Week 9 – Reading Response
Physical Computing’s Greatest Hits (and misses):
This text offers us a thoughtful overview of the recurring themes in physical computing projects. The text highlights that ideas in physical computing, even when they seem overused, can still offer immense and creative potential. The author states that even if a project concept has been done before, the nuances of how an individual implements it can still lead to meaningful experiences. The text also highlights the significance of human gestures in making an engaging interface. Projects that use physical computing are less about the technology and more about the quality of the interaction it creates, even if it is a subtle hand-waving over a sensor.
The author also touches on how we can expand the idea of interaction and what physical computing can be. Examples such as interactive paintings (like the Scooby-Doo-inspired projects) and remote hugs, demonstrate how we can stretch the concept of interaction. These projects show that physical computing can be a tool not just for entertainment, but for communication, empathy, and even therapy. Lastly, the author mentions that the evolution of tools and technology is extremely crucial. Projects that once took weeks to develop are now able to be prototyped in hours because of advances in technology. This evolution emphasizes that there is a change in the speed of innovation, and it also allows for an easier and broader range of creators to engage in physical computing.
Making Interactive Art: Set the Stage, Then Shut Up and Listen:
This text serves as a significant reminder that interactive art is not about control, but rather about conversation. The role of the artist changes from just being a storyteller to becoming a stage-setter, creating spaces and experiences that invite, not dictate, meaning. For the artist, this means that instead of pre-defining what every element “means,” they come up with something that encourages exploration, play, and personal response. So instead, we should attempt to build something and then step back, observe, and listen to how others engage with it. This brings up the idea of intentional design, where the artist leaves behind clues or emotional cues, then steps away and allows various unique interpretations to emerge.