Physical Computing’s Greatest Hits (and misses)
Among the physical computing projects, Fields of Grass piqued my interest the most. Thinking about it, I believe that the sensors could be arranged in various ways so that the output changes based on not only the position of the hand, but also the pressure applied. Imagine creating a virtual landscape where the terrain shifts depending on how firmly you press your hand! Delicate touches could reveal hidden paths or trigger calming sounds, while heavier presses might activate bolder visuals or more dramatic effects. This additional layer of interaction would add a whole new dimension to the experience. Beyond pressure, the sensor arrangement could be tweaked to respond to other hand interactions. For instance waving your hand across the field to control the movement of virtual birds, or gently cupping your hand to scoop up shimmering virtual butterflies. Moreover, Fields of Grass could be adapted to respond to footsteps, creating a truly immersive experience where walking through the installation ripples the virtual landscape. In a museum setting, the project could be transformed into an educational tool. Visitors could “grow” different virtual plants by placing their hands in designated areas and manipulating pressure or movement to influence factors like sunlight or water. The applications could even reach the field of physical therapy, with the virtual world responding to specific hand motions or muscle control, providing a visually engaging way to track progress.
Making Interactive Art: Set the Stage, Then Shut Up and Listen
Integrating this reading’s notion into the Fields of Grass projects, the users will be free to interact with the grass, but the output will be in the prescribed yet non-deterministic way. If we assume each user’s interaction to be a performance, we can also assume collaborative performances between 2 users generating new form of performance between multiple users and the project. Their combined hand movements and pressure could trigger entirely new visual and audio responses, fostering a collaborative performance unlike anything seen before. The project becomes a bridge, translating individual actions into a shared, ever-evolving experience. This opens doors for fascinating possibilities. Friends could create synchronized “dances” with the field, therapists could use it for collaborative movement exercises, or even strangers could stumble upon unexpected moments of artistic synergy.