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From Director's Cut to User's Cut: to Watch a Brain-Controlled Film is to Edit it.

, , , and . CHI, page 148. ACM, (2019)

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Interpersonalizing Intimate Museum Experiences., , , and . CoRR, (2020)Documenting mixed reality performance: the case of CloudPad., , , , , and . Digit. Creativity, 23 (3-4): 159-175 (2012)Using metamorphic relations to verify and enhance Artcode classification., , , , , and . J. Syst. Softw., (2021)Sensibility, Narcissism and Affect: Using Immersive Practices in Design for Embodied Experience., and . Multimodal Technol. Interact., 2 (2): 15 (2018)Revealing the realities of collaborative virtual reality., , , , , , and . CVE, page 29-37. ACM, (2000)Virtual Environments for Data Sharing and Visualisation - Populated Information Terrains., and . IDS, page 168-182. Springer, (1994)Five Provocations for a More Creative TAS., , , , , , , and . TAS, page 14:1-14:10. ACM, (2023)CSCP., , , , and . MuC, page 21-29. Teubner, (2002)PINS push in and POUTS pop out: creating a tangible pin-board that ejects physical documents., , and . CHI Extended Abstracts, page 1981-1984. ACM, (2005)Inferring player engagement in a pervasive experience., and . CHI, page 1903-1906. ACM, (2009)