Afra Binjerais – Week 10 reading response

Physical Computing’s Greatest Hits (and misses)

As I think back on this reading, the idea that creativity in physical computing—or any other creative field—comes from personalizing and reinterpreting existing concepts rather than from creating anything completely new encourages me. The theremin, for example, is a deceptively simple instrument that may develop into a very personal undertaking that expresses the creative and technical sensitivities of its maker in addition to being functional.

Furthermore, the discourse surrounding initiatives such as “Multitouch Interfaces” and “Body-as-cursor” emphasizes the need of human-centered design in physical computing. The way these initiatives connect human-machine interaction is remarkable, since physical gestures are translated into digital answers that are subsequently translated into tactile or visual outputs. The elegance of physical computing lies in its capacity to enhance technology’s intuitiveness and responsiveness to human presence and movements, as demonstrated by this smooth integration.

Making Interactive Art: Set the Stage, Then Shut Up and Listen

I found the emphasis on avoiding from dictating interpretation to be especially compelling while reading about the process of making interactive artworks. The reading  encourages artists to avoid assuming too much control over the meaning of their creations and the appropriate ways in which viewers should respond to them. Rather, artists are urged to see their works as interactive platforms that allow viewers to delve deeper and find meaning on their own. Furthermore, After establishing the interactive environment, the instruction to “shut up” is dramatic because it subverts conventional ideas of artistic power and control. It suggests faith in the audience’s capacity to interact with and participate in the creative process. This informal attitude enhances the viewing experience for the audience while simultaneously giving the artist insights about how viewers engage with the piece—what they do, what they overlook, and how they understand the tools and surroundings that are made available to them.

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