by victoria.bremer -

Blogpost #5 – Prototype

In my previous blog post (#3), I explored the value of tangible interfaces and embodied interaction, especially when applied to scientific concepts. I took a look at constructivist and kinesthetic learning theories and discussed how meaningful, hands-on engagement can help people and especially children understand and retain information more effectively than traditional textbook-based approaches. Building on this I tinkered around with a lo-fi tangible prototype: an interactive chemistry simulation that allows users (kids) to explore real chemical reactions in a safe, accessible, and playful way.

One of the challenges in kinesthetic learning (or hands-on learning in general), especially in the context of science education, are the physical restrictions: there is messiness, the danger of working with certain substances, and the financial or spatial limitations of traditional labs. The prototypes approach is to offer a digital-physical hybrid that provides the sensory and experiential engagement of a real experiment without the need for actual chemicals or laboratory space. Of course this is really stripped down to the most basic parts, but the bigger idea is to use technology to make knowledge tangible and engaging and not just shift everything from a textbook to a screen – because where’s the fun in that?

Making the prototype

I started by developing the concept of my prototype. I knew I wanted it to deal with some kind of scientific topic and while reading the paper about kinesthetic learning I figured that making experiments with chemicals more accessible could be an interesting starting point, since that is something that I always found most interesting in chemistry class and would have wanted to do more. The idea is to simulate the feeling of experimenting through look, sound and haptics. I chose a simple experiment where different substances react with water and started by creating my digital setup for which I created some simple visuals in processing. I initially wanted to trigger the sounds with Max9. This worked great, however I ran into the problem, that I couldn’t simultaneously trigger the MaxPatch and the Processing sketch. So I decided to add the sound directly into processing with a sound library, which worked really nicely. I then did some more experimenting with the visuals and sounds and added some information text for each chemical reaction for more context as to what is happening (it is still about education after all, even if the shapes and colors are a lot of fun to look at). I then hooked the whole thing up to a MakeyMakey and crafted really simple physical representations out of paper for the chemical substances I was simulating. To make them conductive I used tinfoil and after a bit of experimenting I was able to make my own little Natrium-Explosion in my room without dying – how cool!

Conclusion

It was really interesting diving into prototyping with a vague idea at this point in the project, as this is not an approach I am used to. I liked that it pushed me to just start, try things and experiment. This really helped me get rid of high standards for this early stage. While I think I do enjoy the topic, I might have to still dabble in my other two ideas just to figure out where I see the most potential and have the most fun. I think I will need a lot more experimenting to see what I want to do, but this is definitely a good start.

by elina.dorzhieva -

11 Qs with Interactive Room

For the final post, I decided to take a different approach: instead of showing the prototype in a typical documentation style, I drew inspiration from Vogue’s “73 Questions” video series. In those videos, celebrities are followed through their homes, answering rapid-fire questions while casually interacting with their environment. I thought it would be the perfect format to bring my interactive miniature room to life, showcasing the interactions while answering questions about the process in a fun and natural way.

This prototype has turned out to be so much more than I expected. I started this project without any prior experience with Arduino. What made this experience truly special was the freedom to experiment, to learn by doing, failing, fixing, and discovering. Because of that openness, I was able to explore Arduino, coding, and wiring not through dry instructions or rigid tutorials, but through play. It felt more like crafting a story than building a circuit. Each interaction I created, each sensor I connected, was a small moment of delight, a joyful, hands-on way to learn a technology that once felt intimidating.

There was something incredibly satisfying and poetic about weaving together the personal and the technical. Bringing this tiny room to life, with all its miniature details and hidden mechanisms, felt like a blend of magic and logic. It was both cute and clever, intimate and inventive and in the process, I discovered how technology can be not only functional but also deeply expressive.

What surprised me most was how well everything worked in the end. I was fully prepared for a “messy but functional” result, but instead, I got a cute, working, magical little room that I’m genuinely proud of, both technically and visually.

This video is both a demonstration and a little celebration of everything that came together in this project. I hope you enjoy it as much as I enjoyed making it.

by elina.dorzhieva -

Designing the Soul of the Room

After the challenging process of installing sensors and wiring up the interactions, I finally reached the most joyful part of the whole project: decorating the miniature room.

I started with some structural additions. I built a small door using cardboard and a special stopper that helps align it with the beam sensor, making the door interaction more stable. The bed and drawer were already completed in the previous phase, as I had to integrate the sensors inside and hide the cables early on.

Next came the laptop corner. I created a table and chair from cardboard to support the distance-sensor interaction. Then I built a small cardboard laptop with a hole where the LED light could shine through when activated, just like turning on a real screen.

But the real fun began with the tiny interior details. I made a carpet from folded toilet paper, and also used toilet paper to decorate the lamp to give it a soft, cozy look. For the bed, I crafted a blanket from tissue and fabric scraps, used a cotton pad for the pillow, and made the whole setup feel warm and lived-in.

To make the room feel more personal, I added a compact mirror next to the drawers, just like I have in my real room, and decorated the walls with Japanese-style poster stickers and a postcard featuring a girl from a Yoshitomo Nara painting. After all, this whole miniature-room concept was inspired by Nara’s “My Drawing Room” installation, so it felt right to include a small homage.

Finally, I placed a few small toy decorations and plushies around the bed area, echoing how I decorate my own space. It truly felt like revisiting childhood, like playing with a dollhouse, but this time with all the layers of interactivity and intention that come with a design prototype.

This was definitely the most heartwarming and satisfying part of the whole process. I didn’t expect to enjoy it as much as I did, but it became clear to me that creating these small, personal touches brought real magic and life into the room. It stopped being just a prototype and became a tiny world of its own.

by tanja.kobler -

#4 Erste User-Research-Insights

Kontext & Ziel

In Vorbereitung auf meinen Prototypen habe ich ein erstes Interview mit einer Testperson durchgeführt, um ein besseres Gespür für Bedürfnisse, Vorbehalte und Erwartungen an ein digitales Format zur Präsentation unterrepräsentierter Künstlerinnen zu bekommen. Mein Interviewpartner ist 27 Jahre alt, interessiert sich gelegentlich für Kunst, sieht sich selbst aber eher als „casual enjoyer“.

Methodik

Format: Halbstrukturiertes Leitfaden-Interview (auf Englisch)
Dauer: ca. 20 Minuten
Kernfragen:

  • Interesse an Kunst und Vorerfahrungen
  • Einstellung zu Feminismus
  • Wissen über Frauen in der Kunstgeschichte
  • Wahrnehmung von Repräsentationslücken
  • Potenzial digitaler Formate
  • Einstellung zu Biopics und interaktiven Webseiten als Biografie-Form

Transcript vom Interview

Hi – my name is Tanja.
My interview today is part of the research for my Master’s thesis, which focuses on an art-related topic. Thank you in advance for taking your time. I would like to start with some questions:

Are you interested in art? And if so, what is your experience with art?

Yes, I’d say I’m definitely interested in art, especially in digital forms and also when visiting art museums. I wouldn’t call myself an expert or anything like that, more of a general enthusiast. I enjoy art and find it inspiring, but I’d describe myself more as a “basic enjoyer”, someone who appreciates it without diving too deeply into theory. I tend to be drawn to 20th-century art, and I really like artists like Monet.

Do you consider yourself a feminist?

Yes, I would consider myself a feminist. Over time, I’ve realized that many of the thoughts or assumptions I have are shaped by the way I was raised and educated. Sometimes I even catch myself being surprised when women do something that breaks those expectations, which shows me how deeply ingrained some of these patterns are. So I’d say I’m quite aware of these things and try to reflect on them.

How advanced is your knowledge about women in art history?

To be honest, not very advanced. I know that around 90% of the artists commonly talked about in art history are men, so my knowledge is mostly limited to those male-dominated narratives. I know a few women artists, like Marina Abramović, but overall, I’d say I haven’t been exposed to a lot of female artists or their stories.

Do you think there is a lack of representation of women in art history?

Yes, absolutely. There’s a significant underrepresentation of women in art history. I think many women artists have been overlooked or neglected entirely. The art world has long focused on male figures. From what I’ve seen, the ratio of male to female artists being talked about might be something like six to one — which really says a lot.

How do you think representation of women in art could look like in a digital context?

I think it’s important to create platforms that highlight the stories of women who’ve been forgotten or never recognized. Something like a digital archive, a website, or even a game could work — maybe something where you try to guess if a painting was done by a man or a woman. The key, I think, is not to focus only on some unknown names. People often lose interest if they don’t recognize someone. So instead, you could tell personal stories or present artworks in a way that makes the person behind them relatable or focus on their work.

Do you like movie biographies, such as biopics? And if yes, what do you enjoy about them — or why not?

Yes, I enjoy biopics. I think they’re a great way to learn about people’s lives and creative journeys. But I do sometimes wonder how accurate they are. For me, it’s important that there’s a level of scientific or historical accuracy — otherwise it can feel a bit misleading. Still, when done well, they can be both inspiring and informative.

Could you imagine a website functioning as a kind of biopic?

I think it could work, especially if it’s tailored to a specific target group. A more interactive or visual format, like videos or animations, could make the content appealing to a wider audience. A well-designed information website could definitely serve as a kind of digital biopic.

Thats all. Thank you so much for taking the time to speak with me – I really appreciate your thoughts! Goodbye!

Zusammenfassung

Er sagte, er interessiere sich grundsätzlich für Kunst, besonders für digitale Kunst und Museumsbesuche, sehe sich selbst aber eher als „casual enjoyer“. Er bezeichnet sich als Feminist und erwähnte, dass ihm bewusst sei, wie bestimmte Gedankengänge oder Reaktionen durch Erziehung und gesellschaftliche Normen geprägt sind – etwa, dass man überrascht ist, wenn Frauen Dinge tun, die den üblichen Erwartungen widersprechen. Sein Wissen über Frauen in der Kunstgeschichte sei eher begrenzt, und er habe erkannt, dass das meiste, was wir lernen, sich auf männliche Künstler konzentriert. Er ist jedoch überzeugt, dass Frauen in der Kunst klar unterrepräsentiert sind, und schlägt vor, dass digitale Plattformen wie Websites, Spiele oder Dokumentationen dazu beitragen könnten, weniger bekannte Künstlerinnen ins Rampenlicht zu rücken – vorausgesetzt, sie werden so präsentiert, dass die Menschen eine Verbindung herstellen und sich wirklich dafür interessieren können. Dort sieht er auch die Problematik bei dem Projekt: Warum sollte man sich dafür interessieren. Eine Frage, die sich sicher lohnt nachzugehen.

Learnings für die Gestaltung

  1. Interesse wecken: Wichtig ist, dass sich Leute auch wirklich für mein Projekt interessieren. Warum sollte man die Webseite besuchen? Wer besucht sie? Zielgruppenanalyse. Vielleicht ist es eher als Exponat geeignet für eine interaktive Ausstellung. Auf welche Art und Weise? Möglicherweise auch beides zugänglich machen. Welche Aspekte funktionieren wo und wie besser?
  2. Narrative Verankerung: Kleine biografische Geschichten („mini-Anekdoten“) als emotionaler Aufhänger.
  3. Interaktive Elemente im Web: Quiz- und Gamification-Module, um Neugierde zu wecken und aktives Erkunden zu fördern.
  4. Medienmix: Kombination aus Text, Bild, kurzen Videos und Animationen – für unterschiedliche Lern- und Rezeptionsstile.
  5. Transparenz & Korrektheit: Quellenhinweise und weiterführende Links, um wissenschaftliche Genauigkeit sicherzustellen.

Forschungspunkte

Best Practices im Digital Storytelling

  • Analyse von preisgekrönten Web-Dokumentationen
  • Welche Micro-Interactions und Narration-Patterns (Voice-Over, Progress-Markers) funktionieren besonders gut?

Visuelle Empathie & Emotional Design

  • Theorien zu „Emotional Engagement“ (z. B. Don Norman’s Emotional Design).
  • Wie Farbe, Typografie und Bildsprache Empathie für marginalisierte Biografien können fördern.

by elina.dorzhieva -

Behind The Scenes. Installing all sensors and cables into a tiny room.

After testing everything on the table, it was finally time to bring the sensors into the tiny house I built. That’s when the real chaos and magic began.

Phase 1: The First Arduino Set – Doorbell & Laptop

I started simple. The first set of interactions included:

  • A doorbell: a button paired with a buzzer.
  • A laptop: triggered by a distance sensor, lighting up a small LED and playing a “startup” sound.

To make this work, I did small holes in the house walls to fit the lights and sensors. It wasn’t too hard, mostly about being careful with the details, especially when I had to connect two things to one leg of the button. It was tricky to get stable, and of course, when everything was finally ready, the buzzer went rogue and started buzzing constantly. Turned out it was just a bad connection. I had to redo the whole thing.

Phase 2: The Second Arduino Set – The House Comes Alive

This part was more complex. It took way longer not just because of the number of sensors, but also because I had to design furniture to hide them all before placing them in the house.

This set included:

  • A door interaction using a beam sensor to control the main light.
  • A bed interaction with a photoresistor that also controlled the main light.
  • A drawer interaction using conductive tape to detect when the drawer was open.

The drawer was the hardest part. I didn’t know where to hide the cables. Eventually, I hid them inside the drawers and made small holes in the back wall to run them to the Arduino. Sounds neat? It wasn’t.

When I finished wiring everything and plugged it in… nothing worked 🙁

2AM Debugging and the Classic Mistakes

It was already 2am and I was too excited to sleep without seeing it all come to life. But the drawer interaction wasn’t working, the tape inside had ripped from all the handling, so no signal could pass through. I had to redo everything.

slay…

And worse, I had skipped one very important step: checking each sensor one by one. The door sensor was acting weird, jumping erratically between 0 and 1, or not reacting at all. As a beginner, I didn’t immediately see the problem. I tried everything… until I moved the power and ground connections on the breadboard closer to the source. That fixed it. At 4am. And yes, it felt like a small miracle.

P.S. I don’t even have any pictures or videos from trying to fix the door sensor because I was full head inside the problem and could not remember to do videos of how annoying the process was.

What I Learned

  • Always test sensors one by one before sealing them into furniture.
  • Connections that look “fine” might not actually work, check and recheck.
  • Even a tiny sensor setup can break down unexpectedly in a small-scale project.
  • Pain at 4am feels worth it when the room finally lights up.

By the next day, everything was running. And with the system installed, I could finally move on to the fun part, decorating the room. I didn’t expect so much to break during setup, but it taught me more than any tutorial.

by florian.prasse -

#4 Alright… Now What?

So far, I’ve soldered things together (mentally, not literally), tested sensors, debugged serial communication, and got Arduino and Processing talking to each other. That in itself feels like a win. But now comes the real work: What do I actually do with this setup?

At this stage, I started combining the two main inputs—the proximity sensor and the potentiometer into a single, working system. The potentiometer became a kind of manual timeline scrubber, letting me move through 13 steps that represent a line, which should be a test for a potential timeline? The proximity sensor added a sense of presence, acting like a trigger that wakes the system up when someone approaches. Together, they formed a simple but functional prototype of a prototype, a rough sketch of the interaction I’m aiming for. It helped me think through how the data might be explored, not just visually, but physically, with gestures and motion. This phase was more about testing interaction metaphors than polishing visuals—trying to understand how something as abstract as historical emissions can be felt through everyday components like a knob and a distance sensor. This task pointed out to me, how important testing and the ideation of your ideas can be, to get a better understanding of your own thoughts and to form a more precise imagination of your plan.

Small Prototype to connect sensors in one file

Things about to get serious

Building on the knowledge I gained during the ideation phase, I connected my working sensor system, a potentiometer and proximity sensor to the Processing sketch I had developed during design week. That earlier version already included interaction through Makey Makey and homemade aluminum foil buttons, which made for a playful and tactile experience. In my opinion, the transfer to Arduino technology made the whole setup easier to handle and much cleaner—fewer cables, more direct control, and better integration with the Processing environment. The potentiometer now controls the timeline of Austria’s CO2 emissions, while the proximity sensor acts as a simple trigger to activate the visualization. This transition from foil to microcontroller reflects how the project evolved from rough experimentation into a more stable, cohesive prototype.

by florian.prasse -

#3 Serial Communication Between Arduino and Processing

By this point, I had some sensors hooked up and was starting to imagine how my prototype might interact with Processing. But getting data from the physical world into my visuals? That’s where serial communication came in! On the Arduino side, I used “Serial.begin(9600)” to start the connection, and “Serial.println()” to send sensor values. In my case, it was messages like “true” when a hand moved close to the distance sensor, and “false” when it moved away. On the Processing side, I used the Serial library to open the port and listen for data. Every time a new message came in, I could check if it was “true” or “false”, and change what was being shown on screen — red background, green background, whatever. So I was prototyping the prototype, you could say.

Why this is so fascinating and helpful 🤯

I wanted to build something quick, easy to use and reactive—and serial communication made it possible to prototype fast without diving into WiFi, Bluetooth, or custom protocols. It lets me test ideas in minutes: turn a knob, wave a hand, watch the screen respond. And for something as conceptual and messy as visualizing CO2 history with simple and fast coding, that immediacy is everything.

Imagine you’re at an interactive museum exhibit about climate change. As a visitor approaches a screen, a hidden distance sensor detects their presence. The Arduino sends “true” to Processing, which triggers a cinematic fade-in of historical CO2 data and a narration starts playing. When the visitor steps away, the system fades back into a passive state, waiting for the next interaction. That whole experience? Driven by serial communication. One cable. A few lines of code. Huge impact.

Some helpful links for those who are interested in serial communication:

https://learn.sparkfun.com/tutorials/connecting-arduino-to-processing/all

by Veronika Poštrak -

2.6 Final Video: Prototyping Calm with the Breathing Circle

In this final blog post, I’m presenting a short video that showcases the development and insight behind my analog prototype, the Breathing Circle. Designed as a screen-free, tactile tool for guided breathing, this project explores how physical interaction can support emotional regulation in everyday life. From early sketches to laser-cut textures and user testing, the process revealed how simplicity, materiality, and intuitive design can foster moments of calm. The video summarizes my journey, shares user reactions, and reflects on what future iterations could look like.

by alice.zanutti -

15. Building the First Decay Prototype

Sculpting the Core

In Blender. I modeled a central, organic symbol, a 3d flower.
I moved the flower model into KeyShot, for its Texture, Light, and Animation where I focused on giving it a simple machine like vibe, animated the flower slowly turning, anexported the frames only, which gave me full control later in video editing.
Once rendered, the frames were stitched together in Premiere Pro to produce a looping animation, lightweight, editable.

Resolume + FaceOSC + Max/MSP

Since the flower has to respond to people, I used FaceOSC to track facial movements, interpreting gestures and expressions. A Max 9 patch to process this incoming data and map it to decay parameters. UDPsend to push the control signals directly to Resolume Arena, where the flower video lives. Resolume became the decay environment. As a viewer approaches or moves, the flower visuals begin to glitch, shake and distort.

What’s Next

Now that the pipeline works, from face input to visual output the next steps would be working on:

-More advanced facial tracking
-Sound integration: the next phase will let the flower sound different based on mood
-Visual regeneration zones: can stillness heal the decay?

Final Thoughts

Prototypes are weird. You spend a lot of time worrying about how close they should be to the final piece, how polished, how functional, how perfect. But in the end, what really mattered to me was the process.Just figuring out how to get even a little closer to the feeling, the behavior I imagined was enough.