Fashionable Technology

Seymour, Sabine

doi:10.1007/978-3-211-74500-7

Cited by 89 publications

(18 citation statements)

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“…Earlier 'costumed' audio sculptures had been displayed in performance by the French director and sound artist Benoît Maubrey (http://www.benoitmaubrey. com) whose 'Audio Ballerinas' -wearing specially designed amplified dressesperformed at festivals or on the streets in many parts of the world (Seymour 2008 (Bokowiec and Bokowiec 2006), while others emphasise the potential of 'intimate computing' for the tactile, kinaesthetic and affective dimensions of interaction design (Hansen and Kozel 2007). Short lead times and quick turn overs in fashion construction (for the seasonal collections) often prevent designers in the creative industries to dwell on more sustained research into new materials and the mobility or transformability afforded by wearable technology.…”

Section: Performance and Fashionmentioning

confidence: 98%

Wearable performance

Birringer

Danjoux

2009

Digital Creativity

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This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab whic...

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Section: Performance and Fashionmentioning

confidence: 98%

Wearable performance

Birringer

Danjoux

2009

Digital Creativity

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“…The 'Hug Shirt' by the CuteCircuit company [16] attempts to construct haptic communication for simple, personal messages between users wearing what appears to be a normal looking shirt. The shirt transmits 'hugs' to another, similar shirt via a Bluetooth and Java enabled telephone device.…”

Section: Towards Mobile and Wearable Haptic Systemsmentioning

confidence: 99%

Haptic and Audio Interaction Design

Nordahl

Serafin

Fontana

et al. 2012

Lecture Notes in Computer Science

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This paper investigates how artistic explorations can be useful for the development of mobile haptic technology. It presents an alternative framework of design for wearable haptics that contributes to the building of haptic communities outside specialized research contexts. The paper also presents our various wearable haptic systems for mobile computing capable of producing high-order tactile percepts. Our practice based approach suggests a design framework that can be applied to create advanced haptic stimulations/situations for physically embodied interaction in real-world settings.

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“…Utilizing this past knowledge of artists, this research seeks to develop methods for creating artformance objects by embedding wearable electronics into textiles, shoes and garments to create new outcomes in fashion acoustics for performance. In the words of Seymour (2008), 'fashionable wearables have great expressive potential that is amplified through the use of technology'. The realization of this potential through expressive movement in performance is significant.…”

Section: Introductionmentioning

confidence: 99%

“…Current 'fashionable technology' (Seymour 2008) for pop-music stage performances is usually considered as a cosmetic styling element and is only used to enhance the appearance of the human body, similar to the soundtracks that decorate the catwalks. There is a noticeable lack of integrated acoustic fashion objects being developed which draw on integrative and communicative technologies to express creative concepts on stage.…”

Section: Introductionmentioning

confidence: 99%

Fashion acoustics: Synthesizing wearable electronics and digital musical instruments for performance

Murray-Leslie

2014

Critical Studies in Fashion &Amp; Beauty

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This article investigates the blending of fashion objects and new musical interfaces inorder to create acoustic fashion objects. We discuss employing performance research as the main artistic concept for developing new patterns of movement with technology. A series of three workshop processes (treated as case studies) resulted in both new performance works and new acoustic fashion objects designed as part of these works. Keywords fashion acoustics acoustic fashion objects movement Chicks on Speed objectinstruments computational wearables practice-based research 142

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Fashionable Technology

Cited by 89 publications

References 0 publications

Wearable performance

Wearable performance

Haptic and Audio Interaction Design

Fashion acoustics: Synthesizing wearable electronics and digital musical instruments for performance

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