In Chapter 5 of Artful Design, Principle 5.2: There is an Aesthetic to Interaction, which is “how we engage with an interface…the aesthetics of interaction lie in the elegance and expressiveness of use,” captures this chapter well. Throughout the chapter are various examples of musical interfaces whether it is modified and augmented traditional instruments, virtual and augmented reality interfaces, laptop-based instruments, or the fantastical ones like the cowe bagpipe interface. However, I think that a key component for these musical interfaces is expressivity and how much the interface allows the performer to express their emotions and intentions.
I sometimes go to musical concerts and performances, and while I am listening to and enjoying the music, I am also paying attention to the performers. Oftentimes, I find that the visual aspect of the performance adds more depth and meaning to the performance. I remember a few years ago I watched Lang Lang, a pianist, perform live on the stage. It had been an absolutely fantastic experience not just because he sounded amazing but because it was so captivating to watch him perform from his facial expressions to his body movement. It was clear to see that he had complete mastery over the piano and that he was really enjoying the moment. In class, we often talk about the sublime, and in that moment, I felt it, and he might have felt it too.
One of my favorite performances of Lang Lang's to watch (not the one I watched live though).
I think that it’s interesting to think about what it means to reach the sublime with these musical interfaces. With some, they are intended to be fun and whimsical, and according to Principle I.1: Funny is often better than serious. However, with others, they may be intended for more serious use cases like the instruments of a laptop orchestra. In these cases, the sublime might come similarly when the player gets the perfect sound or the orchestra harmonizes beautifully. I am curious to know if players feel similarly playing a traditional instrument versus a non-traditional instrument. If a cello player experiences the sublime in a playing a piece perfectly after practicing it for 6 months after 10 years of experience, would they feel that too with some of the instruments mentioned throughout this chapter?
I think that the answer may lie with the interface of the instrument and how much the performer is able to express themselves. Perhaps with the frog maraca it would be difficult to fully express intensions and emotions, but with Lisa, the accordion, there is much more complexity and nuances in control, so it may be more possible. The sheer amount of creativity I saw in this chapter was truly amazing, and I’m delighted that there are so many fun, unique, and functional non-traditional instruments and musical interfaces out there.