Introduction
The AMPLIFY Laboratories held on 4, 5 and 6 September 2026 in Leiria marked a new stage in the development of Pilot 2, characterised by the progressive integration of the artistic and technological components tested in previous laboratories.
The programme combined individual laboratories, group laboratories and AMPLIFY segments in two Concerts for Babies, moving from the testing of specific components to the evaluation of the integrated system in a real artistic setting. This progression made it possible to observe how the technologies functioned, how they were integrated into the performance, and the interaction between babies, children, families and artists.
This phase made the possibility of babies contributing to artistic creation in real time more tangible, giving greater structure to the concept of the Baby Composer.
This report brings together the available information on the laboratories, the main observations and the learning relevant to the development of the project. Maintaining a Human-Centred approach, it integrates artistic, technological and family perspectives.
Objectives
This phase aimed to evaluate the integration of the different components of the AMPLIFY system and understand how they could contribute to artistic creation in real time, in settings progressively closer to a concert.
The specific objectives were:
- 4 September – Individual laboratories: to collect physiological data from babies aged 0–12 months and their parents, using sensors and cameras to record parents’ emotional responses to different musical and visual stimuli, while children aged 12–36 months explored the Light Instruments and luminous costumes in a parallel room, identifying responses, behaviours and technical and functional aspects requiring adjustment.
- 5 September – Group laboratories: to evaluate the integrated operation of sensors, cameras, augmented reality glasses, graphic notation, Light Instruments and costumes, as well as their influence on the interaction between artists, babies and families.
- 6 September – Concerts for Babies: to test the integrated system in a concert setting for the first time, evaluating its integration into the artistic performance and identifying adjustments required for subsequent phases.
Across all three days, the aim was to collect observations and contributions from families, artists and the multidisciplinary team to guide the iterative development of Pilot 2.
Location
The AMPLIFY Laboratories took place on 4 and 5 September 2026 at Musicalmente – Cooperativa Paulo Lameiro CRL, Rua da Saudade, 20, 2410-241 Pousos, Leiria.
On 6 September 2026, AMPLIFY segments were integrated into two Concerts for Babies held at Teatro Miguel Franco, Leiria, at 10.00 and 11.30.
Participants
The laboratories involved a total of 115 unique participants, including babies and children, accompanying family members and the Pilot 2 multidisciplinary team. The count excludes repeat participation across sessions and days.
Families, Babies and Children
A total of 33 babies and children from 31 different families participated, accompanied by 62 family members.
The multidisciplinary team, comprising 20 professionals, was present throughout the three days.
Artistic Team – 8 members
- Inesa Markava
- Alberto Roque
- Pedro Santos
- José Lopes
- Isabel Catarino
- Cristiana Lameiro
- David Ramy
- Bruno Homem
Research and Technology – 6 members
- Daniel Reis – Technical support, Musicalmente
- Thomas Roggla – Technology
- Brian Dunphy – Research and technology
- Eoghan Hynes – Research and technology
- Sowmya Vijayakumar – Research and technology
- Karolina Wylezek – Human-Centred approach
Costumes – 2 members
- Sara – Costume design
- Catarina – Costume making
Pilot 2 – Coordination and Human-Centred Approach – 3 members
- Paulo Lameiro – Pilot 2 coordination
- Lara Matos – Psychologist and Human-Centred Facilitator
- Isabel Lucena – AMPLIFY Consortium Representative
Production – 1 member
- Gil Jerónimo – Production
Concerts for Babies Audience
The two Concerts for Babies on 6 September had a total audience of 310 people, with 150 spectators at the 10.00 concert and 160 at the 11.30 concert.
This audience includes the babies/children and their accompanying family members who participated in the AMPLIFY segments and have already been counted above. These figures therefore represent the total concert audience and should not be added to the project’s total of unique participants.
Materials and Logistics
The laboratories took place at Musicalmente, with two rooms prepared for the individual sessions on 4 September and a performance space for the group laboratories on 5 September. On 6 September, the system was installed at Teatro Miguel Franco for the AMPLIFY segments integrated into the Concerts for Babies.
The main materials and equipment used included:
- Physiological sensors for babies and parents;
- Cameras to record parents’ emotional responses and interaction during the sessions;
- Augmented reality glasses and a graphic notation system;
- Light Instruments and luminous costumes;
- Computers, software and equipment for connectivity and data processing;
- Musical instruments, sound system and lighting;
- Materials for equipment hygiene and disinfection.
Preparation included organising the spaces, installing and checking the equipment, coordinating the artistic and technological teams, and managing schedules and family participation. Equipment hygiene and disinfection procedures were followed between uses.
Methodological approach
The laboratories followed a Human-Centred approach, combining artistic and technological experimentation, direct observation and the collection of contributions from families, artists and the multidisciplinary team. The progression from individual tests to group laboratories and concerts enabled the system to be evaluated in increasingly complex settings, through an iterative process of experimentation, evaluation and adjustment.
Evaluation included discussions and co-design with families, a specific evaluation with artists and multidisciplinary meetings at the end of each day. All families signed informed consent forms before participating.
Session
4 September – Individual laboratories
The laboratories took place in two parallel rooms, with sessions lasting approximately 30 minutes between 15.00 and 19.00, including a break from 17.00 to 17.30.
In the 0–12-month room, babies and parents wore physiological sensors, while cameras recorded parents’ emotional responses. The sessions included different stimulation conditions, namely silence, recorded music, live music with visible artists, and lighting, allowing data to be collected for subsequent comparison.
In the 12–36-month room, children explored the Light Instruments and luminous costumes, accompanied by their families and the artistic team. The experimentation made it possible to observe interaction with the equipment and identify aspects requiring adjustment.
The sessions included welcoming families and briefly explaining what would happen, followed by preparing and fitting the equipment and carrying out the experiments. At the end of the day, an evaluation meeting was held with the artistic and technical teams and other project members, without families.
5 September – Group laboratories
Three group laboratories were held at 10.00, 12.00 and 15.30, each lasting approximately 90 minutes.
Following the welcome and a brief introduction to the session for families, the artistic performance and experimentation began. The space was organised to enable interaction between babies, children and artists, as well as the integrated operation of sensors, cameras, augmented reality glasses, graphic notation, Light Instruments and luminous costumes.
Each session was followed by an evaluation and co-design discussion with families, focusing on their experience, the interaction between technology, artists and babies, and their perception of the babies’ influence on the performance.
A specific evaluation was also carried out with the artists, focusing on the use of augmented reality glasses, graphic notation, costumes and Light Instruments, as well as possibilities for further system development. At the end of the day, the multidisciplinary team met to evaluate the sessions and identify necessary adjustments.
6 September – Concerts for Babies
AMPLIFY segments were integrated into the two Concerts for Babies held at Teatro Miguel Franco at 10.00 and 11.30.
Before the concerts, participating families were welcomed and informed about how the AMPLIFY segments would work, followed by preparation of the babies and accompanying adults and fitting of the necessary equipment.
In each concert, the system was used in an artistic performance setting, with participating babies, their accompanying family members and the multidisciplinary team, before a wider audience.
The experience was accompanied by observation and recording. At the end of the day, an evaluation meeting was held with the artistic and technical teams and other project members, without families.
Reflections and Discussion
The three days made it possible to identify progress in the integration of the AMPLIFY system, as well as difficulties and aspects requiring further development.
System integration, sensors and cameras
Overall, the system functioned, although difficulties with connections and signal continuity occurred, particularly when several components were operating simultaneously. These situations required adjustments during the sessions and highlighted the need to improve stability and coordination between equipment.
The sensors enabled the planned experiments to be carried out, although some signal loss occurred. On Saturday, testing without protective sleeves showed, in one session, that the sleeves were still necessary to prevent the sensors from moving and the consequent loss of signal. The cameras formed part of the system for recording parents’ emotional responses and interaction during the sessions.
Augmented reality glasses and graphic notation
The use of augmented reality glasses became more discreet and integrated into the performance, allowing artists to follow the graphic notation and data presented by the system. The experience nevertheless highlighted the need to improve how information is presented and used during the performance.
Families showed interest in understanding how the glasses and graphic notation worked and, at the end of the group laboratories, were given the opportunity to try the glasses and view the information presented to the artists.
Light Instruments and luminous costumes
The integration of Light Instruments with luminous costumes enabled new possibilities for interaction between children and the performance to be explored. In some instances, it was possible to observe that children perceived the relationship between their actions on the instruments and the luminous response of the costumes.
The experience revealed variations in the functioning of the instruments and the need to continue adjusting their response and artistic integration. The costumes demonstrated potential to make children’s participation more visible, while remaining a component under development.
Artistic experience, families and concert integration
The progressive integration of technology into the performance gave greater structure to the concept of the Baby Composer. The AMPLIFY segments integrated into the two Concerts for Babies went well, allowing the system to be tested before a wider audience and adjustments needed for its development to be identified.
Families followed this evolution with interest and involvement. At times, they referred to AMPLIFY as “our project”, an expression that reflects the relationship built throughout the process and their sense of participation in its development. The evaluation and co-design discussions enabled contributions to be collected on the experience, the interaction between technology, artists and babies, and the perceived influence of babies on the performance. The feedback collected will subsequently be supplemented by the Human-Centred team.
Next Steps
The main priorities for the development of Pilot 2 are:
- Consolidate the stability of the integrated system, continuing adjustments to connections, signal continuity and coordination between the different pieces of equipment.
- Improve the use of sensors, including fitting and attachment procedures, taking into account the difficulties observed during the sessions.
- Continue developing the augmented reality glasses and graphic notation, making the presentation and selection of information more intuitive and better suited to artistic performance.
- Optimise the Light Instruments and luminous costumes, improving the consistency of their responses and their integration into the interaction between children and artists.
- Begin developing remote participation, which has not yet been tested in this phase, exploring the conditions necessary for babies and families to participate from a distance and contribute to artistic performance in real time.
- Analyse the physiological data and video recordings, through the responsible teams, and subsequently integrate the results of the technical evaluations and feedback collected from families and artists.
- Continue developing the concept of the Baby Composer, with a view to progressively integrating the system into performance settings and preparing the next phases of the project.
These developments will be guided by observations made during the laboratories and concerts, maintaining the Human-Centred approach and the iterative process of experimentation, evaluation and adjustment.
Conclusion
These laboratories represented a step forward in the artistic and technological integration of Pilot 2, culminating in the first test of the integrated system in a concert setting. The experience made the possibility of babies contributing to artistic creation in real time more tangible, continuing the development of the concept of the Baby Composer.
The observations and contributions of families, artists and the multidisciplinary team provide a basis for further development. The project will continue through an iterative process of experimentation, evaluation and adjustment, maintaining the Human-Centred approach and preparing the next phases of development and artistic presentation.
