{'fraction_non_alphanumeric': 0.022768670309653915, 'fraction_numerical': 0.0036429872495446266, 'mean_word_length': 5.244318181818182, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Temporal Expansion in Blast Theory's Day of the Figurines

The spread of mobile phones and mobile computers is transforming our lives, steadily leading us towards a world of “ubiquitous computing” in which computation and digital media are embedded into the world around us, potentially becoming available anywhere and anytime. Mobility and ubiquity have the potential to transform theatre, creating new forms of performance and spectating which combine “real” and “virtual” worlds, that respond to participants’ locations, or that are finely interwoven with the patterns of their daily lives. In doing so, these kinds of mobile and ubiquitous performances structure our experience of time in ways distinctive to this new genre. A detailed analysis of the use of time in Blast Theory’s Day of the Figurines (2006), demonstrates how pervasive games may coordinate between multiple temporal structures not only to affect the spectator’s role within the work and experience of it but also to empower them to shape this encounter according to the variable contexts determined by their day-to-day lives.