These themes were complemented by research into contemporaneous activities in the areas of Augmented Reality, Mixed Reality and Locative Media to provided enhancements to the development of three practice projects. Common themes were extracted from the literature review to draw together previous and, for the most part, separate attempts at theory/practice relating to RE. A responsive environment is “responsive” in the sense that some form of computer technologies are present and sensing/recording/reacting to people, and an “environment” in the sense that these activities are located in a place and that that place matters in terms of setting the scene, housing the technology and providing a context for the users/visitors. The concept of “responsive environments” (RE) is offered as a starting point for the development of principles focusing on people within these environments. It responds to the need for principles that inter-relate people, digital technologies and environments. This approach interweaves theory and practice so that both build on each other. This PhD research project builds on thirteen years of enquiries as an academic practitioner, developing/critiquing interactive audio-visuals. Keywords: Interactivity, Cybernetics, Cyberarchitecture, Concept Sharing, Concept Making, Privacy, Balance The article concludes with a call for further application of this framework to video games and beyond. The authors explore examples in video games through the lens of Cyberarchitecture with particular reference to Pask and Curran’s framework of concept sharing, concept making, privacy and balance. This formulation is complementary to Espen Aarseth’s concept of cybertext. Pask offers a description of a “Cyberarchitecture” for the sharing and making of content. We assert that it is time for Pask’s work to be recognised as of fundamental importance for the examination of interactivity and the constitution of dynamic, creative environments including video games. This was an early attempt to devise a human/computer system that was both mutual in its relations and supportive of creativity. This environmental characteristic was examined in a series of investigations into cybernetics by Gordon Pask in the 1970s and 1980s. A key development in the analysis of interactivity is the examination of the significance of environment in relation to content including the use of virtual environments within the interactive scope of video games. The authors move onto an analysis of interactivity in terms of the following definition: interactivity is a conceptualising facility that mediates between environments and content and users enabling generation. Put simply: what is gained through modes of interactivity is content in a vast variety of forms. This article addresses the question: What is interactivity for? The analysis of interactivity, when seen as a means to an end, must consider the forms of that end. There can be few other words in the English language that inspire such scepticism as “interactivity.” However, this article starts from a qualitatively different perspective reasserting interactivity as a useful concept with specific respect to video games.
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