The study by Golan Levin delves into the integration of computer vision algorithms within the realm of interactive artworks and creative design. While importance of cleverly designed algorithms that would allow computers to make smart interpretations about digital images and video is unquestionable, I kept thinking about the role of other factors influencing computer vision. One such factor is the optimization of the physical environment where the video data is collected. Especially in the case of artworks and the creative field where the physical environment can be controlled, it is important to consider how the visual data collection is staged, as it can either increase the reliability of computer vision or make it more difficult to analyse. Cleverly designed physical environments can potentially decreased the need for more complex software solutions. This concept highlights the creativity necessary in the world of interactive art and design. It implies that artists and designers can use their spatial and environmental design skills to develop setups that allow for accurate data collection. They can extend the capabilities of computer vision without resorting to advanced and intricate software development by deliberately altering the physical context. This approach reflects the field’s interdisciplinary nature, in which creativity goes beyond the digital domain and demands a complete understanding of both the virtual and physical components of interactive artworks.
A compelling example of the principles discussed in the paper can be found in the artwork “LimboTime.” “LimboTime” is a simple game that was conceived and implemented in a remarkably short span of a single afternoon. Its creators utilized a wall-sized sheet of white Foamcore as an ideal environment for brightness-based thresholding. The usage of this material enabled them to effectively find the game’s three players against the background, demonstrating how physical environment optimization may contribute to computer vision success. Rather than depending on complex software solutions, the detection of players’ hands and heads was accomplished by creative heuristics, such as recognizing the limboer’s head as the uppermost point of the middle ball of black pixels. This elegant solution showcases that a well-designed physical environment can improve the performance of computer vision techniques, simplifying the implementation process, and fostering innovation in the realm of interactive art and design.