Physical Computing’s Greatest Hits (and misses)
The article provides a fascinating exploration into the realm of physical computing, revealing a pattern of innovation that breathes new life into established concepts. It’s not merely about crafting something entirely new, it’s about the clever adaptation and imaginative expansion of familiar ideas.
Starting with Theremin-like instruments and advancing through gloves equipped with sensors, the text underscores the perpetual evolution of interaction between humans and machines. Projects like ‘Hand-as-cursor’ and ‘Multitouch Interfaces’ take this further by translating human gestures into digital reactions, while ‘Tilty stands and tables’ employ physical manipulation to navigate virtual spaces.
‘Tilty Controllers’ demonstrate the significance of object orientation, expanding our perception of how we can control and influence technology. ‘Things You Yell At’ and ‘Meditation Helpers’ show a more personal side, engaging with our voices and physiological states to guide or react in a context-sensitive manner.
With ‘Fields of Grass’, we see a poetic application of sensor arrays, creating responsive textures that react to human touch. ‘Remote Hugs’ and ‘Dolls and Pets’ showcase the emotional and relational potentials of physical computing, emphasizing companionship and emotional communication. ‘LED Fetishism’ reminds us to push past the allure of visual feedback to discover deeper, more meaningful interactions.
The text concludes with an ode to ‘Hybrid projects’, which combine different elements for novel experiences, like a flight simulator that mimics bird flight, showing the limitless potential when various facets of physical computing are merged.
Overall, the reading serves as an inspiration and a challenge to think beyond the conventional, urging creators in the field of physical computing to seek out the untapped potential in the interplay of the digital and physical worlds. It’s an invitation to innovate within the spectrum of sensory experiences, enriching our interaction with technology in both profound and playful ways.
Making Interactive Art: Set the Stage, Then Shut Up and Listen
The article on interactive art highlights a unique perspective on creation: the artist’s role is to set up an experience and then let the audience interact with it in their own way. It suggests that interactive art isn’t about dictating experiences but about creating opportunities for the audience to explore and interpret. This idea parallels a conversation where the artist ‘speaks’ through their work and then listens to the audience’s response through their interactions with it. Just as a stage director doesn’t perform but sets the scene for actors, the artist here provides the tools for expression and then steps back, allowing the audience to find personal meaning and contribute to the art’s ongoing narrative.