Wearable technology for the performing arts

Birringer, Johannes; Danjoux, M

doi:10.1533/9781845695668.4.388

Cited by 3 publications

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“…For a comprehensive delineation the design-inmotion method, see Danjoux 2017. Other publications on choreosonic wearables and kinetic atmospheres include Birringer 2013Birringer , 2017bBirringer and Danjoux 2009a, 2009bDanjoux 2014. 4 Earlier in the 1960s, and concerning the notion of media as extensions to the communication condition of the present body, sociologist Erving Goffman had discussed (analog) technologies such as microphones and other mechanical devices as "boosting devices"-to amplify and augment the naked senses (Goffman 1963, p. 14).…”

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confidence: 99%

Foundations in Sound Design for Interactive Media

2019

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Section: Notesmentioning

confidence: 99%

Foundations in Sound Design for Interactive Media

2019

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“…vi For contemporary experimental explorations of performing bodies and fashion artefacts / wearable sculptures as "musical prosthetics" extending the body as instruments see Di Mainstone's collaborative and practice-based research. Serendiptichord is described as a "wearable musical instrument that invites the user to explore a soundscape through touch and movement": http://dimainstone.com/project/5 vii For discussions on earlier works see Birringer and Danjoux (2009a); Birringer and Danjoux (2009b); and Birringer and Danjoux (2013).…”

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Choreography and sounding wearables

Danjoux¹

2014

Scene

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This article explores the role of ‘sounding costumes’ and body-worn technologies for choreographic composition, with real-time interactional elements (such as microphones, speakers, sensors) potentially integrated into movement and expressive behaviour. Sounding garments explore the interactions between dancer/performer, the costume and the environment in the generation and manipulation of sonic textures. Briefly discussing historical precedents of integrated composition, the article will mainly refer to sounding prototypes in DAP-Lab’s latest production, For the time being [Victory over the Sun] (2012–2014), for which I designed the wearables, highlighting new methods for building sensual wearable electro-acoustic costumes to create kinaesonic choreographies. The article analyses the multi-perspectival potentials of such conceptual garments/wearable artefacts to play a significant part in the creation process of a performance, focusing on how wearable design can influence and shape movement vocabularies through the impact of its physical material presence on the body, distinctive design aesthetics and sound-generating capabilities. Choreographically, garments and body-worn technologies act as amplifying instruments as well as sculptural constraints or conversely enablers of new movement and ways of sounding/listening that affect different kinetic and acoustic awareness (both in the performers and in the audience).

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Designing (Inter)Active Costumes for Professional Stages

Honauer

2017

Smart Textiles

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Wearable technology for the performing arts

Cited by 3 publications

References 2 publications

Foundations in Sound Design for Interactive Media

Foundations in Sound Design for Interactive Media

Choreography and sounding wearables

Designing (Inter)Active Costumes for Professional Stages

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