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The thesis describes the process and outcomes of an enquiry into the synthesis of light and material, digital imagery and physical surface and the ambiguities resulting from this. The research subject evolved from the underlying concept of the ambiguity of visual perception, in particular in relation to space. The primary objective has been to create ambiguous and visually mutable spaces, which can be experienced on a visual and tactile level. This has been achieved through projecting digital imagery onto (printed) surfaces and materials of various visual qualities. Thereby it was central to the research to investigate how the illusionary can be utilised for generating aesthetic experiences. The research was undertaken against the contextual background of current trends in Western culture, its architecture, interior design and evolving uses of public space which are striving for flexible environments combined with sensuous experiences; as we!1 as of recent developments within digital technology and media, introducing tactility and materiality to the digital display. The research successfully pursued the main objective - to create an ambiguous, mutable and hybrid environment, where physical and illusionary space was experienced as an entity. It is one of the research's main achievements that new ground has been broken in terms of combining projection and surface material. These investigations, which included several series of experiments, generated vast amounts of diverse and multi-faceted visual knowledge. Further the project succeeded in the attempt to provide spatial encounters which originated. from the discipline of textile design, but left behind the limitations of the two-dimensional surface. The research - a project of an interdisciplinary nature - has generated a design concept that can be applied within a wide range of different contexts, reaching from architecture to design to art.

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Artworks that display the real time usage of key resources such as electricity offer new strategies to conserve energy. These eco-visualisations-or artworks that creatively visualise ecologically significant data in real time-represent a substantial contribution to new knowledge about dynamic feedback as a tool to promote energy conservation and environmental site-based learning in this interdisciplinary project that expands and builds on prior findings from the fields of art, design, environmental psychology, and human computer interaction (HCI). The aims of this research endeavor were to locate answers to the following questions related to energy conservation in various public contexts. Might dynamic feedback from data-driven artwork create a better understanding of resource consumption patterns? Which environments are best for promoting eco-visualisation: borne, workplace, or alternative spaces? What kinds of visualisation tactics are most effective in communicating energy consumption data? These initial questions generated a four-year research project that involved an extensive literature review in both environmental psychology and art history that culminated in three different case studies, which targeted the effectiveness of eco-visualisation as an innovative conservation strategy. The three primary claims to be proven with supporting evidence from the literature reviews and case studies are: (1) eco-visualisation offers novel visual ways of making invisible energy data comprehensible, and encourages site-based learning; (2) eco-visualisation that provides real time visual feedback can increase environmental awareness and possibly increase the conservation behaviour in the viewing population; (3) eco-visualisation encourages new perceptions of linkages between the single individual and a larger community via site-based dialogue and conversation. Although the results of the three case studies are generally positive and prove the claims, there are larger social and environmental questions that will be addressed. How can eco-visualisation be productively integrated into the home or workplace without becoming a disposable gadget that represents a passing fad or fancy? Most importantly, how can energy conservation interventions be conceived to be as sustainable as possible, and non-threatening from a privacy perspective? These questions and more contribute to the discussion and analysis of the results of the three case studies that constitute the primary source of new knowledge asserted here in this dissertation.

The practice-led research develops a compositional system for staging participation within reflective scenographies, and suggests an artistic concept of 'participation as media', which propose the participatory involvement as compositional material in itself. The research takes a starting point in the author's expert practice as a performer and director, and identifies key compositional problems from analysis of previous productions of participatory artworks. The practice-led research processes were organised into two laboratory events, a series of method investigations, and the production of two participatory installation artworks Mirror-Zone-Site and Zen- Sofa Arrangement. The approach is to rethink theatre as a complex communicational system of reflective operations, and to recognise performer technique as several simultaneously working levels of self-referential communicative operations, that can be staged as a participatory condition by reflective scenography. From a compositional perspective the question is how to externalise the performer's technique as abstracted mediating structures, and implement them by the use of responsive and mediating technology embedded in the reflective operations of a scenography. The compositional system consists of design parameters, compositional strategies, and a postprogressive dramaturgy. The design parameters framing, channelling, and coupling, organise a calibration of the staged feedback operations. The compositional strategies, which derive from practices of performer technique, organise scenarios of introvert, extrovert and social referencing operations. The postprogressive dramaturgy informs the performative engagement of the participant as a process of experiential narrativation. The system enables a capability to navigate the compositional process into the complex creation of participatory engagement as a media in itself, and enables a structured overview on the compositional process, argued in an interdisciplinary context. The research investigates events that involve the visitor in the realisation of the work, to an extent where the media of the artwork is the activity of participation in itself and the participatory engagement forms a main site of the emergence of the artwork. Through the visitor's acts of participation, she releases the potential of the artwork, and as such, occupies a crucial position in the constitution of the work These artworks are suggested to stage the participant in structures of communication and include her as an operator in a communication device.