This thesis develops and presents a design methodology that enables designers to work with the moving body in the design and evaluation of interactive, immersive environments built on motion-sensing technologies. The notion of making strange, that underpins the methodology, calls for designers to re-examine and revitalise their assumptions and conceptions of the moving body through bodily-based movement inquiries. This thesis addresses research questions about ways of understanding human movement, of describing and representing human movement and of accessing the felt experience of the moving body in the emerging field of movement-based interaction design. The research questions were explored through a series of three distinct, yet related, projects, each one focusing on different aspects of designing for moving bodies in interactive, immersive environments. The first project analysed an existing interactive product, Sony Playstation2c EyetoyTM, as a prototype of future movement-based interactive, immersive environments. The second project involved the design and development of a specific interactive, immersive artwork, Bystander. The third project worked with trained dancers and physical performers in a constructed design situation. The contributions of this research are first and foremost the design methodology of Moving and Making Strange: a design approach to movement-based interaction that prioritises the lived experience of movement by both designers and users and values the creative potential of the experiential, moving body. It consists of methods and tools for exploring, experiencing, describing, representing and generating movement that enable designers to shift between the multiple perspectives of the mover, the observer and the machine. It makes particular contributions as follows: • Laban movement analysis and Labanotation as a design tool. • Moving-Sensing schema: Suchman’s analytic framework adapted as a design tool. • Extension of existing human-centred design tools to explicitly represent moving bodies, in the form of movement-oriented personas and movementoriented scenarios. • Patterns of watching: a catalogue of audience behaviour in terms of movements and stillness in relation to engagement with a specific interactive, immersive artwork. • New methods for generating, enacting and experiencing movement, sourced from dance and movement improvisation practices.

This thesis develops and presents a design methodology that enables designers to work with the moving body in the design and evaluation of interactive, immersive environments built on motion-sensing technologies. The notion of making strange, that underpins the methodology, calls for designers to re-examine and revitalise their assumptions and conceptions of the moving body through bodily-based movement inquiries. This thesis addresses research questions about ways of understanding human movement, of describing and representing human movement and of accessing the felt experience of the moving body in the emerging field of movement-based interaction design. The research questions were explored through a series of three distinct, yet related, projects, each one focusing on different aspects of designing for moving bodies in interactive, immersive environments. The first project analysed an existing interactive product, Sony Playstation2c EyetoyTM, as a prototype of future movement-based interactive, immersive environments. The second project involved the design and development of a specific interactive, immersive artwork, Bystander. The third project worked with trained dancers and physical performers in a constructed design situation. The contributions of this research are first and foremost the design methodology of Moving and Making Strange: a design approach to movement-based interaction that prioritises the lived experience of movement by both designers and users and values the creative potential of the experiential, moving body. It consists of methods and tools for exploring, experiencing, describing, representing and generating movement that enable designers to shift between the multiple perspectives of the mover, the observer and the machine. It makes particular contributions as follows: • Laban movement analysis and Labanotation as a design tool. • Moving-Sensing schema: Suchman’s analytic framework adapted as a design tool. • Extension of existing human-centred design tools to explicitly represent moving bodies, in the form of movement-oriented personas and movementoriented scenarios. • Patterns of watching: a catalogue of audience behaviour in terms of movements and stillness in relation to engagement with a specific interactive, immersive artwork. • New methods for generating, enacting and experiencing movement, sourced from dance and movement improvisation practices.

Au cours des dernières années, l’avènement des technologies de captation du mouvement a radicalement transformé l’univers de la pratique artistique tout en ouvrant des perspectives inédites pour la recherche scientifique. La musique est actuellement l’un des domaines les plus impliqués dans ce renouvellement expressif et épistémologique. Dans ce cadre, les processus d’interaction entre médiation technologique, mouvement et son, semblent se décliner selon deux modalités majeures : d’une part, les technologies d’analyse du mouvement permettent d’étudier expérimentalement la connexion mutuelle entre phénomène acoustique et système sensori-moteur; de l’autre, la compréhension de la nature incarnée de l’expérience musicale oriente la conception et le développement de technologies interactives pour la performance vers un modèle plus holistique. En partant de ces prémisses, cette thèse porte sur la manière dont la transformation des aspects imperceptibles du mouvement en données perceptibles – sous forme de son – permet de prendre conscience des processus physiologiques et figuratifs qui sont à la base du geste. Dans ce contexte, la relation entre mouvement et feedback sonore est analysée selon une perspective écologique visant à mettre en lumière comment la médiation technologique induit un processus d’extension et d’intensification autopoïétique de l’anatomie corporelle. Notamment dans le cas de la pratique performative, l’interaction sonore offre alors au performeur la possibilité de redéfinir sa propre organisation perceptive sur la base d’un un nouveau répertoire des données sensorielles, lui permettant ainsi de repenser la composition expressive du mouvement. / During the last years, motion sensing technologies have radically transformed the universe of the artistic practice. This dramatic change has recently inspired new perspectives in scientific research. Music is actually among the most affected domaines by this expressive and epistemological renewal. The interactive relation between mediation technology, movement and sound, seems to be declined into two main modalities : on one hand, movement analysis’ technologies allow to study mutual connections between acoustic phenomenon and sensorimotor system, on the other hand, embodied understanding of musical experience can help to devise an holistic approach to interactive systems conception and development. Given this background scenario, this thesis focuses on how movement’s qualities transformation into sound allows the performer to become aware of physiological and imaginative processes in gesture composition. In this framework, sound feedback-movement relation is analyzed from an ecological point of view. According to this approach, mediation technology seems to elicit an autopoietic process of extension and intensification of corporeality. Especially in the artistic performance, sound interaction offers to performer a new sensorial geography that allows him/her to renew his/her perceptive organization and thereby rethink expressive composition of movement.