Physical Computing’s Greatest Hits(and misses):
I am particularly interested in theremin-like instruments, gloves, and video mirrors. I believe that these three examples of physical compute (in harmony and implemented altogether) have the potential to change the representation of the lived physical world. To extend these concepts, I thought of methods of taking input from the environment. These could be the sounds of birds, wind, the temperature, the perceived luminosity of the sun (at the place of input), as well as small movements (either from the wind or sound). Combining these inputs together and processing them, an algorithm can generate certain sounds. This music then comes together with video mirroring and processing, where the composed music dictates a new perception of the scenery / place of physical compute. I found value in the limitations explained in this reading, as the meaning attributed to the actions performed by physical compute and the method of input is key towards making a truly interactive and valuable physical compute experience. To address those, if I were to use the previous example I would think of a way (through testing) by seeing how people received the experience, and how to fine tune it. Things within this line are intuitive experience (ease of use), meaning from interaction, and ability to interact for a sufficient amount of time whilst maintaining meaningful interaction.
Making Interactive Art: Set the Stage, Then Shut Up and Listen.
This reading builds on ‘Physical Computing’s Greatest Hits (and misses)’ by explaining the intricacies of limitations in the design of interactive art. The concept of intuition in interaction is therefore represented as the ability of a person to understand and find meaning in the interaction with the artwork. I found the organization and flow of this reading very helpful because it helped re-iterate and solidify the concepts of listening (by both the artist and the audience) and the statement made by the artist. The statement (as I understand it) is not a standalone expression, but rather an interactive conversation, that aims to have a meaningful exchange of actions and expressions by both the artist and his/her art and the audience.