by florian.prasse -

#5 Vizualisation Refinement and Hardware Setup

Over the past few weeks, this project slowly evolved into something that brings together a lot of different inspirations—some intentional, some accidental. Looking back, it really started during the VR project we worked on at the beginning of the design week. We were thinking about implementing NFC tags, and there was something fascinating about the idea that just placing an object somewhere could trigger an action. That kind of physical interaction stuck with me.

NFC Tag

Around the same time, we got a VR headset to develop and test our game. While browsing games, I ended up playing this wizard game—and one small detail in it fascinated me. You could lay magical cards onto a rune-like platform, and depending on the card, different things would happen. It reminded me exactly of those NFC interactions in the real world. It was playful, physical, and smart. That moment clicked for me, I really like the idea that placing something down could unlock or reveal something.

Wizard Game

Closing the Circle

That’s the energy I want to carry forward into the final version of this project. I’m imagining an interactive desk where you can place cards representing different countries and instantly see their CO2 emission data visualized. For this prototype, I’m keeping it simple and focused—Austria only, using the dataset I already processed. But this vision could easily scale: more countries, more visual styles, more ways to explore and compare. Alongside developing the interaction concept, I also took time to refine the visualization itself. In earlier versions, the particle behavior and data mapping were more abstract and experimental—interesting, but sometimes a bit chaotic. For this version, I wanted it to be more clear and readable without losing that expressive quality. I adjusted the look of the CO2 particles to feel more alive and organic, giving them color variation, slight flickering, and softer movement. These small changes helped shift the visual language from a data sketch to something that feels more atmospheric and intentional. It’s still messy in a good way, but now it communicates more directly what’s at stake.

Image Reference

Image 1 (NFC Tag): https://www.als-uk.com/news-and-blog/the-future-of-nfc-tags/

Image 2 (Wizard Game): https://www.roadtovr.com/the-wizards-spellcasting-vr-combat-game-early-access-launch-trailer-release-date/

by Gregor Schmitz -

From Public Piazza to Private Practice: Re-thinking Site-Specific Sound Design

When I first planned my project “Sounds of the Joanneum Quarter”, the goal was ambitious: a site-specific ambient music installation, deeply integrated into the architectural and acoustic landscape of the Joanneum Quarter in Graz. Inspired by these unique sounding conical glass funnels and spatial openness of the site, I imagined turning the piazza into a dynamic concert space; one where the audience’s movement and the physical structures would shape the sonic experience.

However, during this semester a certain “reality check” demanded a shift in direction. Logistical constraints, timing and access issues meant that the Joanneum setting wouldn’t be possible for this phase of the project. Still, this place holds a special place in my heart, because it gave me a lot of inspiration to dig deeper into this topic. Together with my supervisor I brainstormed about re-approaching the topic: how could I scale the core ideas of spatial interaction, site-responsiveness, and ambient composition down to a format that’s more flexible, portable, and even testable at home?


A Scaled-Down Version with Broader Potential

The new direction retains the essence of the original project – interaction, spatial sound, resonance, and ambience – but re-frames it within a more universally accessible framework. Instead of relying on a single, monumental site, the project now aims to create a tool-set for composers and installation-makers, enabling them to transform any room or environment into a site-specific sound installation.

This smaller-scale approach not only makes the concept more versatile regarding the adaptability for different locations, but also supports a hands-on, iterative development process. I can now begin building, testing, and refining the tools at home and FH, implementing a workflow that builds a bridge between research and practice.


Building the Infrastructure: Tools for Room-Scale Sound Art

At the heart of this shift is a technical infrastructure that turns any kind everyday objects within a room into potential sound objects. The toolkit consists of both hardware and software components:

  • Hardware: Contact microphones or measuring microphones as input, and transducers as output
  • Software: A modular environment built in Max/MSP within the Max4Live framework, tailored to site-specific sound creation.

One of the tool-kit’s key features is its ability to identify an object’s natural resonances via impulse response measurements (input). These measurements inform the creation of custom filter curves that can be used to excite those resonances musically (output). In this way, a bookshelf, table, a metal lamp or even a trash-can becomes a playable, resonant sound object.


Interactive Soundscapes in Everyday Spaces

A third component of the tool-set introduces basic interaction mechanics, allowing potential users or audiences to engage with the sound installation. These control objects can be mapped to a digital version of the room (upload of a literal map) and may include for examples:

  • Panners that move sound from object to object.
  • One-shot triggers that activate specific objects.

With these tools, rooms become navigable soundscapes, where UI interaction can influence sonic outcomes, echoing the spatial interactivity originally imagined for the Joanneum Quarter, but within reach of smaller spaces.

schematic view of the framework


From Site to System

While the grand setting of the original concept served as a powerful starting point, the shift toward a modular, adaptable toolkit has opened up new creative and technical possibilities. What began as a site-specific composition approach can now be framed maybe as a site-adaptive system; one that gives myself or others the opportunity to explore the relation between sound, space, and interaction in their own settings.

The essence remains: redefining how music and sound inhabit space. But now, instead of building for one site, I’m building a foundation that others can use in many.

by victoria.bremer -

NIME Review – “Sound Kitchen”

The paper “Sound Kitchen: Designing a Chemically Controlled Musical Performance” presents a project in which chemical reactions were created and used to trigger different sounds. The reactions were sampled and mapped into a “sound recipe” and showcased as a live performance. Different chemical processes and substances were carefully selected based on certain criteria like availability, safety, controllability, and range. The creation of sound was the main focus; however, since it was meant to be a live performance, visual appeal was also considered (colorful liquids like red wine and orange juice were chosen over clear vinegar). Chemical reactions are used not just as metaphors (or visuals) in performance, but as literal sound generators. Through the manipulation of chemical properties—like electrolyte mixtures and their reactive behaviors—electrical signals are generated and fed into computer systems, where they are shaped and sonified.

The project was created as part of a course called “Human Computer Interaction Theory and Practice: Designing New Devices.” It is an interesting study of the process of creation—drawing parallels between the art of cooking and the art of music: creating a carefully crafted dish and composing a piece of music. Different ingredients and processes alter the final outcome, directed by a composer or chef who controls the composition and final product.

Personally, this new angle of looking at music and approaching composition in such a tangible way was very interesting. Especially as someone who doesn’t know a lot about music and sonification, but is very interested in cooking and baking, I found this experiment gave me a new perspective on the composition of music.

What’s especially interesting about this idea for me as an interaction designer are the implications for almost every interdisciplinary design field and place for interaction. It is a powerful reminder to look beyond the obvious tools. It encourages us to rethink the boundaries of materiality, data, and performance, and expands our definition of what can be an interface or generate usable data (or how something seemingly unrelated can be made usable). I am thinking especially about how this can reshape how we engage with technology, nature, and art. Invisible processes, for example (in nature, cooking, our surroundings, etc.), can be uncovered—not just (as usual) via visuals, but perhaps through sound. This is a channel I, and many other installations, projects, or products, often overlook. However, in terms of ambience or even accessibility, this should be considered and explored much more.

Another thought that is more closely related to artistic aspects of the project would be the visual components of the “instrument.” I feel like it has great potential, and while already considered in some parts, I see a lot of room for improvement, since chemical reactions offer a huge amount of visually appealing options to work with. Phenomena like synesthesia come to mind, and it would be very interesting to see a close relation between the visual reactions and the generated sounds. Moving away from performance art and more into immersive, interactive, and participatory projects, this could, for example, mean an entirely new dining experience that engages all senses in a new and enhanced way.

In conclusion, this paper serves as a strong starting point for rethinking how we design—by considering and combining different sensory experiences in innovative and unexpected ways to create new experiences.

Sound Kitchen: Designing a Chemically Controlled Musical Performance: https://www.nime.org/proceedings/2003/nime2003_083.pdf

by Gregor Schmitz -

Interactivity in Music: How Listeners Become Part of the Performance

Music is often seen as a one-directional experience—composers create, performers interpret, and audiences listen. However, what if listeners could play a more active role in shaping the music they hear?

Movement as a Musical Element

In conventional concerts, the audience remains stationary while sound moves towards them. In contrast, this project leverages the open public space of the Joanneum Quarter to allow the audience to move through different acoustic environments, making movement an essential part of the musical experience.

This already begins with the Joanneum Quarters being an open public space, people cross during there everyday-life. There is no literal gate-keeping, which allows people to enter end leave the place and therefore the musical piece, whenever they like or stumble upon it.

Further the architectural design of the Joanneum Quarter introduces natural delays and phasing shifts as sound waves bounce off its curved glass structures as well as from the surrounding walls. This means that a e.g. melody played in one location may sound different depending on where a listener is standing. And because of time delays the layering of melodies result differently at different locations. As audience members walk through the space, their perception of the music changes, creating a dynamic and personal auditory experience.

Creating immersion via interfaces

Beyond the organic interaction caused by movement, the project considers additional ways to involve audiences directly in the performance. One may be the installation of interfaces:

By incorporating technical solutions such as speaker controls or digital interfaces, visitors can influence the composition itself. Simple adjustments—such as modifying the volume of different speakers—allow participants to shape their own experience. A more complex approach could involve digital interfaces, such as iPads placed around the space, where participants can select different musical elements for each acoustic funnel, effectively curating their own version of the performance.

    Sources:
    “Joanneumsviertel,”accessed January 22, 2025, https://www.museum-joanneum.at/ihr-besuch/museen-standorte/joanneumsviertel.

    by victoria.bremer -

    Where do we go from here? Possible approaches for designing connection

    What I’ve discovered is that there’s a strong awareness of loneliness as a problem, especially in the research community. There are countless studies, statistics, and even political measures addressing it, but what’s missing are concrete steps and ideas on how to tackle it.
    There are some considerations, such as guidelines for urban planners and architects, that lay the groundwork. But direct, creative, and innovative approaches are harder to find. Most existing solutions focus on open spaces, but few actively invite specific forms of interaction. What’s needed is a deep understanding of both the structural aspects of loneliness and the personal experience of it. This means understanding what people need in order to change their behavior and the way they operate in the world we currently live in. Is it the online world and our phone addiction? The fast paced life style? The way and amount we work? The ways our offices, homes an cities are designed and built?

    It might be helpful to focus on specific scenarios where loneliness occurs, as its causes and effects vary depending on the context. Loneliness looks different for an older person in a retirement home than it does for a young person who just moved to a new city. Patients in hospitals or reha centers face different challenges than single parents with little time for social interaction. Immigrants who have been separated from their families and cultures experience isolation differently than someone struggling with mental health issues. People who have been removed from or disconnected from their communities also face unique forms of loneliness.

    So what can design do? There are different angles and scales from which to approach this issue. One possibility is rethinking urban planning to create spaces that naturally foster human interaction. Another is shifting public perception by raising awareness and reducing the stigma around loneliness, making it something we can talk about openly rather than something to be ashamed of. Smaller interventions can also play a role, like simple design elements that spark interaction and connection, allowing relationships to develop organically.

    The next step is to explore possible directions. Should this take the form of a framework or set of guidelines for urban design? A workshop that actively engages communities? A game or interactive tool that initiates connection? A digital platform that helps people meet in meaningful ways? Maybe physical installations or experimental spaces designed to encourage spontaneous interactions. Or maybe artistic works that highlight and address loneliness could invite reflection and conversation.

    To move forward, more research is needed and the questions that came up during research need to be answered. Interviews, testing, and case studies could provide valuable insights into what actually works. Understanding the real experiences of people struggling with loneliness and setting a direction for a project are key to designing solutions that go beyond theory and make a real impact.

    by genovefa.zourkou -

    1.9. Defining “Interaction” in Museums

    Interaction in museums is a dynamic concept that reflects the ways in which visitors engage with exhibits, staff, and each other. Historically, museums were viewed as spaces for passive observation, where visitors simply looked at objects or artifacts. Over time, however, there has been a shift towards more engaging and participatory experiences, allowing visitors to interact with exhibits and immerse themselves in the museum environment. This shift has broadened the definition of interaction in museums, highlighting the importance of visitor engagement in learning and enjoyment.

    Digital Interaction

    The use of technology in museums has significantly enhanced visitor interaction. Digital tools such as interactive touchscreens, augmented reality (AR), and virtual tours allow visitors to engage with exhibits in innovative ways. These technologies create immersive environments that not only provide information but also encourage exploration and curiosity. For example, AR allows visitors to see historical reconstructions or interact with 3D models of artifacts, fostering a deeper understanding of the content [2]. The role of technology has revolutionized how visitors can engage with exhibits, turning a passive experience into a more active, personalized learning journey [1].

    Tangible Interaction

    While digital interactions are important, non-digital experiences are equally essential in enhancing visitor engagement. Tactile exhibits, live demonstrations, and hands-on workshops allow visitors to engage physically and intellectually with museum content. These types of interactions create a more personal connection with the exhibits, offering opportunities for multisensory learning that digital tools may not always provide. Museums with such interactive elements help visitors build deeper connections to the artifacts, enhancing their emotional and intellectual experience [3].

    Social Interaction

    In addition to individual engagement, museums also encourage social interaction. Group activities, collaborative workshops, and guided tours provide spaces for visitors to interact with one another. This social dimension fosters learning through shared experiences, where visitors exchange ideas, challenge one another’s viewpoints, and build collective understandings of the museum’s content. Social interaction within a museum can lead to a richer, more nuanced interpretation of the exhibits and deepen the visitor’s connection to the material [5]. Museums are increasingly designed to promote these interactions, fostering a sense of community and collaboration among visitors [4].

    Learning Outcomes

    One of the primary goals of interactive experiences in museums is to enhance learning outcomes. Research has consistently shown that visitors who engage more actively with exhibits tend to retain information better and develop a deeper understanding of the subject matter. Whether through the use of technology, tactile experiences, or social interaction, active participation helps to strengthen cognitive and emotional connections with the material. This engagement leads to a more profound learning experience and encourages visitors to critically engage with content rather than merely absorb it passively [2].

    Conclusion

    Defining interaction in museums extends far beyond the traditional passive viewing of objects. Interaction today encompasses a variety of methods—digital and non-digital—that invite visitors to engage more deeply with the museum experience. As museums continue to evolve, their role as active, participatory spaces will likely expand, offering richer, more meaningful experiences for future generations.

    References

    [1] G. E. Hein, Learning in the Museum, Routledge, 1998.

    [2] J. H. Falk and L. D. Dierking, Learning from Museums: Visitor Experiences and the Making of Meaning, 2nd ed., AltaMira Press, 2013.

    [3] E. Hooper-Greenhill, Museums and the Interpretation of Visual Culture, Routledge, 2000.

    [4] S. Macdonald, A Companion to Museum Studies, Wiley-Blackwell, 2011.

    [5] L. H. Silverman, The Social Work of Museums, Routledge, 2010.

    by victoria.bremer -

    Designing for connection – Part 2

    DESIGNING INTERACTION

    In the previous post I have discussed what is important when designing the public space itself. Now it is also important to look at what aspects to consider and incorporate when designing interaction and human connection. To build successful products like installations or experiences that are meant to bring people together and create or nurture connection we must understand key elements that create connections between people.

    Human connection comes from a mix of emotional, physical, and psychological factors, all of which can guide how we design interactions that bring people closer together. Physical touch is an important aspect – it releases hormones like oxytocin, reduces stress, and builds trust. Designs can for example use haptic feedback, like vibrations or warmth, to mimic touch or encourage real-life gestures and touch like handshakes or hugs [1]. Physical proximity also plays a big role – being near others naturally makes connection easier. Spaces that bring people closer, like small gathering spots can create more chances for spontaneous interaction. Similarly, eye contact creates intimacy and trust.
    Shared experiences are also something that bring people together by creating a sense of belonging and togetherness. Things like group activities, team challenges, or even shared virtual spaces can help foster these bonds [2]. Another aspect that gives people a sense of identity and connection are rituals and traditions. This could mean designing recurring events or encourage and help the development of little rituals specific to an experience [3].
    Active listening makes people feel heard and valued, and Emotional sharing deepens relationships when people feel safe enough to open up. Design ideas could include anonymous spaces for sharing or lighthearted prompts that encourage people to talk about their feelings [4].

    WHAT DO WELL DESIGNED PLACES AND INTERACTIONS LOOK LIKE?
    The Loneliness Lab is a „global collective of people and organizations on a mission to design connection in to the places where we live, work and play.“ They for example made a toolkit for tackling loneliness in areas for people involved in urban planning and helped create several projects and concepts addressing the issue.

Designing public spaces that are inclusive, welcoming, and engaging can significantly impact social interactions and well-being. Accessible wayfinding, paths, and facilities ensure these spaces are available to everyone, especially those with disabilities or those who may feel excluded. Community-generated art empowers locals to reclaim and transform neglected spaces into safer, more inviting areas. Features like lighting, street furniture, and creative installations bring life to underused spaces, as seen in Derry’s pop-up meeting pods paired with mental health training, fostering connection and well-being. Temporary or “meanwhile use” spaces, such as Story Garden in London, allow communities to actively shape their environment while policymakers learn about long-term needs. Programs like this build creative skills and tackle local issues through collaborative projects. Lighting also plays a crucial role, it can help create a feeling of safety and encourage positive behaviors, as seen in Phillips’ LED installations, which extended children’s outdoor playtime and reduced device usage. A sense of place and identity strengthens connections between residents, businesses, and organizations. For example, “Elephant Says Hi!” unites over 30 groups in Elephant and Castle to create a welcoming environment for all. Thoughtful design, such as flexible seating, human-scale areas and elements, and moveable furniture, enhances the comfort of large spaces for both individuals and groups. Long-term administration is vital for sustainability, as demonstrated by the Gillett Square Partnership, which fosters ongoing collaboration to transform a once-deprived area into a vibrant community hub [5].
    Further approaches from these ideas could also go more in the direction of installations and artistic displays, that follow a specific goal or have a specific message, for example creating awareness about the topic or making a statement.

    Pods in Derry
    Collaborative Creative Spaces in London

    Source

    1. A. H. Tejada, R. I. M. Dunbar, and M. Montero, “Physical contact and loneliness: Being touched reduces perceptions of loneliness,” Adaptive Human Behavior and Physiology, vol. 6, no. 3, pp. 292–306, May 2020, doi: 10.1007/s40750-020-00138-0.
    2. V. Chung, R. Mennella, E. Pacherie, and J. Grezes, “Social bonding through shared experiences: the role of emotional intensity,” Royal Society Open Science, vol. 11, no. 10, Oct. 2024, doi: 10.1098/rsos.240048.
    3. D. Robson, “The secret to long-lasting connection? Shared rituals,” Dec. 30, 2024. https://www.bbc.com/future/article/20241218-michael-nortons-rituals-key-to-connection-family
    4. S. Myers, “Empathic Listening: Reports on the Experience of being Heard,” Journal of Humanistic Psychology, vol. 40, no. 2, pp. 148–173, Apr. 2000, doi: 10.1177/0022167800402004.
    5. “Knowledge on Loneliness — The Loneliness Lab | Loneliness in urban spaces,” The Loneliness Lab, Dec. 29, 2020. https://www.lonelinesslab.org/knowledge-hub