Wearables London Meetup 2016
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A presentation of my version of history in wearable technology development in media art and performance
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Wearables London Meetup 2016
- 1. Interdisciplinary Journey to wearable tech and etextiles in performance Dr Camille Baker University for the Creative Arts
- 2. • studied and performed modern dance as an undergraduate and in high school in Canada. practice trajectory modern dance studies circa 1987
- 3. still from motion design piece 2001 practice trajectory • documentary film development, online video and animation, digital media and web design; still from documentary Millennial Love Project 1998 still from Illuminaries documentary short 1999
- 4. practice trajectory • owned and operated conventional contemporary art gallery in Vancouver in 1998; stills from gallery circa 1998
- 5. • founder, web editor-in-chief of own online magazine (2000-2002), www.slackerbonding.com on GenX relationship and pop culture issues; screenshot from slackerbonding.com 2000-2002 practice trajectory
- 6. • founder, web editor-in-chief of own online magazine (2000-2002), www.slackerbonding.com on GenX relationship and pop culture issues; practice trajectory screenshot from slackerbonding.com 2000-2002
- 7. • music composition and performance in alt-rock/pop/electronic bands from late 1993 - 2007: www.ultrapuss.com and www.spiritualheroine.com; band photos from Spiritual Heroine 1997 and ultrapuss 2007 practice trajectory
- 8. practice trajectory slideshow from gallery exhibition NFF 2004 • Lead Curator and Event Producer for The New Forms Festival producing + curating a gallery, conference and performances 2002-2004 - 3 years;
- 9. • Lead Curator and Event Producer for The New Forms Festival, a new media arts festival in Vancouver from 2002-2004 - 3 years; practice trajectory slideshow from dance performance NFF 2004
- 10. • Co-Executive Director of The Escape Artists Society (T.E.A.S.) - a performance media event production, non-profit society, 2005-2007; practice trajectory Slide from eyeteasers video iPod event 2006
- 11. Dream Pod: Internal Networks Masters final project 2004
- 12. internal networks: Dream Pod project
- 13. Led by Prof. Thecla Schiphorst and Dr. Susan Kozel (2003-2006) Vancouver, Canada http://whisper.iat.sfu.ca/ whisper[s] : wearable, handheld, intimate, sensory, personal, expressive, responsive system the whisper[s] project
- 14. “…technology and communications metaphors that enable networked wearable devices to communicate affective states in a continuous manner and share them between users or wearers” the whisper[s] project
- 15. [Another pic of whicpers = siggraph 2005] the whisper[s] project
- 16. A head-mounted display (HMD) 1990’s wired glove and joystick. Image: NASA history of smart garments and wearable tech early 20th century art imaginings of wearable technology
- 17. history of smart garments and wearable tech The miniaturisation of technology has changed how people build & use wearable tech & electronics Steve Mann through stages of development - Wearable Wireless Webcam - WearCam.org
- 18. Images: Steve Mann & Eyetap, Google Glass, Glass Up & Lumus Optical Steve Mann’s LifeGlogging sensorcam, Microsoft SenseCam, Mann, Fung & Lo cam & Memoto history of smart garments and wearable tech
- 19. history of smart garments and wearable tech Benoît Maubrey’s Audio Ballerinas - circa 1989 a Berlin-based art group, AUDIO GRUPPE http://www.benoitmaubrey.com/
- 20. history of smart garments and wearable tech Isa Gordon - CyberFashion psymbiote.org 2004 - present see visual research - 2002 and prior http://whisper.iat.sfu.ca/visualresearch.htm see also http://whisper.iat.sfu.ca/whisper_lit_review.htm
- 21. Hug Shirt – Cute Circuit 2006 - wearable messaging history of smart garments and wearable tech
- 22. SKIN, which examines the future integration of sensitive materials in the area of emotional sensing – the shift from ‘ intelligent’ to ‘sensitive’ products and technologies. As part of SKIN, we have developed two ‘Soft Technology’ outfits to identify the future for high tech materials and Electronic Textile Development in the area’s of skin and emotional sensing. The dresses show emotive technology and how the body and the near environment can use pattern and colour change to interact and predict the emotional state. -Philips website Philips Design Probes research group has since been closed down. Phillips SKIN Probes 2006-2008 history of smart garments and wearable tech
- 23. Huggy Pajamas 2010 - wearable messaging history of smart garments and wearable tech
- 24. Aura 2010 – Marco Righetto - mobile-to-wearable device history of smart garments and wearable tech
- 25. history of smart garments and wearable tech ‘Scentsory Design’, Jenny Tillotson 2010 - emotional scent-sory fashion
- 26. SMARTlab PhD media art research 2006-2011: MINDtouch mobile performance –to uncover any new understandings of the sensations of ‘liveness’ and ‘presence’ that may emerge when using mobile technologies and wearable devices in performance contexts– still from MINDtouch 2010
- 27. MINDtouch: mobile devices as non-verbal expression first video collection workshop in Vancouver June 2007
- 28. C. Baker - stills from participants’ videos from Dublin workshop October 2007 MINDtouch: video collection workshops : 2007-2009
- 29. MINDtouch: prototype 2: garment 2009 Images © 2009 C. Baker – beta garment with embedded electronics by Tara Baoth Mooney with Rachel Lesebikan (completed August 2009)
- 30. MINDtouch: example event & user participation Images from live events for MINDtouch C.Baker 2009-2010
- 31. MINDtouch: mixes for live broadcast 2010-2011 live video mixes: MINDtouch C.Baker 2009 Visual material mixed live over the mobile networks and the internet by the wearable sensors on live ‘performers’.
- 32. Daan Roosegaarde’s Intimacy Studio Roosegaarde and V2_ Lab in Rotterdam smart e- foils 2010 inspiring work in smart garments & wearable tech INTIMACY is a fashion project exploring the relation between intimacy and technology. Its high-tech garments entitled 'Intimacy White' and 'Intimacy Black' are made out of opaque smart e-foils that become increasingly transparent based on close and personal encounters with people.
- 33. Donna Franklin, Fibre Reactive, Coded Cloth orange bracket fungi (Pyconporus coccineus) silk, organza, perspex, wood. Exhibition 2004 - 2008 Pia Interlandi, Dissolvable Fabrics 2008-2011 Symbiotica Lab, Australia bio-fabric/skin-like textiles inspiring work in smart garments & wearable tech
- 34. Suzanne Lee - BioCouture 2010 now BioFabricate 2014-2016 conference and NASA/Nike Material Innovator, pioneer in growing fabric through bacteria inspiring work in smart garments & wearable tech Ande Domaske - German microbiologist, using Milk Fiber 2011 and her current company Quik Milk bio-fabric/skin-like textiles
- 35. Emily Crane 2008-2011 Micro-Nutrient Couture inspiring work in smart garments & wearable tech bio-fabric/skin-like textiles
- 36. Victoria Gearney - Synthetic Biology Fashion http://www.victoriageaney.com Guilia Tomesela – Ruhr emotional corset 2014 http://gitomasello.com Guilia Tomesela - Sustainable bio-wearable tech 2015 http://gitomasello.com inspiring work in smart garments & wearable tech bio-fabric/skin-like textiles
- 37. micro-biological textiles Anna Dumitru 2014- present – Normal Flora Project Communicating Bacteria dress inspiring work in smart garments & wearable tech
- 38. inspiring work in smart garments & wearable tech The Human Sensor 2016 by Kasia Molga. See also Manchester European City of Science 2016 Wearables for Art and Science
- 39. Wearables in Performance inspiring work in smart garments & wearable tech Revealuxion_Version ii-1 /r 2015 Kieun Kim
- 40. Wearables in Performance inspiring work in smart garments & wearable tech Idoru() 2013 by Afroditi Psarra Cosmic Bitcasting 2016 by Afroditi Psarra
- 41. inspiring work in smart garments & wearable tech The Wearable Fashion Orchestra 2014 by Marina Castan Wearables in Performance
- 42. Graphic by Dave Palmer 2012 Hacking the Body an ongoing collaboration with dance artist /choreographer Kate Sicchio
- 43. June 2013 HTB workshops – collaborative DIY Ethos: ISEA 2013, Workshop, Sydney Australia – June 9th, 2013 Tek* 2013, Workshop, Byron Bay, Australia – June 15th, 2013 Creativity and Cognition 2013, Workshop, Sydney Australia – June 17th, 2013
- 44. we are exploring: - etextiles and haptic actuation as non-verbal communication in various types of performance; - making bespoke sensors and Smart Garments as performance & interaction research; - novel uses of body data from sensing devices as choreographic or performance devising material; - ethics of data collection and body data as personal identity and expression in performance. Hacking The Body 2.0
- 45. DIY Garments with Haptics April 2015 residency experiments
- 46. Hacking the Body 2.0 – new garment development 2015 sketches by Tara Baoth Mooney © November 2015 – Hacking the Body 2.0 part 2
- 47. Hacking the Body 2.0 electronics development 2015 prototypes by Becky Stewart & Tara Baoth Mooney © November 2015 – Hacking 2.0 part 2
- 48. Hacking the Body 2.0 new garment development 2015 sketch and prototype by Tara Baoth Mooney & Becky Stewart © February 2016 – Hacking 2.0 part 2
- 49. Hacking the Body 2.0 electronics development 2015 image and garment by Tara Baoth Mooney © February 2016 – Hacking the Body 2.0 part 2
- 50. Hacking the Body 2.0 final garments Flutter Stutter 2016 images by Kate Sicchio © February 2016 – Hacking 2.0 part 2
- 51. Hacking the Body 2.0 final garments Flutter Stutter 2016 image and garment by Tara Baoth Mooney © February 2016 – Hacking 2.0 part 2
- 52. Hacking the Body 2.0 performances of Flutter/Stutter London Feb 16 and Sheffield Feb 18th, 2016 images by Camille Baker © February 2016 – Hacking the Body 2.0 part 2
- 53. Hacking the Body 2.0 hacked garments Feel Me 2016 garments by OM Signal, hacked by Tara Baoth Mooney, images by Camille Baker © February 2016 – Hacking 2.0 part 2
- 54. Hacking the Body 2.0 hacked garments Feel Me 2016 garments by OM Signal, hacked by Tara Baoth Mooney, images by Camille Baker © February 2016 – Hacking 2.0 part 2
- 55. Hacking the Body 2.0 performances of Feel Me London Feb 16 and Sheffield Feb 18th images by Camille Baker © February 2016 – Hacking the Body 2.0 part 2
- 56. e-stitches (formerly Stitch, Bitch, Make/Perform), started November 2014 with Melissa Coleman, supported by Irini Papadimitriou, Director of the V&A Digital Progammes. The focus is on the current wearable tech and etextile issues, such as: -how we can add more critical and aesthetic voices to the wearable tech discourse and development; -bringing in artists, designers and performers to learn and collaborate; -help shape future directions in this design research area. other activities
- 57. Wearable Tech & eTextiles Computing science Fashion Design DIY Makers / Crafters Interaction /Product Designers Artists/ Performers Biotech/Medi cal Fitness/ Sports Textiles industry Military WEAR: Ethical, Sustainable, Environmental, Aesthetic Network of European Hubs to promote new directions in design, collaboration, manufacturing and supply-chain (Horizon 2020 proposal under consideration). other activities
- 58. Thank you & questions hackingthebody.co.uk swagirl67.net social @swampgirl67 twitter camillebaker.me swampgirl67.net video https://vimeo.com/168129310 https://vimeo.com/133353621
Editor's Notes
- My background ranges from dance in the 80’s and 90’s
- documentary filmmaking & freelance video production and graphic design work mid-90’s,
- running an art gallery with my partner in the late 90’s
- to starting my own online pop culture magazine with video interviews in early 2000’s
- to starting my own online pop culture magazine with video interviews, with an animated soap-opera series, variety show style interviews with our readers - all pre-broadband - and live art events,
- I was also in several alternative rock bands in Vancouver from 1993-2007
- Then I started curating and producing an electronic and digital arts & performance festival in 2002 called the New Forms Festival while I was studying for my Masters and working p/t as an educational technologist
- The New Forms Festival featured a performance series of electronic music, VJing /Live cinema, and danceTech, as well as an art gallery of a range of robotic, electronic, interactive cinema, and net artworks
- When I completed my Masters and left New Forms Fest, I went onto start an electronic performance event organisation with a friend organising events from 2005-2007 before came to the UK to do my PhD
- My Masters of Interactive Arts project was an investigation into how to create a meditative space that was intended to induce a hypnogogic or dream-like state, conducive for telepathic reception. The intention was to create womb-like space with projected imagery on the outside and sound on the inside – triggered by biofeedback sensors the participants wore to induce a dream-like state, and in turn their relaxed state changed the imagery projected onto the surface of the chamber to even more relaxing imagery and sound - until they reached a near sleep state.
- I was very interested in altered states of consciousness, astro-physics and neuroscience and how they converged with altered states and realities. My goal was to enable people experience a receptive and open state of consciousness to induce them into dream telepathy.
- Also, while studying my Masters in Interactive Arts and Technology, I was a research assistant for media artist/dancer on the wearable art research project Whispers - from 2002 to 2005 as a biofeedback interaction design researcher, installation coordinator and videographer.
- I worked as a research assistant during my Masters on the relatively pioneering wearable tech performance project whispers, that started in 2001 until 2006.
- I was involved in designing the performance interaction workshops with participants, documenting the experiments and testing, helped sew garments, and organised the exhibitions of the project. And it had various iterations of the technology, garments, installations and performances. Schiphorst and Kozel then went onto make related but different performance and interactive projects building on the learning about the body from that project.
- see visual research - 2002 and prior http://whisper.iat.sfu.ca/visualresearch.htm see also http://whisper.iat.sfu.ca/whisper_lit_review.htm
- The Hug Shirt™ is a shirt that helps people send hugs over distance. Embedded in the shirt there are sensors that feel the strength of the touch, the skin warmth and the heartbeat rate of the sender and actuators that recreate the sensation of touch, warmth and emotion of the hug to the shirt of the distant loved one.
- http://www.design.philips.com/probes/projects/dresses/index.page
- Huggy Pajama permits parents and children to cuddle via a hugging interface device and a wearable, hug reproducing pajama when connected through the internet. The hugging device is a small, mobile doll with an embedded pressure sensing circuit. So when the mum hugs the doll somewhere the child feels virtually hugged.
- http://www.marcorighetto.it/portfolio/interaction-design/90-thesis.html?start=1
- http://bio-fiction.com/videos/ or http://bio-fiction.com/videos/?p=127
- My Phd was influenced and related to my Masters, was a mobile media performance piece defended in late 2010, theoretically, focused on the how one could embody technology via the mobile network using wearable devices, to send visceral experiences and a form of presence over the network – Pre-iPhone! This PhD was generously funded through the BBC R&D via researcher Marc Price, who liked my ideas and wanted to funded them. 4
- Here are documentation images from my mobile media workshops – which I had to provide smartphones for since very few people had them in 2006.
- I guided the live participants through with a set of mobile ‘video collection’ activities to help them create visual interpretations of their internal body sensations.
- Two garment prototypes were created to embed the sensors, again before the more affordable conductive materials and soft circuits and wide-spread use of Arduino of today. 6
- The project connected the in-person participants to the online remote participants and they sensed or ‘felt’ each other by sending their body data through the network and with their videos of their inner experience and sensations. This was to create a feedback loop of body-to-body connection through digital translation, interacting with personal interpretations and the mobile networks – a digitally embodied touch and exchange.
- The result was mixed, VJ-ed through the wireless biofeedback sensors triggering the visual mixing, adding visual effects to the video clips from the database in real time, at each event, creating abstract visual exchanges with other mobile users around the world, in a collaborative, telematic collage of externalised body sensations. 21
- http://www.studioroosegaarde.net/
- Donna Franklin, Fibre Reactive 2004-2008, orange bracket fungi (Pyconporus coccineus) silk, organza, perspex, wood. Curated by ANAT Executive Director, Melinda Rackham, Coded Cloth and Symbiotica lab in Perth http://www.philippawagner.co.uk/blog/tags/pia-interlandi/ Pia Interlandi
- http://www.biocouture.co.uk/ and http://www.ted.com/speakers/suzanne_lee.html and http://www.designboom.com/weblog/cat/8/view/11565/suzanne-lee-biocouture-growing-textiles.html http://www.greenpacks.org/2011/07/28/fabrics-made-out-of-milk-are-you-getting-yours-video/
- http://emilycrane.co.uk/micronutrientcouture.html and http://www.fashioningtech.com/profiles/blogs/emily-crane-interview
- http://web.mac.com/annadumitriu/NF/Communicating_Bacteria.html
- The conceptual framework, examined recent rhetoric on personal code and data collection in the modern world to extend and question a variety of parameters of the states of the human body. ‘Hacking the Body’ also explores emerging technological tools and devices to find new ways to devise engaging performances as artists, and as a means to make immersive experiences for audiences and participants. Our objective was to explore ways in which human physical states can be meaningfully exposed in the network and repurposed, thereby 'hacking the body'.
- As such here are images from last summers workshops, that we conducted teaching soft-circuits, wearable electronics and the basics of Arduino’s open-source programming language.
- The second part of the project focused on the use of DIY sensors and actuators in handmade garments. The dancers reported much more affinity towards these garments and more interest in how the actuators in them triggered them to move. These garments were more sensual, delicate and elicited more tactile, intimate responses by design. They were playful in this way was well. Each of the handmade sensors was unique and personal in design, style and required close up interaction, touch and engagement.
- The touch sensors will be embedded in a pleated fabric. The pleats will encase the conductive thread or fabric that will act as antennae for a series of capacitive touch sensors. The conductive threads or pieces of fabric may be aligned all in one direction, or may form a grid structure. The software running on the computer will have registered which garment's actuators are listening to which sensors. It then passes on the messages generated by the touch sensors to the correct actuator. The actuators in the garments will be small motors with gearboxes to control the tightening and loosening of elastic bands to create a squeezing sensation on the body.
- The touch sensors are being embedded in a pleated fabric. The pleats will encase the conductive materials that act as antennae for a series of capacitive touch sensors. The conductive materials are aligned all in one direction, or may form a grid structure. The software on the computer (and eventually on an iPad or mobile phone) will register which garment's actuators are listening to which sensors. It then sends the messages from the touch sensors to the correct actuator. The actuators in the garments are small motors to control the tightening and loosening of elastic bands to create a squeezing sensation on the body that the dancer will interpret as a form of communication from the other dancer and respond in movement.
- The touch sensors are being embedded in a pleated fabric. The pleats will encase the conductive materials that act as antennae for a series of capacitive touch sensors. The conductive materials are aligned all in one direction, or may form a grid structure. The software on the computer (and eventually on an iPad or mobile phone) will register which garment's actuators are listening to which sensors. It then sends the messages from the touch sensors to the correct actuator. The actuators in the garments are small motors to control the tightening and loosening of elastic bands to create a squeezing sensation on the body that the dancer will interpret as a form of communication from the other dancer and respond in movement.
- And laser cut conductive fabric connection points
- The touch sensors are being embedded in a pleated fabric. The pleats will encase the conductive materials that act as antennae for a series of capacitive touch sensors. The conductive materials are aligned all in one direction, or may form a grid structure. The software on the computer (and eventually on an iPad or mobile phone) will register which garment's actuators are listening to which sensors. It then sends the messages from the touch sensors to the correct actuator. The actuators in the garments are small motors to control the tightening and loosening of elastic bands to create a squeezing sensation on the body that the dancer will interpret as a form of communication from the other dancer and respond in movement.
- I have recently been inspired to bring together the differing communities and wearable tech stakeholders, after a couple of years of attending conferences and events, from the various perspectives – but who often don’t seem to know about each other’s work, nor share information and discoveries. We’d make more incredible wearable technologies if we all worked together, if more people explored the full potential of wearable technology, by sharing knowledge and collaborating on the new directions — to add real meaning to our lives. So I am starting a group, that is kicking off next week, with Melissa Coleman, who was instrumental in setting up the wearable lab V2 in Rotterdam.