Abstract
Drawing on the work of Steve Benford, Gabriella Giannachi, Oliver Grau and Mark Hansen, this article explores the paradigms of mixed reality worlds in order to try to establish how aesthetic illusion is negotiated in the shift from a culture of representation in which art is formed by a fixed gaze and perspective which audiences interpret privately, to a culture of participation that offers audiences multiple opportunities for interaction with the work and each other. This analysis is important because it investigates the interfaces between real and virtual through an analysis of convergence culture and play. It will be argued that the work of Blast Theory and 1927 demonstrate how the development of digital and mobile technology has revived contemporary cultural interest in play as a dynamic that allows societies and communities to communicate and connect, evaluating their realities and imagining new ones, especially through a re-imagined positioning of the body. In this sense, play has become a practice strongly related to processes of social and cultural innovation.
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