The telematic dress: Evolving garments and distributed proprioception in streaming media and fashion performance

Centered around several short films from streaming performances created in 2005, this paper explores new ideas for movement technologies and garment design in an arts and digital research context. The "telematic dress" project, developed at the DAP Lab in Nottingham, involves transdisciplinary intersections between fashion and live performance, interactive system architecture, electronic textiles, wearable technologies, choreography, and anthropology. The concept on an evolving garment design that is materialized (moved) in live performance originates from DAP Lab's experimentation with telematics and distributed media (http://art.ntu.ac. uk/performance_research/birringer/dap.htm] addressing "connective tissues" through a study of perception/proprioception in the wearer (tactile sensory processing) and the dancer/designer/viewer relationship. This study is conducted as cross-cultural communication with online performance partners in Europe, the US, Brazil and Japan. The inter-active space is predicated on transcultural questions: how does the movement with an evolving design and wearable interactive sensors travel, how does movement - and capturing of movement - allow the design to emerge toward a garment statement, and how are bodies-in-relation-to sensory fabrics affected by the multidimensional kinesthetics of a media-rich, responsive environment

Paint and Sound: A Dialogue

This project is an exploration of the confluence of visual and musical artistic processes. As well as exploring how music and visual arts can inform each other and create dialogue, a central part of the project is an attempt to reach a synesthetic state in my own artistic processes for which my training as a visual artist and musician laid the groundwork. Through active, creative experimentation with making music in response to artwork and vice versa, I undertook to achieve a union of the senses. The project includes historical research that places my work in the context of other artists who have held similar interests and explored the overlap of these art forms in their own work and/or philosophies. I have included information about synesthesia and artists who were synesthetic or simply found inspiration in crossing artistic boundaries

Synaesthetic Resonances in the Intermedial Soundtrack of Imitating the Dog’s Tales from The Bar of Lost Souls

As with most hybrid performances the experience of spectating Imitating the Dog's Tales from the Bar of Lost Souls (2010) (reworked to become 6 Degrees Below the Horizon (2011)) is a multifaceted one, consisting of an encounter with intermedial bodies, spaces, and technologies. Focusing mainly on the role of the soundtrack, composed by Hope and Social and myself, I will explore the ways in which it elicits synaesthetic experiences turning this intermedial work into a 'playground' of practice-where modes of seeing, hearing and experiencing cultural constructs may be contested. I will define synaesthesia through the context of its Greek etymology, scientific research and artistic practice relating it specifically to intermedial performance. I will go on to address the case study analytically building upon Josephine Machon's re-worked definition of synaesthetic experiences, namely that of '(syn)aesthetics', arguing that the soundtrack elicits a (syn)aesthetic mode of spectatorial engagement.authorsversionPeer reviewe

Fusion art with I Ching an Interdisciplinary Choreography Project

abstract: Cultural background is very important for people, and people from different cultural backgrounds will have different understandings of art. This document explores how individuals relate to other cultures and incorporate the advantages of Chinese cultural values into contemporary dance experiences as researched for the applied project, III. This project uses the Bagua theory in the ancient Chinese book the I Ching to carry out the process of collaborative creation through different art forms in collaboration with artists from different mediums. This document details the artist’s process of self-exploration and creative expansion using personal cultural background and influences (both Eastern and Western). Through this research the artist has come to understand and develop unique personal perspectives and formulate a creative method that she will continue to use in the future; it centers the importance of cultural identity and how that shapes experiences of art and art-making.Dissertation/ThesisMasters Thesis Dance 201

The Phenomenon of Musical Art in the Education of Individuals

Phenomenon of musical art considered as one of the conditions needed to create artistic and aesthetic communication that nurtures the growth of a spiritual, moral and harmonious personality. This article focusses on finding new bases for music education. It outlines current music education and points out difficulties that are caused by rapid changes in music culture. Due to these changes, music curriculum must find new starting points. We explored and compared the main ideas about music education in its historical development. We conclude that music education today should be built on music making and listening. It can no longer be based on traditional frameworks because they are not familiar to individuals today. Music education should be based on research, and new ways of teaching and learning musical skills and knowledge should guide its practice

Sophrosyne and simulacra: probing the nature of a constructed self-image

This essay resulted from an analysis of an artwork where the artist was motivated to construct a representation of herself. A social semiotic analysis of the self-image indicates interchangeability and tension among artistic elements with assumed, dialectically opposed meanings. Discussion with regards to the nature of the selfportrait touches on philosophically influenced interpretations that pose the image as a cyborg and the cyborg as a simulacrum. Upon reflection, the self-image can be interpreted as having the qualities of a simulacrum (a reproduction that is selfcontained and autonomous) more so than of an authentic expression of representation. This essay hopes to contribute to the continued critical examination of individual visual representations in order to help enrich the growing knowledge base from which we derive a fuller understanding of our surrounding culture and ourselves

Skyler and Bliss

Hong Kong remains the backdrop to the science fiction movies of my youth. The city reminds me of my former training in the financial sector. It is a city in which I could have succeeded in finance, but as far as art goes it is a young city, and I am a young artist. A frustration emerges; much like the mould, the artist also had to develop new skills by killing off his former desires and manipulating technology. My new series entitled HONG KONG surface project shows a new direction in my artistic research in which my technique becomes ever simpler, reducing the traces of pixelation until objects appear almost as they were found and photographed. Skyler and Bliss presents tectonic plates based on satellite images of the Arctic. Working in a hot and humid Hong Kong where mushrooms grow ferociously, a city artificially refrigerated by climate control, this series provides a conceptual image of a imaginary typographic map for survival. (Laurent Segretier

(Re) Membering Forwards : Excavating and Embodying Cultural Memory, An Afro-Diasporic Dance Film Rendition

The Afro-Indigenous diasporic body as a repository of imprinted memory and space of embodied knowledge cradles this written body of work and work of the body action research thesis (Re) Membering Forwards: Excavating and Embodying Cultural Memory. My autobiographical memory account looks back while going forward as an applied creative praxis and collaborative process a rich interwoven layering of embodied response emerges as an Afro-flamenco choreography. A key feature of my process was in rooting my work through the lens of diasporic thinking and embodied questioning. With the aim of identifying and articulating how coexisting aesthetic codes emerge, the body as text revealed profound cultural memories. By engaging with and within varied environments (spaces and places) an employed methodology, temporal codes of embodied understanding were intuitively amplified. Through this interactive work (from studio to on location film shoots), I have deepened my understanding of the confluence between materiality and immateriality within specific spaces