* In all publications, co-authors are ordered based on contributions e.g. first author contributed more than the second co-author.

Significant Research Publications
Schiphorst, T., Calvert, T., Lee, C., Welman, C., & Guadet, S., (1990). Tools for Interaction with the Creative Process of Composition, Proceedings of SIGCHI: CHI '90, Empowering People: the SIGCHI Conference on Human Factors in Computing Systems, ACM Press, 1990, New Orleans, LA. pp. 167-174
This early paper explores the nature of creative composition particularly as it applies to dance, and describes the development of the early interactive computer based tools to assist in the creative process of choreography. The hierarchical nature of the composition process calls for an interface which allows the composer the flexibility to move back and forth between alternate views and conceptual levels of abstraction. This early innovation in computer tools for exploring movement presaged Merce Cunningham's use of what was to become Danceforms. The historical significance is the exploration of computational support tools for creative process in which the user visually and kinaesthetically composes movement in space and in time, and is able to review and evaluate compositionally at multiple levels of abstraction.
 
Schiphorst, T. (1997). Making Dances with a Computer, Choreography and Dance: an international journal, special issue: Merce Cunningham: Creative Elements in choreography and dance, edited by David Vaughan, Harwood Academic Publishers, Vol 4 part 3, 1997, pp. 79 - 98
This paper describes the important historical relationship in the field of Dance & Technology between Merce Cunningham and his use of the computer choreographic software, LifeForms. In 1968, over twenty years before LifeForms was installed in his Westbeth studio in New York City, Merce Cunningham wrote about the possibility of a computer technology that would move beyond notation to enable dance to be kinaesthetically explored with a computer. Cunningham embraced this new tool and his method of creating movement for dance evolved and expanded radically as a result. This paper describes Merce Cunningham's unique use of the computer choreographic software from the point of view of Cunningham's own choreographic process. The author is a member of the design team that developed LifeForms, and worked with Merce Cunningham in New York City since December from 1989 to 2005 supporting his creation of new dance with the computer.
 
Schiphorst, T., Andersen, K., (2004). Between Bodies: using Experience Modeling to Create Gestural Protocols for Physiological Data Transfer, altCHI, CHI 2004, CHI April 2004, Vienna, (pp 1-8)
This paper introduces techniques from somatic body-based practices and illustrates their value within technology design processes in HCI. It describes the concept of gestural protocols and illustrates how these protocols or scripts can be used to access and share 'self-data' through biometric exchange. By highlighting the concept of human experience as a 'skill' that can be ameliorated through technology, we can reconsider how to apply experience design processes within HCI. In the paper, workshop participants utilized gesture as an expressive indicator of intentionality, extension of body image, permission, control, exchange and play.
 
Schiphorst, T. (2009), soft(n): Towards a Somaesthetics of Touch, CHI EA '09: CHI '09 Extended Abstracts on Human Factors in Computing Systems CHI 2009, April 4 ¡© 9, 2009, Boston, MA, USA: ACM Press, pp. 2427-2438.
This paper explores the concept of somaesthetics as an approach to the design of expressive interaction within HCI. This concept is exemplified through the design process of soft(n), an interactive tangible art installation developed in conjunction with V2_Lab in Rotterdam. Somaesthetics is a term coined by Richard Shusterman, a pragmatist philosopher interested in the critical study of bodily experience as a focus of sensory-aesthetic appreciation and agency. In the context of interaction, somaesthetics offers a bridging strategy between embodied practices based in somatics, and the design of an aesthetics of interaction for HCI. This paper argues for the value of exploring design strategies that employ a somaesthetic approach, presents a definitional framework of somaesthetics that can be applied to interaction, and links the concept of somaesthetics to a specific design case in which tactile interaction is applied to the design of a networked, tangible interactive artwork called soft(n).