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1–2). These areas of focus open a Pandora’s box of potential motivations, requirements, modes of interaction, and social implications, any of which might interconnect. First-wave HCI involved many things that were physical and relatively easy to measure. Second-wave HCI began to require a way of accounting for context and social interactions. Third-wave HCI is now pushing the boundaries of what can be effectively conceptualised, much less studied or measured. Emotions and aesthetics can be complex things: the extremely public display of one’s own nude photo is doubtless a positive experience for most of Gok Wan’s participants in the UK television show How to Look Good Naked, but it is also a mixed bag.

In: Proceedings of the SIGCHI conference on human factors in computing systems. ACM Press, New York, pp 2005–2014 Boenisch PM (2012) Acts of spectating: the dramaturgy of the audience’s experience in contemporary theatre. Crit Stages (7), np Boer L, Mitchell R, Caglio A, Lucero A (2015) Embodied technology: unraveling bodily action with normative types. In: Proceedings of the 33rd annual ACM conference extended abstracts on human factors in computing systems. ACM Press, New York, pp 1711–1716 Butler J (2002) Gender trouble: feminism and the subversion of identity.

Butler’s complex and subtle theoretical points Performativity 27 support the idea that an individual does not have full and immediate control of every element of her own identity, but that identity is shaped in relation to others. Although Butler is writing about gender, her theories have been applied to any number of aspects of personal identity. Many performance theorists rely on her work, particularly those who deal with autobiographical performance. This is particularly relevant to performativity, because autobiography involves performers using their own life experiences as their material.

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