Wearable Computing: a Study in Abstraction thru Design to Implementation of Light in Dance via EL Wire/Arduino Human-Computer Interaction (original) (raw)

Responsive e-textiles for dance

2013

The development of e-textiles requires a multidisciplinary approach, utilising a variety of technical and specialist disciplinary inputs. Such collaborative processes require a well focused coordinated approach to draw together both technical and aesthetic development considerations. This paper focuses on how such an approach was embraced for the development of an e-textiles project for interactive dance performance. The project team consisting of researchers from the Textile & Design lab (TDL) at AUT University worked closely with New Zealand Dance Company to create a smart dance costume that visually responded to both the emotive music and the physical movement of the performer. An iterative process of experimentation, analysis, prototyping, testing and review was undertaken by the research team. Importantly input and feedback from the costume and lighting designers, dancers and choreographer was pivotal to creating an aesthetic that responds naturally and in one with performer and audio for the piece. As a result the work took on a more creatively adventurous response than that of a traditional technical problem solving approach of embedding existing computer functionality and thus demonstrates the potential of expressive e-textiles for further development and even commercial possibilities.

Celeritas — A Wearable Sensor System for Interactive Digital Dance Theatre

Celeritas is an artistic/scientific collaboration between the Tyndall National Institute (Cork), the Interaction Design Centre in Limerick, Cindy Cummings (Dance Artist, Cork) and Todd Winkler (Composer and Digital Artist, Brown University, USA). Research Teams at the Tyndall Institute are developing wireless sensor network nodes, also known as motes, and associated miniaturized sensors. Motes can be applied in many different domains, ranging from medical and environmental monitoring to everyday applications in ubiquitous computing. This project aims to apply Tyndall’s sensor system to create a wireless dance costume for audio/visual performance using inertial sensor monitoring technology. Dancers could be regarded as experts on human movement, producing accurate and expressive actions that provide a rich testing ground for human-computer interaction. The collaboration will push the boundaries of both artistic practice and wearable mote technology, as we will adapt and apply the Tyndall mote platform in a prototype body suit embedded with sensors. Software developed by the Interaction Design Centre and Todd Winkler will then convert the movement information detected by the sensors into computer generated sounds and processed video images. This mapping allows the dancer (Cummings) to fuse aspects of the physical body with the extended possibilities of the electronic body. This paper presents the hardware platform that has been developed for the Celeritas project. The system is based around the Tyndall 25mm Wireless Inertial Measurement Unit (WIMU) node. The WIMU system is designed for integration into a body suit, which is to be worn by the dancer, whose movements are extracted from the wearable network of sensors and processed by a high-level software system that connects to the dancer wirelessly.

Blinklifier: A Case Study for Prototyping Wearable Computers in Technology and Visual Arts

Marcus, Aaron (Ed.); Design, User Experience, and Usability. User Experience in Novel Technological Environments , 2013

""Abstract. The Cybernetic Serendipity exhibition in 1968 [1] and the Computer in Art book in 1971[2] represent some remarkable initial approaches in collaborative art-technology projects. Over the years, projects have evolved through thinking influenced by other areas such as psychology, sociology and philosophy. Much of art theory and practice is exploratory and its outcomes may be challenging. The advent of novel materials and increasingly evolution of smaller and more affordable electronic components made it possible for anyone to make their own wearable devices. Moreover, people with different skills get together and share their knowledge to create new products. This work describes our prototyping process for developing wearable computers in multidisciplinary teams. In this paper, we present the implementation of our collaborative and iterative prototyping process in the development of Blinklifier, an art and technology project that amplifies human expressions and creates a feedback loop with the wearer. Keywords: Wearable Computers, Feedback Loops, Blank Model Prototyping. ""

The design of technological interfaces for interactions between music, dance and garment movements

2019

The present work explores the design of multimodal interfaces that capture hand gestures and promote interactions between dance, music and wearable technologic garment. We aim at studying the design strategies used to interface music to other domains of the performance, in special, the application of wearable technologies into music performances. The project describes the development of the music and wearable interfaces, which comprise a hand interface and a mechanical actuator attached to the dancer’s dress. The performance resulted from the study is inspired in the butoh dances and attempts to add a technological poetic as music-dance-wearable interactions to the traditional dialogue between dance and music.

Dance-inspired technology, technology-inspired dance

2012

ABSTRACT The design of interactive dance is a challenging endeavor because both dance and computing are in themselves full of complexity, thus to create a cohesive union of the two involves much trial and error and a mutual disciplinary understanding. Since interactive dance is a performing art, technologists working as designers must consider how all of the parts–choreography, media, interactivity–are integrated to inform the overall gestalt and intent of the piece.

Altering Self-Perception Through Interactive Light Emitting Textiles

NordiCHI’20, 2020

AURA is a speculative design project that criticizes the social problem, body image obsession, which is influenced by consumer culture, social media etc. In this regard, AURA consists of three woven light emitting interactive textile artifacts which aims to alter people's perception of self, which is limited only to a material level, by creating a fictional spatial experience based on the stimulation of the sense of movement. The project asks 1) what if there would be no mirror or screen to reflect the body image but textiles that emit light according to the existence of body and 2) how this would influence the perception of self. By asking these questions, the project created a space for corporeal experience where individuals are able to experience their body movements as sensory beings and in return receive color and brightness changes corresponding to the existence of their bodies. The project is discussed from the viewpoint of phenomenology and creates the interactive sensory experience in relation to speculative design through use of electronics i.e. sensors, microcontrollers and with digital light elements to investigate the pointed-out issue. CCS CONCEPTS • Human-centered computing → Interaction design.