Cabrita, NunoBernardes, GilbertoErgun Akleman, Lyn Bartram, Anıl Çamcı, Angus Forbes, Penousal Machado2016-07-182016-07-182016978-3-03868-021-5https://doi.org/10.2312/exp.20161264https://diglib.eg.org:443/handle/10.2312/exp20161264Interactive art implies an active dialogue between the participant and the surrounding space, mediated by a computational system. Reciprocity and recursiveness are key principles to the bidirectional flux of information in this setting, guaranteeing a continuous interaction loop between the participant and the digital system. Viewing the human body as a natural interface, we focus on non-invasive tracking methods for embodiment sensing, such as infra-red depth cameras. Current limitations in participant engagement of interactive artworks in public spaces are introduced and analyzed from the perspective of group dynamics. In this paper we approach Bourriaud's concept of relational aesthetics, relate it to the inherent social context of interactive artwork exhibition, and propose a framework for the development of relational interactive artworks. Interactive art implies an active dialogue between the participant and the surrounding space, mediated by a computational system. Reciprocity and recursiveness are key principles to the bidirectional flux of information in this setting, guaranteeing a continuous interaction loop between the participant and the digital system. Viewing the human body as a natural interface, we focus on non-invasive tracking methods for embodiment sensing, such as infra-red depth cameras. Current limitations in participant engagement of interactive artworks in public spaces are introduced and analyzed from the perspective of group dynamics. In this paper we approach Bourriaud's concept of relational aesthetics and relate it to the inherent social context of interactive artwork exhibition, and propose a framework for the development of relational interactive artworks.[Applied Computing]Arts and HumanitiesMedia Arts10.2312/exp.2016126435-39