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Choreography as Mediated through Compositional Tools for Movement: Constructing A Historical Perspective.

, , and . MOCO, page 1. ACM, (2014)

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Designing for Kinesthetic Awareness: Revealing User Experiences through Second-Person Inquiry., , , and . CHI, page 5171-5183. ACM, (2017)Is it Art, is it HCI? Exploring Tensions Between Practice and Research., , , , , , , , and . CHI Extended Abstracts, page 525:1-525:4. ACM, (2023)Making an Interactive Dance Piece: Tensions in Integrating Technology in Art.. Conference on Designing Interactive Systems, page 1195-1208. ACM, (2019)Physicalizing loops., and . Creativity & Cognition, page 465-477. ACM, (2023)Cultivating kinaesthetic awareness through interaction: Perspectives from somatic practices and embodied cognition., , , and . MOCO, page 21:1-21:8. ACM, (2017)Vocalizing dance movement for interactive sonification of laban effort factors., , , and . Conference on Designing Interactive Systems, page 1079-1082. ACM, (2014)Understanding Kinaesthetic Creativity in Dance., , and . CHI, page 511. ACM, (2019)Articulating Experience: Reflections from Experts Applying Micro-Phenomenology to Design Research in HCI., , , and . CHI, page 1-14. ACM, (2020)How Do Choreographers Craft Dance?: Designing for a Choreographer-Technology Partnership., , and . MOCO, page 20:1-20:8. ACM, (2016)Visualizing Isadora Duncan's movements qualities., , , , , and . Creativity & Cognition, page 196-207. ACM, (2022)