Interactive art as embodied inquiry: working with audience ... - files

Interactive art as embodied inquiry: working with audience experience 

George Poonkhin Khut 

Interactive arts practice is considered here as a medium for critical enquiry. An experience-centred approach is used 

to explore how interactive art works facilitate processes of inquiry and reflection. While it is often said that the role of 

an artwork is to raise questions, my interest here is in art’s capacity to help us develop understanding. Given that it is 

people and not artworks that are asking these questions, and that meanings evolve through audience experience and 

interaction, it follows that a more detailed understanding of audience experience can help arts practitioners 

understand some of the ways these forms of inquiry and experience can be afforded by their works. Two frameworks 

for understanding user experience, drawn from the fields of Human-Computer Interaction and experience-centred- 

design are used to examine audience experience in Cardiomorphologies, an interactive artwork that explores the 

experience of subjectivity as a physiologically embodied phenomenon. 

The notion of enquiry is central to many forms of contemporary arts practice, and is often used as 

a way of evaluating the critical worth of an art object or event. Through enquiry we evolve new 

understandings and values regarding the subject or focus of our enquiry. We often speak of an 

artwork questioning certain assumptions and values, but who is asking the question in such situations? 

An artwork may present us with a problematic situation or set of issues, but it is we, the audience or 

critic that asks the question. If the work of art in general is defined by processes that unfold through 

audience engagement (Dewey, 1958, Shusterman, 1992), how can we better understand the means by 

which individual artworks afford such experiences? 

Audience experience has been explored by a many of researchers working in the fields of HCI and 

experience centred design (Forlizzi and Battarbee, 2005, Dourish, 2001, Press and Cooper, 2003, 

Picard, 1997). Interactive artworks in these research environments provide a context for observing and 

conceptualising more playful and leisurely forms of human computer interaction that are becoming 

increasingly important as computational technologies assume a more pervasive role in our everyday 

living and communication (Höök et al., 2003, Sengers and Graver, 2003, Fels, 2000). 

These design-based approaches to interactive art, provide valuable insights into audience experience, 

but can often seem foreign to the historical trajectories and critical discourses of contemporary arts 

practice, with its prevailing non-instrumental concept of the work of art. This paper presents an 

exploration of these HCI and design based approaches from my own perspective as a contemporary 

arts practitioner. It examines how these design-based approaches have been used in the development 

and evaluation of Cardiomorphologies, an interactive artwork that uses a physiologically responsive 

interface to explore the experience of embodied subjectivity and self-representation within such 

interactions. As an artist, I am interested in the processes by which we evolve meanings, values and 

identities through sensation, interaction, and inquiry. While it is often stated that the task of art is to 

raise questions not answer them, my interest here is in art’s ability to stimulate learning and self- 

cultivation in a manner akin to traditional East Asian contemplative practices such as yoga, tai-chi, 

calligraphy, kyudo (archery), etc., – practices that provide a means to unifying body and mind 

(intention) through action. 

1. Inquiry in art experience 

Within the traditions of contemporary Western art, inquiry assumes special significance, enabling 

distinctions to be made between works that are said to be merely pleasing or fun and works of a more 

critical or contemplative nature. Where the former presents experiences enjoyed for their own sake, 

the later draw the subject into a consideration of matters beyond the artwork’s immediate physical 

Engage: Interaction, Art and Audience Experience, November 26-28, 2007, Sydney, Australia. pp. 156-169 

A Creativity & Cognition Studios (CCS) and ACID Symposium. http://www.creativityandcognition.com/engage06

properties, towards a reflection on the larger meanings and values invoked by the work (Hansen, 

2005). Playfulness itself can be a focus critical enquiry to the extent that the artwork provides a 

framework for reflecting on what play can mean or contribute to our experience. 

Artworks afford enquiry by creating problematic situations involving certain ideas, experiences and 

conditions. The art experience becomes an ongoing process of making-sense-of or reconciling the 

problematic nature of the situation encountered. This process of making-sense requires a momentary 

separation from, and conscious reflection on the event experienced in relation to previous experience. 

Meanings derived from this process of making-sense enable the art experience to play a role in the 

formation of subsequent life experiences (Fiore et al., 2005). 

While much has been said about the problematizing and questioning function of contemporary art 

practices, it is not clear to what extent the problems presented by these works facilitate an actual 

process of reflection and enquiry on the part of individual audience members. When does questioning 

cease to be a catalyst for actual individually situated reflection and simply a rhetorical habit on the part 

of artists and arts writers? Asking questions is important, but so is searching for answers. Regardless of 

the fact that these answers can only ever be provisional accounts based on the subject’s present 

experience, it is through this action of making-sense and forming an account of one’s own experience, 

that artworks facilitate the development of insights, understandings and values. 

So the question is, as makers and critics of (interactive) artworks, how do we develop and evaluate an 

artwork’s ability to facilitate such forms of inquiry on the part of our participating audiences? Audience 

experience is hard to define, and it is usually assumed that actual audience experiences are too 

individual to generalise in any artistically useful or meaningful way. Recent work on audience 

experiences in HCI and experience-centred design research reveals aspects of experience and reflection 

in interaction that can help us to think about the design of interactive artworks in terms of the varieties 

of behaviors they afforded their audiences. 

2. Cardiomorphologies: designing with audience experience 

For the past four years I have been exploring this idea of interaction as enquiry through the 

development of my ongoing interactive art project Cardiomorphologies, a physiologically responsive 

artwork designed to respond to autonomically mediated changes in breath rate and heart rhythms. A 

large mandala-like video projection and real-time sonification responds to changes in breath and heart 

rhythms, collected from sensors attached to the participant’s body. Participants are invited to explore 

how these patterns can be transformed through sustained attention to contrasting varieties of 

mental/emotional activity and body awareness. 

Figure 1 Cardiomorphologies as exhibited at Beta_space gallery, Sydney: (left) participant being introduced to the 

sensor devices and (right) interacting with the work Photos by Greg Turner. 



This research culminated in 2005 with in an intensive study of audience experience, developed in 

collaboration with curatorial researcher Lizzie Muller and interaction designer Greg Turner. Using 

methods adapted from the disciplines of HCI and human centred design we developed the 

Cardiomorphologies interactive experience through a series of iterations. Tools such as Video-Cued 

Recall (Omodei et al., 2002, Suchman and Trigg, 1991), Personas & Scenarios (Cooper, 1999, Kan et 

al., 2005), and Future Workshops (Kensing, 1991) were used to record, examine and reconceptualize 

the varieties of audience experience afforded by the design of specific interface elements and the 

experience as a whole (Muller et al., 2006). 

Early on in our collaboration I identified a list of six experiential aims that described the qualities of 

engagement that I was interested in facilitating through the work. These experiential aims included 

such qualities as: 

� Sensual and kinaesthetic – the projected imagery generates and reinforces enjoyable 

sensations of changing weight, motion and patterning within the body; 

� Close fitting – the artwork should reflect as accurately as possible actual changes in 

physiology. It should feel like a very clear extension of the participant’s body; 

� Quiet, concentrated, inwardly-attentive-focus – the participant is focused on sensing and 

responding to subtle shifts within their own psycho-physiology; 

� Explorative, curious – the experience invites exploration and interest; 

� Enabling and Instructive – participants develop an ability to physically sense changes in heart 

rate pattern, and how these patterns interact with different mental/emotional states, 

participants have a sense that they have learned something about their own ability to sense 

and enact changes in their own psycho-physiology; and 

� Meaningful – the artwork provokes a consideration of the participant’s mind-body processes in 

ways that might inform their experiences and actions in other ‘real life’ contexts. 

My aim with Cardiomorphologies has been to facilitate experiences of the body as subjectivity (the 

body as a subject, the subject as a body) in ways that would stimulate reflections on the nature of our 

embodiment, its representation in contemporary culture, and the relational abilities and personal 

insights these experiences can provide. My approach to bodily experience as a focus of inquiry draws 

extensively on the somatic bodywork traditions exemplified by the Feldenkrais Method, Hanna Somatics 

and the Alexander Technique, methods that cultivate body-mind coordination as a way of enhancing, 

maintaining or recovering the quality of our being in the world (Feldenkrais, 2002, Hanlon-Johnson, 

1995, Rywerant, 2003). The above mentioned research collaboration with Muller and Turner provided a 

way of assessing and reflecting on the extent to which these aims where being realised or transformed 

in actual audience experiences of the work. 

Figure 2 Cardiomorphologies v.2 as exhibited at Beta_space gallery September 2005, showing variations in 

colour, size and intensity as mapped from changes in breathing and heart rate data. The white light in the centre of 

the image glows brighter with each inhalation, while the pink and orange rings in the middle section blend from pink 

to orange to green according to changes in heart rate. The ray-like emanations indicate changes in heart rate 

patterning that can be mediated by mental and emotional focus. Photo by Greg Turner 



3. Understanding experience in interaction: reflection and immersion 

Hansen (2005) has proposed four modes of audience interaction that describe the different ways in 

which artworks can facilitate processes of reflection and inquiry: in Figure 2 the vertical axis indicates 

how physically active the user needs to be in order to experience the artwork, while the horizontal axis 

indicates the quality of the participants interaction, varying from immersed (totally absorbed) to 

reflective. Hansen’s model provides a way to describe the process by which audiences enter into 

contemplation (enquiry) through transitions from one state to another: from ‘immersed while active’ to 

‘reflective while passive’ or from ‘reflective while active’ to ‘immersive while passive’. In 

Cardiomorphologies audiences learn to influence the appearance of the work through a combination of 

breathing and intentional focus. Applying concepts of ‘physically active/physically passive’ to 

Cardiomorphologies highlights the limitations of Cartesian dualism with respect to subjectivity as 

physiologically embodied phenomena. Biofeedback interactions collapse conventional distinctions 

between the body as something we are and the body as something control. Interactions within such 

systems entail a process of embodiment whereby subjects learn to articulate progressively finer details 

of their being, moving from that which is perceived clearly to sub-conscious processes beyond their 

present perceptual thresholds. Edmonds et al. (2004) have noted how physiologically responsive 

interfaces (i.e. controlled by changes in heart rate, sweat gland activity, brain wave rhythms etc.) 

promote an approach to interaction based around the idea of being-as-a-way-of-doing, rendering 

subjectivity as a fundamentally interactive phenomenon. 

Closely fitting and kinaesthetically engaging breathing and heart beat biofeedback, in the form of a 

series of expanding and contracting halo forms provide the basis for the audience’s initial (non- 

reflective) immersion into Cardiomorphologies. Muller’s (2006) analysis of interviews recorded with 

Cardiomorphologies participants using video-cued recall documents this process: after an initial phase 

of familiarisation, participants became immersed in the movement of the breathing and heart beat 

visualizations, literally ‘zoning out’ and reporting that [I’m thinking] just about my heartbeat, I’m just 

thinking about the heart and breathing calmly, that was the focus, nothing else. Several participants 

reported the focusing and relaxing power of the image, for example: My thoughts kept jumping to 

external thoughts but then I’d sort of get sucked back in and drawn back to the image, and then I just 

kept starting to relax more and more. 

physically active 

(conscious choice) 

immersive reflective 

physically passive 

(unconscious reflex) 

Figure 3 Four modes of interactive contemplation described by Hansen (2005), with elaborations by the author: as 

biofeedback unfolds from a first-person subjective (somatic) perspective, biofeedback interaction describes an 

voluntary extension of perception and conscious choice towards previously unconscious reflexes i.e. nervous system 

arousal, heart rate activity etc. Subjects learn to modify these normally unconscious behaviours through qualitative 

changes in subjective orientation and increased sensitivity to proprioceptive and interoceptive sensations. 



With time, changes in the slower time frame data such as breath and heart rate trends, and low 

frequency heart rate oscillations revealed by the spectral analysis (Bhat and Bhat, 1999, McCraty et al., 

1995, Vicente and Thornton, 1987), begin to reveal themselves through gradual changes in the colour 

of various graphic elements (refer to Figure 2). Ambiguities regarding the precise cause of these 

changes, especially with regard to the ray-shaped spectral display, generate unstable movements 

across Hansen’s horizontal ‘immersive – reflective’ axis as audiences move through different stages of 

self-identification and ambiguity regarding the works status as a reflection of the action and presence 

within the work. Audience accounts of this stage of their experience, as documented by Muller through 

video-cued recall, revealed two particularly interesting aspects, firstly that all participants only had a 

very vague understanding of the kind of information being displayed by the ray-shaped spectral 

analysis display, and secondly that, despite this, the appearance of these rays prompted in most cases 

the recounting of very intimate and personally meaningful stories as a way of reflecting on the self 

(Muller et al., 2006). 

4. An interaction-centred framework for understanding experience 

Interaction design researchers Jodi Forlizzi and Katja Battarbee (2005) have developed a framework for 

working with user experience (Figure 4) that provides a useful tool for evaluating audience experience 

with interactive and participatory art systems. Where Hansen’s model describes the quality of audience 

experience as a simple alternation between reflective, immersive, and active or passive modes of 

engagement, Forlizzi and Battarbee’s model outlines a more complex appreciation of the varieties 

experience at work in an interactive experience, and the processes by which these experience evolve 

into meanings and values. Building on the experience-centered aesthetics of John Dewey (1958) they 

describe three principal types of experience at work in a given user-product interaction: experience 

itself – the raw and un-reflected perceptions and self-talk as experienced when we make a cup of 

coffee, an experience – the experience we have when we ride a roller coaster) and co-experience – the 

experiences we share with others such as when we visit an exhibition or play a computer game 

together. In addition to these three types of experience, they identify three types of user-product 

interaction through which these experiences emerge: fluent interactions that we perform without 

thinking, like riding a bicycle, cognitive interactions that require us to think about the interaction at 

hand, such as would be required to fix a bicycle, and expressive interactions that help the user to form 

a bond to the product and mark it as their own, such as when we select or create our own ring tones 

and wallpaper images for our mobile phone or personal computer. 

Figure 4 Forlizzi and Battarbee’s model of experience in interaction (Forlizzi and Battarbee, 2005). 



Meanings evolve through transitions from one type of interaction to another. In Cardiomorphologies, 

biofeedback technologies are used to shift the usually fluent or subconscious experiences of breathing, 

heart rate and nervous system activity to a level of cognitive awareness and reflection in which 

participants learn to identify, sense and eventually coordinate the physiological behaviours being 

monitored (Olsen, 1995). At certain stages during their interaction participants achieve a degree of 

fluency with the behaviour of certain (biofeedback) interface elements to the extent that they can begin 

to experiment with expressive interactions (i.e. make heart beats speed up or slow down, make shapes 

larger or smaller, etc.). The competency required to undertake these more expressive and playful 

forms of interaction indicates a transition from a cognitive (learning) stage of interaction to a fluent 

(learnt) interaction. Cognitive stages can be characterised not only by alternating between processes of 

immersion and reflection, but also by complex movements between fluent (learnt and or subconscious) 

interactions and expressive interactions where participants engage in playful forms of exploration 

regarding the works ability to accurately reflect their presence within the system. 

Expressive interactions also describe processes in which participants develop a sense of identification 

and individuality through their representation in the artwork: i.e. that is me, that is my heart, this is 

me being angry, etc. One of the perceived shortcomings of Cardiomorphologies, revealed during the 

video-cued-recall interviews and feedback from previous iterations of the work, was relative sameness 

of the look and sound of the work from one participant to another: audiences indicated an strong desire 

for their interaction to reflect their sense of uniqueness and individuality. Forlizzi and Battarbee’s model 

reinforces the importance of this kind of expressive interaction in the production of meanings and 

values, and suggests the need for a re-consideration of the role of expression in my conception of the 

work. Interestingly, throughout the development of Cardiomorphologies I consistently avoided the idea 

of the work as an instrument for expressive (i.e. musical) performance, favouring instead the concept 

of the instrument as a tool for sensing and locating otherwise hidden details of our being. My 

reluctance to frame the interaction in terms of expression stemmed from concern that audiences might 

become fixated on the notion of expression and lose sight of the work’s primary goal as a system for 

sensing and reflecting on their own (physiologically) embodied subjectivity. Expression in Forlizzi’s 

scheme provides users with a basis for establishing their identity within the interaction, and in relation 

to other users, as a basis for co-experience, which in their model of interaction, encompasses the 

discussions and informal comparisons that take place between participants who have interacted with 

and/or observed the interaction. Differences between the work’s response to different individuals helps 

intensify their experience of themselves within the system, and becomes a starting point for a (co- 

experiential) discussion between visitors and participants about the work and their own 

psychophysiology. 

5. Exploring co-experience in interactive art 

As Graham (1997) has noted, audience experiences of interactive art are seldom as solitary as artists 

often imagine. Forlizzi’s inclusion of co-experience as a key component of the interactive experience 

highlights this often neglected dimension of audience experience, especially in artworks designed for 

solo interaction, enabling us to observe and evaluate the varieties of experience and interpretation 

facilitated through interactions between the individual participant, the artist/operator and other 

observing audience members. The idea of co-experience is developed intensively in the installation 

based works of such artists as Lee Mingwei (2005), Shigeaki Iwai (2006), Iain Mott (2006) and Christa 

Sommerer & Laurent Mignonneau (2003) to name but a few, and is used widely in various forms of 

community arts practice and various e-mail and mobile phone based Flash mob practices (Hewitt, 

2003). Whilst co-experience itself is not a central focus of works like Cardiomorphologies, the 



development of co-experience as a design element by Forlizzi and in the practices of artists like Lee 

Mingwei, helps refocus our attention away from a machine-centred approach, towards a more 

audience-centred approach to the facilitation of inquiry and learning in creative arts practice. 

Figure 5 Visitors observing a young participant in Cardiomorphologies v.2, Arnolfini gallery, Bristol, UK, 2006. 

Co-experience has been an important and unavoidable element of my work with biofeedback 

interactivity from the outset. The processes of attaching the heart and breath sensors and inducting 

participants into and out of Cardiomorphologies necessitates at the very least a dialogical relationship 

between the participant and the installation operator (usually myself). Having the work accessible to 

non-participating observers opens the work up to a much larger audience than would otherwise be 

available for a work that can only respond to one person at a time with sessions lasting between ten 

and thirty minutes. As the work has evolved through various iterations, these ideas of co-experience, 

conviviality and dialogue have become increasingly important to my concept of what this kind of 

interactive artwork is and does, as a form of cultural and social practice. 

Cardiomorphologies creates a social space that allows for friends and strangers to be present to each 

other in ways seldom afforded by normal social condition: visitors interact with the work one at a time, 

but can also participate as observers. This experience of observing was not something that I had 

initially anticipated as being of much interest at all, but in practice creates a surprisingly intimate and 

careful atmosphere, as observers bear witness to the normally hidden processes of the participant’s 

embodiment – i.e. listen to my heart beat, this is me being calm, this is me being sad, etc. While a few 

participants have found the presence of observers initially disconcerting, the majority seem to 

appreciate the space this creates, and in many instances it is likely that the presence of observers 

intensifies the quality of the participant’s engagement with the work and the processes explored 

through it. 

The framing of audience experience through formalised research methods such as the recording of 

post-experience interviews and video-cued-recall add a further dimension of co-experience to the 

audiences overall experience of the work (Muller and Khut, 2005). Although problematic from a 



conventional social research perspective, the development of research-focused dialogues between 

artist/researcher and audience as an integral part of the work as a whole, is an area of great interest to 

me as practitioner, especially when considered in relation to theories of relational or dialogical 

aesthetics articulated by writers such a Nicolas Bourriaud (2002) and Eduardo Kac (1999). While 

ethnographic materials (i.e. interview transcripts, time-series graphs, personal histories, etc.) 

generated through these dialogues suggest strong potential as art materials in their own right 

(documentaries, database driven artworks, etc.) their primary attraction for me at this stage of the 

works development is as a device for shaping the participant experience itself: the way in which the 

participant’s experience is shaped and intensified by the presence of interested observers, and the 

range of performative expectations that audiences bring to this type of playful psychographic 

exploration. 

6. Conclusions 

In the above examples I have shown how frameworks drawn from HCI and experience-centred design 

research, can be used to examine the way in which interactive artworks stimulate enquiry and 

understanding through interaction. Where some have found the application of these design-based 

frameworks and methods problematic or irrelevant to the concerns of contemporary arts practice 

(Penny, 2004) others have argued for their value and importance as tools for developing interactive art 

experiences (Sengers and Graver, 2003, Sengers and Sikszentmihályi, 2003, Muller and Khut, 2005). 

As tools for understanding experience in interaction these approaches have enabled me to evolve and 

critique my work with bodily experience in ways that allow it to remain close to the lived reality of the 

audience experience. Methods such as Video-Cued-Recall, Personas and Scenarios and Future 

Workshops as introduced to me by Lizzie Muller (Muller and Khut, 2005, Muller et al., 2006) have 

helped me to gain a deeper understanding of what is happening at an experiential and cognitive level 

when audiences interact with my works, highlighting congruencies and mismatches between my own 

conception of the experience as a artist-designer and the lived experience of individual audience 

members. Working with Forlizzi and Battarbee’s model of experience-in-interaction has allowed me to 

evaluate my work in terms of its ability to transform sensation into insight and understanding: how is 

experience is circulated within this matrix of experiential modalities, and drawing attention to potential 

sticking points or unexamined design opportunities. The frameworks and methods outlined in this paper 

provide a means for artists engaged in these kinds of critical and research-focussed interactive 

practices to gain a closer understanding of the experience-centred processes and conditions at the 

heart of their work. 



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