, including clapping, dancing, swaying, whistling, and singing. More recently, mobile and wireless devices, such as smartphones have opened up powerful new opportunities for Audience Participation. However, design for technology-mediated Audience Participation (TMAP) can be challenging: musicians and Audiences have different demands, as does the coherence of the music, and group needs can vary widely. Thus, effective TMAP design requires the balancing of knowledge from diverse perspectives and must take into account the needs of diverse roles in creating and supporting performances. This chapter focuses on the process of creating and evaluating a set of design cards to support the interaction design and evaluation of TMAP systems. The cards are based on a previously created descriptive framework for supporting interaction design and evaluation in this challenging area. We discuss the conception and development of the TMAP design cards in some detail, and present an empirical study to evaluate their practical usefulness. Particular attention is paid to the ability of the cards to support finding ideas, changing ideas, and examining ideas from different perspectives.
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design implications for technology mediated Audience Participation in live music
2017Co-Authors: Oliver Hodl, Fares Kayali, Geraldine Fitzpatrick, Simon HollandAbstract:Mobile and sensor-based technologies have created new interaction design possibilities for technology-mediated au- dience Participation in live music performance. However, there is little if any work in the literature that systematically identifies and characterises design issues emerging from this novel class of multi-dimensional interactive performance systems. As an early contribution towards addressing this gap in knowledge, we present the analysis of a detailed sur- vey of technology-mediated Audience Participation in live music, from the perspective of two key stakeholder groups - musicians and Audiences. Results from the survey of over two hundred spectators and musicians are presented, along with descriptive analysis and discussion. These results are used to identify emerging design issues, such as expressive- ness, communication and appropriateness. Implications for interaction design are considered. While this study focuses on musicians and Audiences, lessons are noted for diverse stakeholders, including composers, performers, interaction designers, media artists and engineers.
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experimence considerations for composing a rock song for interactive Audience Participation
International Computer Music Conference, 2014Co-Authors: Oliver Hodl, Geraldine Fitzpatrick, Simon HollandAbstract:In popular music genres, typical songs are pre-composed and leave little or no space for improvisation during a live performance. That applies for the performing musicians as well as for the spectators in terms of interactive Audience Participation. In this study we question these improvisational limits and try to identify strategies for involving the Audience as an additional and unpredictable factor in a pre-composed rock song. To do so we composed “Experimence” guided by the standard practice of song writing. The song was premiered at a public live concert where the Audience could collaboratively participate in real-time by playing with a balloon together throughout the song. Using a wizard of oz technique, the movements of the balloon influenced the live music played by the pianist. We reflect across this experience and present notable issues raised during the composition, rehearsals and the actual performance. We then classify these aspects as abstract variables of consideration for a composition meant to promote such Audience Participation. We propose this proof of concept as a starting point for further discussion, suggesting that a song such as Experimence can be a unique and individual piece of music every time it is played although largely pre-composed.
Geraldine Fitzpatrick - One of the best experts on this subject based on the ideXlab platform.
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ICMC - DESIGNING INTERACTIVE Audience Participation USING SMART PHONES IN A MUSICAL PERFORMANCE
2020Co-Authors: Oliver Hodl, Fares Kayali, Geraldine FitzpatrickAbstract:In this paper we describe the design and evaluation of an interactive system for Audience Participation in live performances using smart phones to control the stereo panoramaoftheleadguitar. Thesystemwasdevelopedthrough feedback from both spectators and artists. The evaluation was conducted during a live concert and builds on interviews and video analysis. Findings include that musicians seem to be cautious about giving up control and that the Audience at the same time wants a reasonable amount of control and clear feedback which in turn can be obtrusive to other spectators. We outline that balancing constraints with affordances is the key to both the Audience’s and musicians’ acceptance of such a system and that a playful participatory design process can lead to better results in this regard. It is also shown that using smart phones opens up a large possibility space but at the same time their use has to be subtle to not distract too much from the music.
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TOWARDS BRIDGING THE GAP IN A MUSICAL LIVE PERFORMANCE
2020Co-Authors: Oliver Hodl, Fares Kayali, Geraldine Fitzpatrick, Simon HollandAbstract:Performances across diverse musical genres conventionally happen with a clear one-way structure; musicians perform while spectators listen, except when they sing along, for instance. In most cases, the Audience’s opportunities for Participation are limited to relatively inexpressive forms of interaction such as clapping, swaying and interjecting. By contrast, recent emerging technologies for Audience Participation allow spectators to collaborate in expressive and targeted ways with performing artists to influence and shape musical live performances in real time. Already, a rich variety of custom-built instruments, devices and systems have been devised for Audience Participation with the potential to facilitate richly collaborative performance. The artistic potential of such technology-driven Audience Participation is high both for musicians and their Audiences. Furthermore, it can bridge the gap between the active role of musicians and the passive role of spectators. Participative technologies can qualitatively change the overall experience in new positive directions for all involved. However, if not considered carefully, Audience Participation can be annoying, may fail, and may lead to frustration. While the reasons for this can be manifold, we posit that the chances of successful Audience Participation are greatly facilitated by well- considered design. To this end, we systematically analysed a vast number of existing approaches of Audience Participation in musical and non-musical domains. In addition, we conducted two case studies at live performances to shed light on conceptual and compositional constraints within the process of designing Audience Participation. Our insights are presented as a collection of structured design aspects able to characterise participatory music performances and their broader contexts. As a result, we propose the design toolkit "LiveMAP", which stands for “Live Music Audience Participation”, and which supports the design and creation of participatory elements in a musical live performance.
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tmap design cards for technology mediated Audience Participation in live music
New Directions in Music and Human-Computer Interaction, 2019Co-Authors: Oliver Hodl, Fares Kayali, Geraldine Fitzpatrick, Simon HollandAbstract:Historically, Audiences have had various ways to participate in live music performances, including clapping, dancing, swaying, whistling, and singing. More recently, mobile and wireless devices, such as smartphones have opened up powerful new opportunities for Audience Participation. However, design for technology-mediated Audience Participation (TMAP) can be challenging: musicians and Audiences have different demands, as does the coherence of the music, and group needs can vary widely. Thus, effective TMAP design requires the balancing of knowledge from diverse perspectives and must take into account the needs of diverse roles in creating and supporting performances. This chapter focuses on the process of creating and evaluating a set of design cards to support the interaction design and evaluation of TMAP systems. The cards are based on a previously created descriptive framework for supporting interaction design and evaluation in this challenging area. We discuss the conception and development of the TMAP design cards in some detail, and present an empirical study to evaluate their practical usefulness. Particular attention is paid to the ability of the cards to support finding ideas, changing ideas, and examining ideas from different perspectives.
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New Directions in Music and Human-Computer Interaction - TMAP Design Cards for Technology-Mediated Audience Participation in Live Music
New Directions in Music and Human-Computer Interaction, 2019Co-Authors: Oliver Hodl, Fares Kayali, Geraldine Fitzpatrick, Simon HollandAbstract:Historically, Audiences have had various ways to participate in live music performances, including clapping, dancing, swaying, whistling, and singing. More recently, mobile and wireless devices, such as smartphones have opened up powerful new opportunities for Audience Participation. However, design for technology-mediated Audience Participation (TMAP) can be challenging: musicians and Audiences have different demands, as does the coherence of the music, and group needs can vary widely. Thus, effective TMAP design requires the balancing of knowledge from diverse perspectives and must take into account the needs of diverse roles in creating and supporting performances. This chapter focuses on the process of creating and evaluating a set of design cards to support the interaction design and evaluation of TMAP systems. The cards are based on a previously created descriptive framework for supporting interaction design and evaluation in this challenging area. We discuss the conception and development of the TMAP design cards in some detail, and present an empirical study to evaluate their practical usefulness. Particular attention is paid to the ability of the cards to support finding ideas, changing ideas, and examining ideas from different perspectives.
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playful technology mediated Audience Participation in a live music event
Annual Symposium on Computer-Human Interaction in Play, 2017Co-Authors: Fares Kayali, Oliver Hodl, Peter Purgathofer, Ruth Mateusberr, Geraldine Fitzpatrick, Alexander Filipp, Ulrich Kuhn, Thomas Wagensommerer, Johannes Kretz, Susanne KirchmayrAbstract:This paper presents the evaluation of playful technology-mediated Audience Participation (TMAP) during three music performances in a recent music event. It captures preliminary impressions from a wide range of perspectives and includes critical reflections of music artists, video analysis and qualitative interviews with Audience members to cover hypotheses designed to capture both the artists' and the Audience's point of view. Results indicate a willingness from both sides to engage in playful TMAP, and a high potential for exploration and playful collaboration within the Audience, but the experience is restricted by the need to retain control on the side of artists and the need for clear instructions, feedback and reliable technical systems on the side of the Audience.
S. Seitz - One of the best experts on this subject based on the ideXlab platform.
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ICMI - Techniques for interactive Audience Participation
Proceedings. Fourth IEEE International Conference on Multimodal Interfaces, 2002Co-Authors: D. Maynes-aminzade, R. Pausch, S. SeitzAbstract:At SIGGRAPH in 1991, Loren and Rachel Carpenter unveiled an interactive entertainment system that allowed members of a large Audience to control an onscreen game using red and green reflective paddles. In the spirit of this approach, we present a new set of techniques that enable members of an Audience to participate, either cooperatively or competitively, in shared entertainment experiences. Our techniques allow Audiences with hundreds of people to control onscreen activity by (1) leaning left and right in their seats, (2) batting a beach ball while its shadow is used as a pointing device, and (3) pointing laser pointers at the screen. All of these techniques can be implemented with inexpensive, off the shelf hardware. Me have tested these techniques with a variety of Audiences; in this paper we describe both the computer vision based implementation and the lessons we learned about designing effective content for interactive Audience Participation.
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techniques for interactive Audience Participation
International Conference on Computer Graphics and Interactive Techniques, 2002Co-Authors: Dan Maynesaminzade, R. Pausch, S. SeitzAbstract:At SIGGRAPH in 1991, Loren and Rachel Carpenter unveiled an interactive entertainment system that allowed members of a large Audience to control an onscreen game using red and green reflective paddles. In the spirit of this approach, we present a new set of techniques that enable members of an Audience to participate, either cooperatively or competitively, in shared entertainment experiences. Our techniques allow Audiences with hundreds of people to control onscreen activity by (1) leaning left and right in their seats, (2) batting a beach ball while its shadow is used as a pointing device, and (3) pointing laser pointers at the screen. All of these techniques can be implemented with inexpensive, off the shelf hardware.
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Techniques for interactive Audience Participation
Proceedings. Fourth IEEE International Conference on Multimodal Interfaces, 2002Co-Authors: D. Maynes-aminzade, R. Pausch, S. SeitzAbstract:At SIGGRAPH in 1991, Loren and Rachel Carpenter unveiled an interactive entertainment system that allowed members of a large Audience to control an onscreen game using red and green reflective paddles. In the spirit of this approach, we present a new set of techniques that enable members of an Audience to participate, either cooperatively or competitively, in shared entertainment experiences. Our techniques allow Audiences with hundreds of people to control onscreen activity by (1) leaning left and right in their seats, (2) batting a beach ball while its shadow is used as a pointing device, and (3) pointing laser pointers at the screen. All of these techniques can be implemented with inexpensive, off the shelf hardware. Me have tested these techniques with a variety of Audiences; in this paper we describe both the computer vision based implementation and the lessons we learned about designing effective content for interactive Audience Participation.
