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

Spartan Daily, May 11, 2016

Volume 146, Issue 41https://scholarworks.sjsu.edu/spartan_daily_2016/1039/thumbnail.jp

The integrated image: an investigation into the merging of video and computer graphics techniques incorporating the production of a video as a practical element in the investigation

To a large extent computer animation has been technology-led and has progressed independently of both conventional animation and live action film and video production. It has thus not benefited from the substantial body of knowledge built up by these more traditional methods. This applies particularly to characterisation within 3D computer animation. Computer animation, however, no longer exists in isolation. It can be used to convey narrative in its own right and increasingly it is being used together with live action film, television, and/or video in the search for visual and audio effects not possible through the use of a single technology. The experimental activity has been focused on integrating sound and image from video and computer to produce a personal piece of video art in the form of a narrative fantasy. Issues which spring from this are discussed and critically analysed: the level of technology required, and the creative issues of audience perception, narrative and characterisation when applied to such varied models as actor and computer generated object. The research is presented in two parts: the video narrative with integrated imagery and this thesis which reflects upon the issues outlined above

Implied...or implode? The Simpsons' carnivalesque Treehouse of Horror

Since 1990, The Simpsons’ annual “Treehouse of Horror” episodes have constituted a production sub-context within the series, having their own conventions and historical trajectory. These specials incorporate horror plots and devices, as well as general references to science fiction, into the series’ base in situation comedy. The Halloween specials disrupt the series usual family-oriented sitcom structure, dissolving the ideological balances that stabilise that society. By depicting the Family and community in extreme circumstances, in seeing the horror of ‘how things could be’, the Treehouse episode leave us with hanging questions about the nature of social being that bleed into the regular sitcom-style episodes. By breaking from the comparatively realistic social-satire that characterizes the series as a whole, the Halloween specials cast a reflexive gaze back onto “The Simpsons” itself. As a result, the “Treehouse” episodes are valuable as a means of examining the strategies and implications of the series as a whole. Bakhtin’s model of the carnivalesque is utilised to underscore these disruptive traits that characterise the Treehouse episodes

Spartan Daily, May 4, 2009

Volume 132, Issue 49https://scholarworks.sjsu.edu/spartandaily/10586/thumbnail.jp

Fresh from Japan : Metropolis and Millennium Actress

The International Film Festival of Catalunya (October 4 -13) held at Sitges - the charming seaside village just south of Barcelona, infused with life from the international gay community - this year again presented a mix of mainstream and fantastic film. (The festival's original title was Festival of Fantastic Cinema.) The more mainstream section (called Gran Angular) showed 12 films only as opposed to the large offering of 27 films in the Fantastic section, evidence that this genre still predominates even though it is no longer exclusive. Japan made a big showing this year in both categories. Two feature-length animated films caught the attention of Sara Martin, an English literature teacher at the Universitat Autònoma de Barcelona and anime fan, who reports here on the latest offerings by two of Japan's most outstanding anime film makers, and gives us both a wee history and future glimpse of the anime genre - it's sure not kids' stuff and it's not always pretty

Library Interactive Directory

Technologies have driven the human being with more innovation and features that can benefits people in today live. Hence, technology plays a major role in our life. People demand for technology to assist in completing the task. There are many aspects in human lives that can be applied with technology. This project is about implementing the technology in resource center. With the abundance of material in library, users have a hard time to allocate the materials without the proper directory guide provided. Library Interactive Directory project has comes out into solution as this project will help user in locating the materials in library with the shelving map provided. User now can navigate the location of the material that user have search for based on the interactive shelving map displayed within the web application system. This map will show the direction and its will greatly help the user in locating the precise materials location in library. In the development process, programming language will be used such as HTML, PHP and JavaScript. The graphic design and map modeling development will be in Flash with the assistance of appropriate software application

An Appetite for the Tasteless: An Evaluation of Off-Color Humor in Adult Animations and Video Games, Presented Through a Proposed Interactive Narrative via a Procedurally Generated Material Library

Off-color humor has propelled adult animation into its Golden Age. The success of this genre has prompted media studios to begin developing original series for subscription video-on-demand services. The technology used for these over the top (OTT) streaming services have improved to the point that providers have begun developing cloud-based gaming. These improvements, along with developments in rendering systems, have made it possible to create interactive media across both video and gaming platforms using similar assets. This document will detail the successes of adult animation and the proposal for more interactive narrative media within this category. Accompanying the text will be a procedural material library fitting within the theme and style of adult animation. In recent years media studios have been adapting to tools for a fully procedural texture creation workflow. The focus will be on the creation and implementation of a base material library, as well as examine the benefits and capabilities of said materials across multiple entertainment industries