Physical Computing’s Greatest Hits (and misses)

I often feel like nothing is original anymore. Every time I come up with an idea, I search it and find five people who have already done it, sometimes in more impressive ways. That can be discouraging. It makes me wonder what the point is if everything has already been made. But reading Tom Igoe’s piece helped shift that mindset. He talks about the “greatest hits” of physical computing — projects like musical gloves or motion-controlled sounds — not as clichés, but as classic forms that people keep coming back to. These ideas repeat because they are approachable, fun, and full of room for variation.

What I appreciated most was the reminder that repetition doesn’t cancel out creativity. A musical glove might not be new, but the way I make it, the story I tell through it, and how I design the experience can still feel personal. Igoe encouraged adding a twist, and that made me realize I do not have to be original in concept, but in execution.

I also liked his point about meaningful gestures. A motion that triggers a sound might technically work, but if the movement feels random or doesn’t make sense in the context, the interaction loses impact. That made me think more critically about how I design user input. I want people to feel like what they do matters, and that their actions are met with responses that feel natural and thoughtful. That, to me, is the real magic of interaction.

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

Tom Igoe’s post made me realize I often over-explain my work. I worry people won’t get it unless I guide them, but he makes a strong case for stepping back. In interactive art, it’s not just about what I make. It’s about what the audience does with it.

I liked how he compared it to setting a stage. I provide the space and tools, but the audience brings it to life. That means accepting unexpected interpretations and trusting the piece to speak for itself. I think good design should be guidance enough. If the design is clear and intentional, it should naturally lead the audience through the experience without me having to explain everything.

Moving forward, I want to create work that invites exploration without over-directing. That kind of openness feels more honest and more meaningful.