Wearable performance

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 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

Seeking out the spaces between: Using improvisation for collaborative composition and interactive technology

Copyright © 2010 ISASTThis article presents findings from experiments into piano performance live electronics undertaken by the author since early 2007. The use of improvisation has infused every step of the process---both as a methodology to obtain meaningful results using interactive technology and as a way to generate and characterize a collaborative musical space with composers. The technology used has included pre-built MIDI interfaces such as the PianoBar, actuators such as miniature DC motors and sensor interfaces including iCube and the Wii controller. Collaborators have included researchers at the Centre for Digital Music (QMUL), Richard Barrett, Pierre Alexandre Tremblay and Atau Tanaka. In seeking to create responsive “performance environments” at the piano, I explore live, performative control of electronics to create better connections for both performer (providing the same level of interpretive freedom as with a “pure” instrumental performance) and audience (communicating clearly to them). I have been lucky to witness first-hand many live interactive performances and to work with various empathetic composers/performers in flexible working environments. Collaborating with experienced technologists and musicians, I have witnessed time and again what, for me, is a fundamental truth in interactive instrumental performance: As a living, spontaneous form it must be nurtured and informed by the performer’s physicality and imagination as much as by the creativity or knowledge of the composer and/or technologist. Specifically in the case of sensors, their dependence on the detail of each person’s body and reactions is so refined as to necessitate, I would argue, an entirely collaborative approach and therefore one that involves at least directed improvisation and, more likely, fairly extensive improvised exploration. The fundamentally personal and intimate nature of sensor readings---the amount of tension created by each performer, the shape of the ancillary gestures or the level of emotional involvement (especially relevant when using galvanic skin response or EEG)---makes creating pieces with sensors extremely difficult for a composer to do in isolation. Improvisation therefore provides a way for performer and composer to generate a common musical and gestural language. Related to these issues is the fact that the technical or notational parameters in interactive music are not yet (and may never be) standardized, thereby creating a very real and practical need for improvisation to figure at least somewhere in the process.This study is funded by the Arts and Humanities Research Council

Rawan Atari - The Influence of Multi-Sensory Environment on Physiological Response in Children with Autism Spectrum Disorders and Children with Special Health Care Needs

A research study based on the sensory integration theory was conducted to examine the effects of multi-sensory environment (MSE) on physiological arousal in children with autism spectrum disorder (ASD) and special health care needs. Adapted environments may serve as a mechanism to treat anxiety levels in a population of children who experience more severe generalized anxiety symptoms than typically developing children. The sample consisted of children with community-based diagnoses of ASD and children with special health care needs, primarily children diagnosed with cerebral palsy (CP) from the Milwaukee Center for Independence (MCFI). Treatment for the autism sample was carried out by a trained MCFI staff member and treatment for children with special health care needs was carried out by a trained physical therapist. Electrodermal response was used as a measure to detect the “fight or flight” response of the sympathetic nervous system. The measurement of electrodermal activity was recorded by a wireless bracelet device that recorded the skin conductance level of the participant prior to entering the sensory room, during treatment in the sensory room, and after exiting the sensory room. Results indicated increased arousal in children with CP, as sensory stimulation was the main goal of physical therapists. Results for the autism sample varied by participant and indicated that treatment needs to be individualized for optimal benefits. Findings support the use of MSE as an alternative technique to improve therapeutic opportunities for children with cerebral palsy by stimulating sensations that are otherwise generally dormant.https://epublications.marquette.edu/mcnair_2014/1000/thumbnail.jp

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Dementia, music and biometric gaming: Rising to the Dementia Challenge

In 2012, the U.K. government launched its Dementia Challenge, authorizing additional funding for dementia research and health care. The search for curative medicines is ongoing, but scientific research reveals evidence that music can play a positive role in general health, and in dementia and Alzheimer’s disease in particular. This article considers whether some of the challenges that dementia presents could be addressed through music therapy and proposes that biometric gaming might offer one means of channeling such associated health benefits to sufferers of dementia, even in the final stages of the disease

Plug-in to fear: game biosensors and negative physiological responses to music

The games industry is beginning to embark on an ambitious journey into the world of biometric gaming in search of more exciting and immersive gaming experiences. Whether or not biometric game technologies hold the key to unlock the “ultimate gaming experience” hinges not only on technological advancements alone but also on the game industry’s understanding of physiological responses to stimuli of different kinds, and its ability to interpret physiological data in terms of indicative meaning. With reference to horror genre games and music in particular, this article reviews some of the scientific literature relating to specific physiological responses induced by “fearful” or “unpleasant” musical stimuli, and considers some of the challenges facing the games industry in its quest for the ultimate “plugged-in” experience

Scent By A Wireless Web

‘Scent Whisper’ is a jewellery project that provides a new way to send a scented message. The two pieces focus on a spider and the defence mechanism in bombardier beetles that squirt predators with a high-pressure jet of boiling liquid in a rapid-fire action. The devices involve microfluidics and wireless technology that link a remote sensor (a spider) with a fragrance-dispensing unit (a bombardier beetle) to create two items of jewellery that constitute the ‘wireless web’. A message is ‘scent by a wireless web’’ from a spider to a bombardier beetle brooch, that sprays a minute sample of fragrance. The purpose is to benefit human wellbeing, through olfaction stimulation of the autonomic nervous system, and as a novel communication system to send an aroma ‘message’ that could be healing (lavender), protective (insect repellent), seductive (pheromones) informative or communicative. The user whispers a secret message into a spider brooch, which transmits the message to a beetle brooch worn by an admirer. The spider’s sensor, implanted in its abdomen records the humidity of her breath and releases scent from the beetle onto a localized area, creating a personal ‘scent bubble’. About this conference: Wearable Futures was an interdisciplinary conference, aiming to bring together practitioners, inventors, and theorists in the field of soft technology and wearables including those concerned with fashion, textiles, sportswear, interaction design, media and live arts, medical textiles, wellness, perception and psychology, IPR, polymer science, nanotechnology, military, and other relevant research strands. Examining how some broad generic questions could be explored in relation to wearable technology the conference referred to but was not restricted to: aesthetics and design, function and durability versus market forces; the desires, needs and realities of wearable technologies; technology and culture; simplicity and sustainability; design for wearability; wearables as theatre and wearables as emotional 'tools'. Wearable Futures actively aimed to encourage debate, discussion and the formation of collaborative projects across a wide range of disciplines. Key fundamental questions across the conference in relation to wearables were: What is out there? Who wants it? What do they want? How is it achieved? Keynotes were drawn from the field of fashion and textiles through Suzanne Lee and Sarah E. Braddock Clarke; interactive design through Chris Baber; and design and computational arts through Joanna Berzowska. These diverse speakers provided an overview for the wide range of papers, poster and exhibits (over 60) presented in the panels and exhibition covering four broad themes drawn from strands taken from the initial call: Technology and Culture; Aesthetics and Making; Design for Wearability; and Desires, Need and Reality. The conference set out to highlight the growing arena for wearable technologies in an interdisciplinary context and also to look at the positive and negative applications of technology in this context. This was enhanced by the inclusion of an exhibition, supported by the Arts Council of Wales, which ensured that there was space for the rhetoric and the reality of the field to be discussed concurrently. Research within the Smart Clothes Wearable Technologies Group at University of Wales proposes the end-user as key to its practice and this conference reflected that in the approach to selection of papers and exhibits. The conference ensured that the full landscape of the field in 2005 was reflected through practitioners in design, art, craft, science, technology, cultural theory & performance, thus taking the subject beyond 80's and 90's research in which, for example, the work of Steve Mann and MIT put the individual researcher at the centre. Prototypes were an essential component to the conference and curated into the exhibition, which in 2005, in contrast to Mann, shows a focus on making the technology appear seamless rather than celebrating it through high visibility. One year on from Wearable Futures, research in the field seems to have expanded out into other areas of technology and practice with further conferences, applications and publications reflecting these developments. As 2010 becomes the present rather than the future (see Sarah E. Braddock Clarke and Marie OMahony, Tecnho Textiles: Revolutionary Fabrics for Fashion & Design, Thames and Hudson, 1997), what will the realities of wearables, smart materials and technology be in the next ten years? Wearable Futures generated a starting point for this area of debate; a key emerging strand being the focus on the body and its relationship to technology. Cyborg culture is being revisited but the concerns and relationship with the technology are different from the ones of 20 years ago. New materials evolving through Biotech and Nanoscience have the potential to supersede the machine and/or electronic driven devices, contributing to the design and creation of 'new flesh' or carrier of technology. These applications are being explored by creatives, academics and cultural theorists, whilst being applied to prototypes and industry with the end user in mind. Wearable Futures was a window on that changing role in 2005

The sound motion controller: a distributed system for interactive music performance

We developed an interactive system for music performance, able to control sound parameters in a responsive way with respect to the user’s movements. This system is conceived as a mobile application, provided with beat tracking and an expressive parameter modulation, interacting with motion sensors and effector units, which are connected to a music output, such as synthesizers or sound effects. We describe the various types of usage of our system and our achievements, aimed to increase the expression of music performance and provide an aid to music interaction. The results obtained outline a first level of integration and foresee future cognitive and technological research related to it

Enactivism, other minds, and mental disorders

Although enactive approaches to cognition vary in terms of their character and scope, all endorse several core claims. The first is that cognition is tied to action. The second is that cognition is composed of more than just in-the-head processes; cognitive activities are externalized via features of our embodiment and in our ecological dealings with the people and things around us. I appeal to these two enactive claims to consider a view called “direct social perception” : the idea that we can sometimes perceive features of other minds directly in the character of their embodiment and environmental interactions. I argue that if DSP is true, we can probably also perceive certain features of mental disorders as well. I draw upon the developmental psychologist Daniel Stern’s notion of “forms of vitality”—largely overlooked in these debates—to develop this idea, and I use autism as a case study. I argue further that an enactive approach to DSP can clarify some ways we play a regulative role in shaping the temporal and phenomenal character of the disorder in question, and it may therefore have practical significance for both the clinical and therapeutic encounter