This chapter on designing computer interfaces is not only the holy grail of principles for computer music interfaces but also a beautiful recollection of the design process for SLORK and other inventions. I loved how Ge walked us, the readers, through the entire process of SLORK which reminds me of a similar experience (but on a much smaller scale) for an interface that I had the great opportunity to work on.
The theremin is one of the most fascinating instruments of our generation. However, it has a high learning curve, especially requiring great coordination due to the need to accurately position hands for both the volume side and pitch side. As a student at Georgia Tech, I was curious to see if a robot could play it better, a robot that could play expressively based on a performer's emotions. After spending hours in the workshop designing, failing at identifying right measurements for different components, modifying, and arranging, we finally brought "Terry" alive. The explanation of the design process of SLORK took me back to these events. I would love an opportunity to watch the SLORK live some day!
Finally, the principle that we have been using quite often in our class is Principle I.1: Funny is often better than serious. Not only can funny get a laugh out of the audience in appreciation for the interface, but also it can lighten people's hearts by making the experience extremely enjoyable. There is a feeling of zen in the presence of aesthetic designs and musical interfaces that can produce serene elements that can make us feel human. This principle reminds me of the time where we were enjoying Ryan's audio visualizer that initially had a cute and funny jelly-like texture, but eventually brought us all to exclaim "Wow" at the same time where technology felt human-like as the camera panned.