During my Creative Technology MSc, I found myself immersed in the fascinating intersection of art and technology, a space where creativity and innovation converge to create interactive, immersive experiences. Our journey explored interactive art, human-computer interaction, and design philosophy, giving me the tools to craft meaningful installations that bridged the physical and digital worlds.

I was introduced to C++ OpenFrameworks and Arduino, learning to connect sensors, screens, sounds, and APIs to produce hybrid experiences. Coming from a mathematics background with prior experience in MATLAB, this was an entirely new way of thinking about code—one that was creative and experiential. The coursework was structured around brief-driven projects, where we were tasked with designing, building, and presenting prototypes of interactive installations. This hands-on approach was perfect for me, as I’ve always loved making things, and it validated something my secondary school art teacher once told me: it’s okay to combine Further Maths with Art—these fields thrive together in creative technology.

The prototyping process was all about experimentation. We were encouraged to hack the code together as quickly as possible to test the concept, adopting a minimum viable approach to art. This allowed us to immediately evaluate our ideas, observe how people interacted with them, and iterate or pivot based on feedback. It was a process of discovery—unexpected reactions often opened up new creative directions.

Once the experience was validated, we could go back to refine the code, hardware, and sequencing, depending on our artistic style. My process always began in a blank notebook (provided at the start of the course) where I would sketch out ideas—from visuals to pseudo-code. I’d then move on to physical models and 3D renders in tools like Cinema 4D or SolidWorks, helping me visualize the concept in space. For sound-based projects, I started simple, playing audio directly from my MacBook speakers. This enthusiasm once blew out my speakers, but it taught me the importance of experimenting boldly. The iterative approach taught me that failing fast was an essential part of building meaningful, interactive experiences.

Throughout my MSc, I explored how we can take elements of nature and subtly augment them to evoke a deeper emotional response. This particular installation focused on the auditory experience of sand falling, symbolizing both the passage of time and the excavation/buryingof bone-like structures that resembled buildings. By connecting participants with familiar natural elements and then enhancing them through technology, I aimed to create an immersive environment that stirred curiosity, reflection, and a sense of wonder. The images below capture my prototyping process—from the initial idea, through 3D modeling and physical construction, to the finished 1/10th scale model.

3D models made in SolidWorks

Brought to life in wood and plaster

A complete 1/10th scale rendition

This piece formed part of my dissertation, for which I was awarded a distinction—the only distinction awarded in the course. This recognition highlighted the technical excellence and innovative approach I brought to the project, underscoring its impact and significance within the Creative Technology MSc program.

For one of our coursework assessments, we were tasked with creating an interactive installation for children in a public space, focusing on an environmental issue. I chose to address ocean noise pollution and its impact on marine life, aiming to raise awareness through an engaging and educational experience.

Design Concept
I envisioned an installation that would immerse participants in the challenges faced by marine mammals due to underwater noise pollution. To find a suitable location, I selected a converted railway tunnel on the Bristol and Bath Railway Path, a popular walking and cycling route frequented by families. The tunnel's length (over 100 meters), height (10 meters), natural reverb, and water-streaked brick walls provided the perfect setting to simulate an underwater environment.

At each end of the tunnel, I planned to place modified telephones connected to a hidden laptop. When participants spoke into the telephones, their voices would be processed in real-time, introducing delays and distortions that mimicked underwater noise pollution. The altered sounds would then play back through speakers concealed along the tunnel's length, creating an immersive soundscape that demonstrated the communication challenges faced by marine mammals.

Prototyping the Installation
To develop the prototype, I utilized OpenFrameworks C++ for its low-level audio control capabilities. I began by implementing a basic delay effect, allowing users to record a message by pressing the spacebar and experiencing the delayed playback upon release.

Moving to multi-channel audio, I borrowed a 10-output audio interface from the university's music technology department, along with multiple speakers. Configuring the software to route audio signals to specific speakers was a complex task, requiring manual implementation of multi-channel support within OpenFrameworks.

The code involved setting up the sound stream with multiple output channels:

ofSoundStreamSettings settings;
settings.setOutDevice(audioDevice);
settings.numOutputChannels = 10;
settings.sampleRate = 44100;
settings.bufferSize = 512;
soundStream.setup(settings);

In the audioOut function, I processed the audio and routed it to the desired channels:

void ofApp::audioOut(ofSoundBuffer &buffer) {
    for (size_t i = 0; i < buffer.getNumFrames(); ++i) {
        float sample = ...; // Processed audio sample

        // Routing the sample to specific channels
        buffer.setSample(i, channelIndex, sample);
    }
}

This setup allowed for real-time audio processing and multi-channel output, creating an engaging and educational experience.

Demonstration and Assessment
For the assessment, we presented our installations in the media lab, with members of the public invited to try them out. My setup was too large for the indoor space, but I found a stairwell just outside the lab that worked well. The stairwell's flat walls provided excellent reverb, and I used a projector to display an image of the railway tunnel, helping transport participants into the environment I had envisioned.

Pressed for time, I made last-minute adjustments to the prototype. Instead of telephones, I created an intercom system from cardboard and foil, hiding a microphone inside and connecting a button to the laptop via a Makey Makey. Dimming the lights in the hallway added to the immersive effect, making the setup feel more like the intended tunnel environment.

An unexpected benefit of being in the hallway was that people passing by stumbled upon the installation without knowing it was part of an assessment. This gave me the chance to test the piece in a way that mimicked a real-world public art installation. It was amazing to see people interact with the piece—many loved hearing their voices distorted and projected—and it was deeply rewarding to discuss the environmental message with them afterward. Seeing participants resonate with the research and experience made the hard work feel worthwhile.

This was when I truly understood the power of experience design—how it can engage, educate, and inspire in ways traditional art or media cannot. The installation received overwhelmingly positive feedback, and I was thrilled to earn a distinction for the coursework.