Crăciunoiu, Adrian-Mihai (2024), Natura Ex Machina: The Role of Ambiguity in Facilitating User Engagement with Nature, Cunoașterea Științifică, 4:1, DOI: 10.58679/CS42110, https://www.cunoasterea.ro/natura-ex-machina-the-role-of-ambiguity-in-facilitating-user-engagement-with-nature/
Abstract
This article examines the interactive installation Natura ex Machina, which uses digital technology to recreate elements of nature that are occurring less in urban environments. Drawing on the concept of Deus ex machina, the installation represents human efforts to restore our connection to the natural world. Using a mixed-methods approach of surveys, observations, and audience discussions, the research investigates how design ambiguity can enhance user engagement and provoke personal interpretations. Findings indicate that while many participants connected deeply with the installation, challenges around user expectations and feedback mechanisms emerged. These insights highlight the need to balance ambiguity and clarity to foster meaningful connections with nature in an increasingly digital age.
Keywords: interactive art, ambiguity, human computer-interaction, HCI, user experience, in-the-wild research
Natura ex Machina: Rolul Ambiguității în Stimularea Interacțiunii Utilizatorului cu Mediul Natural
Rezumat
Acest articol examinează instalația interactivă Natura ex Machina, care folosește tehnologia digitală pentru a recrea elemente ale naturii care apar mai puțin în mediile urbane. Bazându-se pe conceptul Deus ex machina, instalația reprezintă eforturile umane de a ne restabili conexiunea cu lumea naturală. Folosind o abordare cu metode mixte de sondaje, observații și discuții cu publicul, cercetarea investighează modul în care ambiguitatea designului poate spori implicarea utilizatorilor și poate provoca interpretări personale. Constatările indică faptul că, în timp ce mulți participanți au avut o legătură profundă cu instalarea, au apărut provocări legate de așteptările utilizatorilor și mecanismele de feedback. Aceste perspective evidențiază necesitatea de a echilibra ambiguitatea și claritatea pentru a stimula conexiuni semnificative cu natura într-o era din ce în ce mai digitală.
Cuvinte cheie: artă interactivă, ambiguitate, interacțiune umană cu computer, experiența utilizatorului, cercetare în sălbăticie
CUNOAȘTEREA ȘTIINȚIFICĂ, Volumul 4, Numărul 1, Martie 2025, pp. xxx
ISSN 2821 – 8086, ISSN – L 2821 – 8086, DOI: 10.58679/CS42110
URL: https://www.cunoasterea.ro/natura-ex-machina-the-role-of-ambiguity-in-facilitating-user-engagement-with-nature/
© 2025 Adrian-Mihai CRĂCIUNOIU. Responsabilitatea conținutului, interpretărilor și opiniilor exprimate revine exclusiv autorilor.
Natura Ex Machina: The Role of Ambiguity in Facilitating User Engagement with Nature
Adrian-Mihai CRĂCIUNOIU[1]
adrian.craciunoiu@ubbcluj.ro
[1] Babeș-Bolyai University, Faculty of Theatre and Film, Department of Cinema and Media, ORCID: https://orcid.org/0009-0001-5097-3906
1. Introduction
In an era increasingly dominated by digital technology, the human-nature relationship has become strained, particularly in urban environments where greenery is increasingly replaced by concrete and artificial structures. Studies show that urbanization often leads to a measurable decline in biodiversity and reduced exposure to nature, which can negatively affect psychological well-being and ecological awareness. Natura ex Machina, an interactive art installation, responds to these challenges by digitally recreating aspects of nature to provoke reflection on this disconnect.
The installation features a transparent screen that overlays a virtual representation of nature onto an empty flowerpot. Using distance and soil humidity sensors, it transforms based on the viewer’s proximity and the condition of the soil. When users approach the screen, the distance sensor triggers the disappearance of a text comprised of environmental news titles, creating a dynamic shift in the scene. Meanwhile, the soil humidity sensor in the flowerpot adjusts the colour of the plant, reflecting changes in the virtual nature based on the simulated act of watering. This interplay between tangible objects and digital visuals encourages participants to consider the contrast between virtual and physical realities while questioning the implications of human intervention in restoring nature.
Ambiguity is a central design resource in Natura ex Machina, achieved through its minimalist aesthetic and the open-ended interpretation it invites. The digital plant, for example, subtly changes colour in response to environmental conditions like soil humidity, but its behaviour is not explicitly explained, prompting viewers to draw their own conclusions. This deliberate ambiguity highlights how digital technology can create spaces for interpretation, engaging audiences on an emotional and intellectual level.
This paper examines how Natura ex Machina employs design ambiguity to enhance user engagement, evoke reflection on ecological themes, and deepen the audience’s interpretive experience. It seeks to answer the following research questions:
- In what ways does design ambiguity contribute to user engagement and emotional response in interactive art?
- How can digital technology be used to reinterpret and reflect on human-nature relationships in urban contexts?
- How can interactive art installations foster ecological awareness through participant feedback and experiential interaction?
By leveraging ambiguity as a resource for design, Natura ex Machina demonstrates how art and technology can engage audiences, provoke personal interpretations, and inspire ecological consciousness, contributing to the ongoing discourse on the intersection of human creativity, technology, and the natural world.
2. Conceptual Framework
A. Ambiguity
One of the central issues in HCI is represented by interpretation, assigning meaning to the structures and functions of computational systems by all parties involved: users, nonusers, and designers (Sengers & Gaver, 2006). Since interaction involves interpretation, Gaver and colleagues (2003) introduced the concept of ambiguity as a resource for design, highlighting how ambiguity can encourage users to explore and assign personal meanings to a system’s behaviour. Rather than aiming for clarity and transparency, the use of ambiguity can stimulate curiosity, prompting users to engage more deeply as they try to make sense of the interaction. At the same time, Umberto Eco (1989) challenges the idea that all works of art have a fixed meaning, coining the term “opera aperta” [open work] to describe works that are open in interpretation and structurally open or unfinished. Works that are open in interpretation are structurally complete but allow the audience to interpret them in multiple ways. Such works feature complexity and ambiguity to provoke the audience to view them from different perspectives.
Ambiguity is a powerful tool for encouraging active interpretation and deeper engagement in interactive systems and the arts. This is particularly true in interactive art installations, where artists often leverage ambiguity to provoke thought, stimulate emotional responses, and invite personal interpretations from viewers. Several notable art projects have embraced this approach, using ambiguity to challenge audience expectations and create layered meanings.
Two illustrative examples of employing ambiguity as a design feature are Follow-the-Lights, part of a project aimed at encouraging stair use through interactive installations, and The Guts Game. Both projects demonstrate how ambiguity can be used to challenge expectations and foster meaningful engagement. One project aimed to encourage stair use over elevators through three ambiguous, interactive installations: Follow-the-Lights, The Clouds, and The History. Each was designed to provoke curiosity without judgment. Follow-the-Lights used twinkling lights to suggest a path toward the stairs. At the same time, The Clouds was an ambient display reflecting stair/elevator usage via coloured spheres, and The History used pie charts to show real-time stair/elevator data. In an in-the-wild study, Follow-the-Lights sparked conversation, but the path was unclear to some. The Clouds confused many, linking it to weather, while The History was more straightforward but questioned. Despite stimulating interaction, 93% didn’t change their behaviour, with the designs mainly fostering curiosity and playfulness (Rogers, Hazlewood, Marshall, Dalton, & Hertrich, 2010).
In The Guts Game, players became more aware of their body temperature through an ingestible sensor, though they faced frustration from limited control and delayed feedback. Emotional responses varied by individual background, and the game’s design minimized cheating. Players enjoyed the social aspects, such as viewing a partner’s score and sharing photos, and appreciated the freedom to play anywhere. However, connectivity issues and the constant presence of the receiver were concerns. While the game’s novelty was appealing, players wanted more explicit temperature feedback and preferred not to feel the sensor physically attached (Li et al., 2018).
Ambiguity, as a design resource, plays a crucial role in interactive systems and art by fostering deeper engagement and personal interpretation. The feedback from the studies presented above provided valuable insights that guided the design of Natura ex Machina. For instance, the way Follow-the-Lights and The Clouds sparked curiosity despite mixed interpretations highlighted the importance of balancing ambiguity with clarity to encourage interaction without causing frustration. Similarly, The Guts Game demonstrated how subtle and delayed feedback could provoke thoughtful reflection, a concept integrated into Natura ex Machina to invite participants to interpret its dynamic, interactive elements in their own way. These examples underscored the potential of ambiguity to create meaningful and reflective experiences, inspiring the strategies employed in Natura ex Machina to enhance user engagement and ecological awareness.
B. The human-nature relationship
As Moghadam, Singh, and Yahya (2015) argue, the human-nature relationship has historically been characterized by humanity’s deep dependence on nature for survival and well-being. This bond began to weaken after the Industrial Revolution, as society increasingly relied on man-made industries, resulting in a growing disconnection from the natural world. This historical shift highlights the need for contemporary interventions to address the growing detachment from nature, particularly in urban environments.
Drawing on various perspectives, Beery et al. (2023) argue that the disconnection in the human-nature relationship is broadly described as a lack of awareness or disregard for the material and non-material elements that constitute nature, such as energy flows or relational values like joy and inspiration. They emphasize how institutions, including governments, communities, and organizations, shape societal values and behaviours through urban development policies. In this context, artists can be crucial in bridging this disconnect and fostering ecological awareness through the innovative use of digital and interactive art.
In Natura ex Machina, the interplay between the human-nature relationship and digital technology embodies these theoretical ideas. The installation’s use of a digitally simulated plant, which changes colour based on soil moisture, serves as a metaphor for the state of ecological awareness – where the health of the plant symbolizes the state of the viewer’s relationship with nature. The ambiguity embedded in the installation reflects the uncertain and shifting nature of our connection with the environment, inviting participants to engage with nature on a more reflective and emotional level.
An illustrative example of how contemporary art addresses ecological disconnection is found in the collective engagement of artists with their communities in Indonesia. As Bubla (2020) highlights, the collectivist ethos inherent in Indonesian culture encourages artists to embrace social responsibilities through their work. This is exemplified by the tradition of gotong-royong (community cooperation), which positions artists as community leaders, promoting collaborative efforts for social and environmental betterment. While this example is culturally specific, it underscores the potential of collective artistic practices to inspire ecological activism. By incorporating these principles into urban environments, digital art installations like Natura ex Machina can catalyse a collective awareness and engagement with ecological issues, fostering a shared responsibility for environmental preservation.
C. Deus ex Machina
The third concept of my interactive installation draws inspiration from is the storytelling device of Deus ex machina (God from the machine), reflected in the title Natura ex Machina (nature from the machine). McKee (1997) asserts that playwrights often design their narratives to culminate in an irresolvable climax. This narrative strategy is akin to the playwright’s creative resources being exhausted, thereby necessitating the intervention of external forces – such as deities or other extraordinary elements – to resolve the plot’s conflicts. This approach reflects a dramatic technique wherein the complexity of the situation surpasses the characters’ ability to resolve it through their own actions or decisions, and it resorts to using an external force to resolve the conflicts.
In Natura ex Machina, this concept takes on a symbolic dimension, representing the human intervention required to recreate and restore elements of nature that have become less visible in urban environments in the digital era. The installation acts as a „machine” through which viewers can engage with a digital recreation of nature, highlighting the tension between the natural and the artificial.
This theme is embedded in the installation’s design and interaction mechanics. While the user’s presence initiates a connection with the work, it is their action – specifically the act of „watering” the empty pot – that triggers the most significant changes in the visual representation of nature. This interaction symbolizes humanity’s active role in nurturing and restoring natural elements in modern landscapes. The transparent screen and gesture-based interaction invite the audience to engage directly with the digital nature, effectively becoming the „external force” that revitalizes the environment within the installation, resolving the metaphorical narrative of disconnection.
Moreover, the concept challenges traditional ecological narratives by reframing the human-nature relationship as one mediated by technology. Instead of presenting nature as something separate from human intervention, Natura ex Machina emphasizes humanity’s dual role as both disruptor and potential restorer. By blending ambiguity into its design, the installation leaves room for personal interpretation, prompting viewers to reflect on their own position within this dynamic. Through this lens, the Deus ex machina device serves not merely as a symbolic reference but as an integral framework for engaging the audience in a critical dialogue about ecological consciousness in a technologically dominated world.
3. Description of Natura ex Machina
Natura ex Machina invites viewers to reflect on the modern era’s complex interplay between humans and nature through an interactive installation that blends digital technology with symbolic physical elements. The installation features three primary components: digital visuals displayed on a transparent screen, an empty flowerpot, and a spray bottle of water. These elements work together to evoke a narrative of responsibility and loss, prompting viewers to consider humanity’s diminishing connection with the natural world.
When no one is near the installation, the transparent screen scrolls BBC environmental news headlines over a blurred image of a plant and an abstract dynamic graph. This serves as a visual attractor, leveraging the urgency of real-world environmental issues to catch viewers’ attention from a distance. As a viewer approaches within one meter, proximity sensors detect their presence, triggering the text to zoom in and gradually fade. This transition unveils an image of a plant paired with the dynamic graph, inviting deeper exploration.
Figure 1. Natura ex Machina exhibited at Ars Electronica 2024 new media art festival, University of Art and Design, Linz, Austria
Viewers are drawn to interact with the installation further through the presence of an empty flowerpot and a spray bottle labelled „water for the pot”. The act of watering the pot influences the installation, emphasizing the viewer’s potential role in nurturing or neglecting both the physical and digital representations of nature. Emotional and intellectual engagement arises as viewers ponder the plant’s symbolic fragility and their own role in ecological stewardship.
The plant visual – modelled after Pampas grass – is deliberately chosen for its blade-like structure, as this form was particularly well-suited to the capabilities and constraints of the programming software. This choice reflects a balance between aesthetic intent and practical considerations in the creative process. Its colour changes dynamically based on soil moisture, shifting from green to yellow as the soil dries, mimicking the process of wilting. This design decision underscores the tangible consequences of neglect, and the delicate balance required to sustain life.
The semi-circular dynamic graph above the plant enhances this narrative by representing abstract environmental data through a series of bubbles of varying size and position. The graph’s ambiguity – its lack of explicit explanation – encourages viewers to interpret its meaning within the broader context of the installation. The semi-radial design, with its multi-coloured lines and shifting bubbles, subtly mirrors organic patterns, aligning with the theme of intertwining the natural and digital worlds.
The BBC news headlines also add a layer of ambiguity. By presenting real-world environmental concerns, they anchor the installation in the reality of ecological crises while allowing for diverse interpretations of how digital media shapes our perception of nature.
Natura ex Machina integrates proximity sensors, humidity sensors, and custom algorithms for data visualization and interaction. These components work seamlessly to create an engaging experience, bridging the tangible and digital realms. The next section will explore the technical development of these features and their role in bringing the installation to life.
4. Technical Implementation
This section details the technical aspects of the installation, covering the physical construction, sensor integration, and programming processes. It outlines how each component contributes to the installation’s functionality and interactive experience. The following key areas provide a comprehensive overview of the technical implementation, highlighting the key elements and their roles in the system.
A. The window-like frame
The central component of the installation is a window-like frame featuring a transparent screen in lieu of a traditional glass panel. The frame is constructed from white wooden panels and adorned with a decorative PVC window handle. This frame was chosen not only for its aesthetic value but also to evoke a sense of domesticity and familiarity. By using a white wooden frame, the installation invites viewers to see the piece as an extension of their everyday environment, creating a contrast between the natural and artificial worlds.
The transparent screen was made from a repurposed 21.5-inch LED monitor, with the backlight and antiglare filter removed to create a glass-like panel capable of displaying image. The transparency of the screen serves as a metaphor for the blurred line between nature and the digital world, reinforcing the installation’s theme of the human role in mediating nature. A white LED strip around the frame provided external illumination, and the frame was positioned near a white wall to reflect light and enhance screen visibility.
B. The sensors
Figure 2. A participant waters the soil pot behind the screen
In this installation, two types of Arduino sensors were utilized to enhance interactivity and data collection. The ultrasonic sensor measured the distance between itself and any participants within its range. This measurement detects participants’ proximity to the installation, providing dynamic interaction possibilities based on proximity. At the same time, the humidity sensor measured the soil moisture level within the flowerpot. The plant changes colour based on the soil’s humidity, metaphorically illustrating how human intervention, symbolized by the user watering the pot, can influence nature’s visibility and vitality
The sensor data is processed in real-time through the Arduino microcontroller, which serves as the interface between the physical and digital components of the installation. The microcontroller interprets the inputs from the ultrasonic and humidity sensors and communicates this information to the system, enabling the corresponding visual changes in the installation. This setup exemplifies the interplay between hardware and software, where data-driven decisions inform the dynamic responses of the installation.
C. The programming
Processing Java was chosen as the programming environment for its simplicity and versatility. An XML parser extracted news titles from the BBC News website, integrating real-time headlines into the installation. Titles are gathered at the start of each session and remain static during execution, providing a commentary on how environmental issues are often perceived as distant or unchanging. The inclusion of live data emphasizes the theme of disconnection between humans and the environment, subtly highlighting the contrast between the transient nature of human action and the permanence of environmental issues.
The plant representation consists of 200 grass blades, each depicted as a curved line with multiple „joints,” mimicking human joints to allow bending in response to simulated air currents. The accompanying graph features multiple radial lines, each with 15 bubbles that vary in size and position, determined by the Perlin noise technique to create a smooth, natural randomness. While these bubbles are aesthetically engaging, their lack of fixed meaning ties into the theme of ambiguity. By intentionally avoiding specific meaning, the graph invites viewers to interpret the data in their own way, reflecting the uncertainty and complexity of understanding environmental issues.
The visual and interactive aspects of the installation are designed to evoke reflection on the human-nature relationship and the ways in which technology can mediate nature. The dynamic nature of the digital elements, combined with the sensor-based interactions, prompts participants to actively engage with the installation, becoming the external force that reintroduces nature into the space.
5. Results and Audience Engagement
In this study, I employed the in-the-wild research method to explore audience engagement with the installation in a natural, public setting. This approach was chosen to observe how participants interacted with the artwork under real-world conditions without the constraints of a controlled laboratory environment. By situating the installation in an exhibition space, the Ars Electronica 2024 festival, and collecting data through a combination of surveys, observations, and informal discussions, the research aimed to capture authentic and spontaneous reactions. This methodology provided valuable insights into how ambiguity, interactivity, and conceptual themes influenced audience interpretation and engagement.
A. The survey
A post-exhibition questionnaire was administered to collect data on the audience’s perception and engagement with the installation. The survey focused on measuring the ambiguity of the concept, clarity of the message, specific elements contributing to ambiguity, level of engagement, and overall enjoyment. The questionnaire included both multiple-choice and multiple-response questions. 58 responses were collected from visitors who interacted with the installation.
A significant 67.2% of participants found the installation moderately to extremely ambiguous, indicating that the concept generated considerable uncertainty for the majority. Only 5% reported no ambiguity, while 2% found it extremely ambiguous, suggesting that the installation successfully provoked thought and interpretation for most participants.
Feedback on the installation’s clarity was mixed: 7% found it unclear, 33% slightly clear, 33% moderately clear, 22% very clear, and 3% extremely clear. This variability suggests that while many audience members found meaning in the ambiguity, responses reflect differing levels of interpretation and understanding, highlighting the installation’s potential for personal meaning-making.
Respondents could select multiple options when asked about specific factors contributing to their sense of ambiguity: 52% pointed to visual elements, such as the live-changing semi-radial graph, which deliberately lacks representational cues, creating interpretive freedom. Meanwhile, 40% highlighted interactive components, like the watering mechanic, which blurs the line between real and virtual plant care. Conceptual themes (33%) and the absence of explanatory materials (31%) further influenced their experience, emphasizing the deliberate tension between user autonomy and the installation’s open-ended nature. These insights affirm the design intent to use ambiguity as a resource for stimulating engagement and reflection, while also revealing areas where additional cues could aid interpretation.
Engagement levels were largely positive, with only 2% reporting no engagement. Specifically, 19% felt slightly engaged, 47% moderately engaged, 26% very engaged, and 5% extremely engaged, resulting in 73% experiencing moderate to high engagement. Regarding ambiguity’s impact, 33% felt it enhanced their experience. However, 41% reported a neutral impact, which may indicate that some users found the ambiguity disengaging or lacked sufficient context to derive meaning. This highlights a potential design gap: the need to balance ambiguity with subtle guidance to help users feel more confident in their interpretation. Only 9% felt ambiguity detracted from their experience, suggesting that while the concept resonated with most, accessibility for less interpretive users could be improved in future iterations.
The findings from participants who reported a neutral experience reveal that while the installation generated a degree of ambiguity, many audience members struggled to find a clear message, leading to moderate engagement. Most perceived the installation as slightly to moderately ambiguous, with limited clarity ratings indicating that the message may not have resonated strongly. Contributing factors, such as interactive components and the absence of explanatory materials, played significant roles in shaping perceptions, suggesting that enhancements in clarity could lead to more meaningful connections with the audience.
Future iterations of the installation should consider these insights to balance ambiguity with user understanding better, ultimately fostering deeper engagement. At the same time, future research could explore how offering more detailed information affects user satisfaction.
B. The observations and audience discussions
During the exhibition, my primary objective was to observe audience engagement and interactions with the interactive installation and facilitate discussions following these interactions. I noted several recurring patterns in audience behaviour as they engaged with the work. These observations were conducted in a naturalistic setting, where I assisted attendees with the exhibition and encouraged dialogue about their experiences with the installation and other interactive pieces.
- User Interaction and Expectations
- a) Touchscreen expectations and hand interaction: Many users engaged with the black box as if it were a touchscreen, likely influenced by its flat, reflective surface and the prevalence of touchscreen interfaces in daily life. Additionally, users frequently placed their hands on or in front of the screen, expecting a direct cause-and-effect relationship. These behaviours suggest the need for design changes, such as hiding the equipment or faster visual feedback that reinforces the intended interaction model. Explicit instructions or introductory signage could also bridge the gulf of execution while maintaining the installation’s conceptual ambiguity.
- b) Anticipation of immediate feedback: Many participants expected the plant to bloom immediately after watering. This misalignment between user expectations and the system’s operational realities suggests better communication of the installation’s mechanics to enhance user understanding and satisfaction. Enhancing the speed of responses could significantly improve user satisfaction and encourage more meaningful interactions.
- c) Distance sensor placement issues: The sensor’s proximity to the table’s edge led to inaccuracies in data collection, as people stranded way too close to it. This indicates that its current placement may be suboptimal. Redesigning the sensor’s location could enhance both functionality and user experience.
- Engagement with Plant Care
- a) Moisture perception: The experimental design maintained consistently moist soil, preventing users from experiencing dryness. This lack of feedback may inhibit users’ ability to fully engage with the concept of plant care and nurturing, suggesting that varying soil moisture levels could enhance the experiential quality of the installation.
- b) Overwatering concerns: The system’s design allowed for excessive plant watering, raising significant concerns about potential plant health issues. This observation highlights the need for a more balanced water delivery mechanism, such as an overflow indicator or a visual response signalling the plant has received enough water. These adjustments could enhance the realism of the plant care experience, making it more intuitive and reinforcing the ecological themes of sustainability and nurturing.
- c) Hesitance to water the sensor: Users demonstrated hesitance when asked to water the visible sensor within the pot, suggesting that its visible placement may evoke hesitation. A less visible configuration could potentially encourage more significant user interaction.
These observations reveal critical insights into user expectations and interaction challenges, emphasizing the importance of refining the installation’s design to facilitate deeper engagement and enhance the overall user experience.
6. Conclusions
Natura ex Machina explored the use of ambiguity as a design tool to deepen user engagement with ecological themes, encouraging diverse interpretations of the relationship between nature and digital technology. The installation provoked thought and emotional responses, with survey findings demonstrating that most participants experienced moderate to high engagement. However, the clarity of the installation’s message showed significant variability, reflecting a tension between its open-ended design and audience expectations for guidance. The minimalist visual style, abstract interaction mechanisms, and lack of explanatory materials enriched the experience for some but left others neutral or disengaged, highlighting the complexity of balancing ambiguity and clarity in interactive art.
These results suggest that future iterations could benefit from subtle design enhancements. Layered feedback systems, for example, could guide users through their interactions without undermining the installation’s reflective and interpretive qualities. Adaptive mechanisms that respond to audience behaviour – such as varying the pace of visual or interactive feedback – may help address misunderstandings, such as expectations of immediate system responses or touchscreen-like interaction.
Observations of audience behaviour revealed a misalignment between user expectations and the installation’s design. Many participants treated the installation as a touchscreen, while others expected immediate feedback after watering the plant. These findings underscore the importance of more explicit interaction cues or affordances to align with user expectations while preserving the installation’s open-ended nature. For example, small visual or auditory indicators could clarify interaction mechanics without reducing the interpretive ambiguity.
7. Limitations and Future Directions
The study faced limitations that impact the generalizability of its findings. The sample size of 58 surveys, while valuable, limits the statistical robustness of the results. Additionally, the installation was tested in a specific festival context that likely influenced audience composition, with participants potentially more familiar with interactive art than a general audience. Technical challenges, such as sensor placement issues and constant soil moisture, also constrained the intended experiential narrative. Finally, the absence of iterative prototyping and testing prior to the exhibition limited opportunities to refine the installation in response to early feedback.
Future research could address these limitations by implementing iterative design processes, testing the installation in varied contexts, and incorporating a more diverse demographic sample. Additionally, exploring the interplay between ambiguity and user understanding through more detailed demographic and behavioural analysis could deepen insights into how diverse audiences perceive interactive art with ecological themes.
By critically reflecting on these findings and limitations, Natura ex Machina demonstrates the potential of ambiguity as a powerful design resource. The installation highlights the importance of fostering user engagement through open-ended interactions, while also illustrating the challenges of achieving a balance that resonates across diverse audiences. These insights contribute to broader discussions on interactive art and ecological design, offering valuable lessons for future projects seeking to engage audiences in meaningful and thought-provoking ways.
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Acknowledgments
I sincerely thank Rodica Mocan for her invaluable guidance throughout this project, part of my PhD thesis. I also appreciate Horea Avram for his contributions and support in exhibiting this work at the Ars Electronica 2024 festival.
Babeș-Bolyai University funded this research, and I am grateful for their support. I especially thank the Digital Interactive Arts Master of the Faculty of Theatre and Film, Cluj-Napoca, Romania, for the necessary help.
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