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

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

Aesthetic potential of human-computer interaction in performing arts

Human-computer interaction (HCI) is a multidisciplinary area that studies the communication between users and computers. In this thesis, we want to examine if and how HCI when incorporated into staged performances can generate new possibilities for artistic expression on stage. We define and study four areas of technology-enhanced performance that were strongly influenced by HCI techniques: multimedia expression, body representation, body augmentation and interactive environments. We trace relevant artistic practices that contributed to the exploration of these topics and then present new forms of creative expression that emerged after the incorporation of HCI techniques. We present and discuss novel practices like: performer and the media as one responsive entity, real-time control of virtual characters, on-body projections, body augmentation through humanmachine systems and interactive stage design. The thesis concludes by showing some concrete examples of these novel practices implemented in performance pieces. We present and discuss technologyaugmented dance pieces developed during this master’s degree. We also present a software tool for aesthetic visualisation of movement data and discuss its application in video creation, staged performances and interactive installations

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

Human-Computer Interaction

In this book the reader will find a collection of 31 papers presenting different facets of Human Computer Interaction, the result of research projects and experiments as well as new approaches to design user interfaces. The book is organized according to the following main topics in a sequential order: new interaction paradigms, multimodality, usability studies on several interaction mechanisms, human factors, universal design and development methodologies and tools

Proceedings of the 2021 DigitalFUTURES

This open access book is a compilation of selected papers from 2021 DigitalFUTURES—The 3rd International Conference on Computational Design and Robotic Fabrication (CDRF 2021). The work focuses on novel techniques for computational design and robotic fabrication. The contents make valuable contributions to academic researchers, designers, and engineers in the industry. As well, readers encounter new ideas about understanding material intelligence in architecture

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge

Training Effects of Adaptive Emotive Responses From Animated Agents in Simulated Environments

Humans are distinct from machines in their capacity to emote, stimulate, and express emotions. Because emotions play such an important role in human interactions, human-like agents used in pedagogical roles for simulation-based training should properly reflect emotions. Currently, research concerning the development of this type of agent focuses on basic agent interface characteristics, as well as character building qualities. However, human-like agents should provide emotion-like qualities that are clearly expressed, properly synchronized, and that simulate complex, real-time interactions through adaptive emotion systems. The research conducted for this dissertation was a quantitative investigation using 3 (within) x 2 (between) x 3 (within) factorial design. A total of 56 paid participants consented to complete the study. Independent variables included emotion intensity (i.e., low, moderate, and high emotion), levels of expertise (novice participant versus experienced participant), and number of trials. Dependent measures included visual attention, emotional response towards the animated agents, simulation performance score, and learners\u27 perception of the pedagogical agent persona while participants interacted with a pain assessment and management simulation. While no relationships were indicated between the levels of emotion intensity portrayed by the animated agents and the participants\u27 visual attention, emotional response towards the animated agent, and simulation performance score, there were significant relationships between the level of expertise of the participant and the visual attention, emotional responses, and performance outcomes. The results indicated that nursing students had higher visual attention during their interaction with the animated agents. Additionally, nursing students expressed more neutral facial expression whereas experienced nurses expressed more emotional facial expressions towards the animated agents. The results of the simulation performance scores indicated that nursing students obtained higher performance scores in the pain assessment and management task than experienced nurses. Both groups of participants had a positive perception of the animated agents persona