(Wasn’t sure if we had to post and where – IVLE or here, I posted on IVLE earlier but deleted that – hence a late post!)
Based on Drawing 1 of Week 4 Tools for Creative Practice: Silkscreen Printing,
STORY WORLD:
In the near future, where everything, and everyone is printed, people don specialised, hi-tech screen-printing gowns and conform to a printing constitution written by The Assembly of Silk-Screen printing (ASS): only a specific design of elites and premium technology can be printed. Every individual is marked with unique identification code screen-printed on with permanent ink. Beyond their abilities to communicate verbally, they can communicate across time and space by scribbling on their individual silkscreens with fingers.
The story world I’ve been thinking of is borne of the licentious mixing together of ideas from several texts — media theory, philosophy, literature, glitch — perhaps literalising or abstracting concepts, transmorgifying the inane and the disparate into a fibre-optic bouquet of trashy digital waste.
1. Fleshing out the story world:
Characters: The unknown narrator. And the archaeologist, an unfathomable figure who collects media artefacts of the past. The notion of the archaeologist contains rich associations for me:
“Foucault’s contribution to the archaeology of knowledge and culture was to emphasize it as a methodology for excavating conditions of existence. Archaeology here means digging into the background reasons why a certain object, statement, discourse or, for instance in our case, media apparatus or use habit is able to be born and be picked up and sustain itself in a cultural situation. Kittler builds on Foucault’s ideas and has demanded a more media technological understanding of such archaeological work: such conditions of existence not only are discursive, or institutional, but relate to media networks, as well as scientific discoveries. Kittler wanted to look at technical media in the way Foucault was reading archives of books and written documents. What if we start to read media technology in the same way that Foucault exposed cultural practices and discourses to an analysis of how they were born and made possible in certain settings?” Jussi Parikka, What is Media Archeology? (Cambridge: Polity Press, 2012), 6.
Important technology/antecedent technology: The world exists in a time not too distant from the present but also steeped heavily in technologies of the past. Important technologies would be antecedent technologies — camera obscuras, magic lanterns, phantasmagorias, panoramas, daguerreotypes, thaumatropcs, anorthoscopes, phenakistoscopes, praxinoscopes, mutoscopes, stereoscopes, screens, cameras, projectors, cathode ray tube televisions, flat screen televisions, monitors, central processing units…
Map:
2. Genre:
Speculative utopic/dystopic cyborg erotica
3. Written story:
Membrana excavatory: The churning of topsoil, unsheathing of earth, I watch helplessly as you prise apart crevices to enter loam, consider the blinding intimacies of striae left gaping-exposed. Screens blackened and dead are lodged within mounds of dirt – obtuse, blocky forms constituting slurried soilscapes, dioramas of asphalt chunks and deflection coils. The cathode ray tubes here no longer hum or crackle: From black box to black box, it is the way of things – the yield of the historical, the amalgamate of frenetic versioning, of in-built obsolescence, of mythic technocultures laid to rest.
The archaeologist bears their head low, the ocularity of the present moment offers nothing to provide comfort or respite. Plastic spires that jut and heave, metallo-oxidized air resting thick within alveoli… Nomenclature is a slippery thing. The garden of digital vastness, the phantom of the analogue cinematic, graveyards for scanlined images that no longer glow. The electronics beg for you to notice the things they have meticulously hidden. [1] Who else will cradle bouquets of cathodes and anodes? Florets of phosphor vibrating, mycelial network of coagulated electromagnetic waves, only the intrepid archeologist pushes their sticky bodies through.
The archaeologist collects, and that afternoon, archival was the only means of mitigating this fever. [2] Nothing so saturated as the constituent cybernetic data bodies intermingling, cloud storage servers scattering across landscapes emptied of message.
[1] “Yet to hide a passion totally (or even to hide, more simply, its excess) is inconceivable: not because the human subject is too weak, but because passion is in essence made to be seen: the hiding must be seen: I want you to know that I am hiding something from you, that is the active paradox I must resolve: at one and the same time it must be known and not known: I want you to know that I don’t want to show my feelings: that is the message I address to the other. Larvatus prodeo: I advance pointing to my mask: I set a mask upon my passion, but with a discreet ( and wily) finger I designate this mask.” Roland Barthes, A Lover’s Discourse: Fragments, trans. Richard Howard (New York: Hill and Wang, 1978), 42-43.
[2] “It is to burn with a passion. It is never to rest, interminably, from searching for the archive right where it slips away. It is to run after the archive, even if there’s too much of it, right where something in it anarchives itself. It is to have a compulsive, repetitive, and nostalgic desire for the archive, an irrepressible desire to return to the origin, a homesickness, a nostalgia for the return to the most archaic place of absolute commencement. No desire, no passion, no drive, no compulsion, indeed no repetition compulsion, no “mal-de” can arise for a person who is not already, in one way or another, en mal d’archive. Now the principle of the internal division of the Freudian gesture, and thus of the Freudian concept of the archive, is that at the moment when psychoanalysis formalizes the conditions of archive fever and of the archive itself, it repeats the very thing it resists or which it makes its object.” Jacques Derrida, Archive fever: A Freudian impression, (University of Chicago Press, 1996), 57.
Creative practice studied: Experimental filmmaking
In looking at a creative practice, I was recently able to meet artist an who creates darkly beautiful experimental films through the rather laborious processes of scratching into, manipulating, and creating physical materials and artefacts, from film strips to tiles. A trailer of his screened works may be seen in the video above. He would animate these objects through stop motion techniques to create sensuous, ethereal images (which are sometimes unnerving), as seen from the excerpts in the video above.
As each work depends highly on the manipulation of the material that the artist has decided to focus upon for that specific video, the tools used tended to vary quite a bit.
Some tools used:
Film strips, scratched
with various sharp objects, later illuminated
by candle, documented with
a camera;
also by scanner.
As you may note of the other tools not listed here but included in my illustration, these objects are eclectic and depend on the video work, whether it was a ‘film-scratching’ type of work, as he called it, or one of his newer works which animated other materials that are not included in the above trailer. Perhaps the most consistent were tools for visual documentation: scanners and cameras.
I illustrated some of these tools, and more, below…
Thinking of how I could create wearable tools for an experimental filmmaker made me think of how various tools (both useless and useful) could be embedded into various areas of the body, based on the sturdiness of the body part as a working surface and the mobility. Also, how cool (or uncool) a certain tool may look at a certain area of the body when worn. As such, I came up with two ideas of varying usefulness.
Ideas for wearable tools:
Knee Scanner
Stop Motion Wristguard
Knee Scanner
The knee scanner does exactly as it is titled — a scanbed that may be fitted to the lower thigh area, right above the knee. This way, when the user is knelt down, the raised knee allows the lower thigh area to serve as a sturdy surface for scanning materials. Rather useful for on-the-go finding of textures or interesting objects to use within video works.
As such, textures and objects may be digitised into an image file, sent via wifi or bluetooth to a pre-connected computer. This would be perfect for the capturing of textures and surfaces for stop motion-animated images that could coalesce into another video work for the artist.
Also, since the artist conducts extensive research into Singapore’s film history, perhaps the knee scanner may help during research, when an interesting few pages of material have been found and a high-quality scan of these images are needed.
I created a model of the knee scanner to demonstrate how it looks and fits over the knee — I used some shiny plastic to stand-in for the glass of the scanbed. While I wasn’t able to replicate successfully the look of the actual materials that it should have been made of, it visually demonstrates the fit and the general placement of the wearable tool, hopefully serving as a useful visual for understanding the device.
Stop Motion Wristguard
Now, for a less-than-useful device that rests at the intersection of (questionably) cool and impractical. Inspired by 90s’ anime, the Stop Motion Wristguard is wearable which allows one to lay out all of one’s stop motion frames/objects in a sequential order — a mobile working surface that keeps your animation frames organised and within reach.
My prototype demonstrates the laying out of these frames over the surface, attached to the wrist for ease of access and the ability to grab one’s tools with dramatic flourish. The prototype demonstrates how the wearable works, with objects laid out, as well as one of its functions (more accurately, one of its embellishments).
Meant to dramatically swoop open, the Stop Motion Wristguard may expand its surface for more items to be laid out. While the mechanism isn’t quite perfected in the prototype, the hinging of these two wings were demonstrated to show their presence in a final iteration of a Wristguard, were it to be made.
Since I was always at cafes, I decided to chat with a couple of baristas to understand more about them and their tools.
I drew out 5 tools the baristas used that stood out to me: – Espresso Machine (to brew espresso shots) – Portafilter (attaches to the espresso machines) – Coffee Tamper (to tamper – press the grounded coffee powder into the portafilter basket) – Milk Pitcher (to pour in the milk for lattes and to create latte art) – Coffee Grinder (to grind coffee beans)
Idea 1: Latte Art Finger Stylus
I wouldn’t say the baristas at the cafe had a problem with making latte art (since that’s what they were trained for after all), but I came up with this idea of having a portable, wearable and possibly easier way to make latte art since it capitalizes on the intuitive gesture. The small well with a spring milk frother has an electric heater (to heat the milk) rests on your wrist and the contours of your hand allows the foam to flow downwards easily. Ideally, the nozzle would be made of stainless steel – like the ones on the Espresso machine and also the material of the milk pitcher Baristas usually use for latte art.
This contraption could attach a second tube/nozzle on another finger so that Baristas could use two fingers to make interweaving patterns. Alternative to milk, perhaps chocolate would do well with this invention too.
Prototype 2: Portable Cafe BGM Hats
One of the baristas I talked to in a cafe briefly chuckled about how he became a barista because he wanted to look cool. I used this thought along with the idea of how important cafe music was to set an ambiance. This Cafe Background Music (BGM) Hat helps baristas bring around a cool aura by playing music directly from the hat. It connects to an application via Bluetooth that comes with a playlist of poetry or chill music.
I tested this by attaching my wireless Bluetooth-connected earpieces to a hat (only on the outside for a prototype) and blasted music. (my images have been corrupted and hence I currently don’t have any for them) It worked but it wasn’t loud enough and if I had to work on this further, I would look into making small speakers light enough not to weigh down the hat.
Drawing 1: A practical solution for those on-the-go but want to print shirt with their very own design as and when they desire. Wearable studio consists of a set of t-shirt for larger tools (flat surface and silkscreen) and shorts for smaller, lighter equipment (paint etc). Mesh is used in place of fabric to allow users to find their equipment easily.
Top (Front)Top (Front)Top (Front)Top (Back)Bottoms
With inspirations from silkscreen printing machines, perhaps an added feature could be having more than one printing surface and silkscreens. Not only can users speed up the printing and drying process if multiple shirts are involved, users can perhaps use different silkscreens for different designs and colours.
Drawing 2: (Absurd) A “sticky” jumpsuit that literally sticks to anything of any weight using suction technology. Users can “stick” tools for screen-printing onto their body, even food if they happen to be hungry during screen-printing session. Suction technology works by creating vacuum condition between item and the jumpsuit. Users can sit down using removable butt pads.
Touché – Wearable pods for musicians, artists, and performers
Practice it works in
Designed by Marie Tricaud for performers, musicians and listeners, Touché is a set of wearable pods that is intended to be used in any situation that features live music, such as festivals or musical performances. It thus has a particular focus on the artistic experience of music and sound, allowing those with a musical practice to be more sensitive to the sense of touch, with aims of creating an “immersive synaesthetic concert”.
Its specific use
Allowing musicians to compose and perform live music as temperature and vibrations on the user’s skin via wearable modules, Touché consists of multiple plastic pods that are meant to be attached to bare skin. They may be removed and inserted within a console that allows the musician/performer to program each pod to emit a specific sequence of stimuli.
Mobility
Given that these are small pods attached to skin, the design affords for a great deal of mobility as it does not inhibit movement and seems to be as unobstrusive to movement as possible. Considering the contexts it is meant to be utilised in (music festivals, etc), it is likely that a lot of movement will take place, necessitating such a design. It is mentioned that the current working prototype relies on wires to connect the pads, which might limit mobility, while the designer is working towards a wireless version.
Utility vs Fashionability
While not particularly subtle or ‘invisible’, as some wearables attempt to be, the pods and the console are aesthetically very cohesive – blocky, colourful – and work in tandem with the playful nature of the project. In terms of utility, it plays a more artistic function, and seems to have a good balance of both utility and aesthetic.
Vibeat devices – For the deaf to experience music through touch
Practice it works in
Designed by Liron Gino for deaf and hard-of-hearing people to listen to music, this set of devices also has a particular focus on the experience on sound and its tactile nature, though geared more towards the experience of music for the deaf.
Its specific use
Featuring a set of devices that include a bracelet, a necklace, and a pin, all with circular modules attached, the Vibeat collection is able to translate tracks into vibrations, connecting to a music source via Bluetooth, with different units reacting to the differing ranges and frequencies within notes to generate vibrations at differing rates. Users are thus able to experience music through touch alone.
Mobility
As the devices are rather elegantly designed as unobtrusive accessories, such as a necklace or bracelet, mobility seems to be retained by the user even through the use of the device.
Utility vs Fashionability
Similar to the above example, it seems to also serve utility in the sense that it is able to modulate musical experience, though for a different community. Through rather sleek design, it is able to maintain a good balance between utility and aesthetic.
The shirt is made by Vollebak, a start-up specialised in adventure gear, suggesting it is intended for adventure athletes like ultramarathon runners. However, I imagine anyone who simply enjoys outdoor adventures could also reap the same benefits when wearing Nano Meter 555 Midlayer.
Specific Use
The shirt, made of sophisticated heat-retaining fabric and lock-down rubberised zip, is intended to keep users warm when outdoors, especially during nightfall. Being long-sleeved also indicates that it offers sun-protection during the day.
An added use is related to day and night recognition. Its highly visible colour – our human eye is most sensitive to wavelength of light of 555 nanometres – can enhance users’ visibility in the day; its retroreflective system of Motion Capture Markers allows three-dimensional human motions to be accurately perceived, even with the least amount of light available.
Mobility
The high stretch top does not restrict physical movement given its flexible, lightweight fleece material, seamless side panels and active stitching technology. Even the Motion Capture Markers are lightweight, flexible and barely detectable by touch: they are microscopic glass beads embedded into the fabric, rather than bulky glass discs weighing down on the shirt and user.
Utility vs Fashionability
The overall aesthetics of Nano Meter 555 Midlayer is similar to a typical running top; the Motion Capture Markers simply act as subtle matte design details. The shirt should appeal to anyone who is drawn to active or tech wear, whether or not they are actually outdoor adventurers. It is also in a vibrant green colour; in this case, perhaps, the aesthetic appeal is inherent in the recognition technology – the colour green with specific wavelength of light of 555 nanometres.
However, given its highly specialised use, I would say that its utility as an adventure gear is prioritised over fashionability especially for professional outdoor adventurers, whose safety might be compromised if not for proper heat-retaining gear and recognition technology if they are lost in the wilderness.
Launched as part of a line of activated yoga apparel, the Nadi X tights with its accompanying app is intended for all yoga enthusiasts (men and women), especially beginners and amateurs who are learning yoga.
Specific Use
The haptic technology integrated into the tights offer guidance to yogis through vibration around users’ hips, knees and ankles, correcting any misalignment in posture when detected by embedded accelerometers. The pants, along with the Nadi X app, act in place of a yoga teacher and being physically present in a yoga lesson.
Mobility
The Pulse device, which activates the guidance technology, connects to its host plate behind the left knee. While it might not physically prevent yogis from getting into positions, its presence might cause discomfort to users if they happen to press onto it while posing. Otherwise, the tights are lightweight and highly stretchable given their four-way stretch fabric with flat seams, allowing for greater freedom in movement. Mobility is also not obstructed by the accelerometers and haptic motors which are integrated into the fabric itself rather than as external devices like the Pulse.
Utility vs Fashionability
The Nadi X tights are aesthetically similar to other yoga pants, all of which have a sleek, skin-tight appearance. They do not necessarily stand out as unique fashion necessities, even if the line of yoga apparel offers a variety of designs for both men and women. Without the Pulse device, they function and appear as regular workout pants; whereas the accelerometers and haptic motors allow the pants to function as a wearable tool, offering a highly personalised and private yoga learning experience.
These durable plastic rings work with an application to turn any surface into a soundboard on-the-go. The sensor at the bottom of the rings detect the color of the surface it has been tapped on and allows you to assign a sound (on the application) to it. The application can register up to 10 rings at a time (full two hands! you can play the piano!).
The rings can also be attached to things other than your fingers. For example, toes or drum sticks (e.g. to create a makeshift drumset) can work as well.
Practice it works in:
It would suit music producers on the go as a portable MIDI device; but it can also be used for many situations like music education – especially suitable for beginners and children. The company also has an open source code for the application online so it can be modified into many things as well. One suggestion from the company that I thought was extremely useful was in guiding colorblind individuals.
Mobility:
Extremely mobile since they are small, portable, lightweight and robust. They also come with a micro-USB charging port, which is a wire that is very commonly used by other devices like Android phones.
Utility Vs Fashionability:
The company has kept the design very simplistic so that nothing gets in the way when in use. The default color for sale stated by the company is black, however they have used many different colors in their demos and are apparently intending to release those for sale as well eventually. I also liked that the edges of the ring are curved, making it look more ‘friendly’.
Sensoria Fitness Socks and Anklet
Promotional Picture found on their websiteSensoria Fitness Socks + Anklet drawing
Smart Socks designed specially for Runners
These smart socks are fitted with textile sensors that record data runners might want to pay attention to: such as a step counter, speed, calories burnt and speed. Interestingly, it also is able to identify patterns in movement that might cause problems like sport-related injury due to incorrect running form.
Practice it works in:
These socks are catered to the serious runner (professionals) but I can see it being used in situations such as physiotherapy since it helps keep a keen eye on the specific muscle movements and other factors that might influence the therapy.
Mobility:
Due to the nature of the textile sensors that they use for these fitness socks, the sock looks and feels almost exactly like a normal sock. Hence, they are indeed very form fitting and mobile. Perhaps the only thing that might get in the way would be the anklet as it is slightly bulging and is positioned at the ankle – where there would be a bend.
Utility Vs Fashionability:
As mentioned in the previous point, these socks do not have any unnecessarily bulky parts and are designed in a chic grey ribbed fabric (typical of sports socks). The anklet is also very minimalistic in pure white. Sensoria even includes a possibility of covering the anklet by folding the sock over it – further increasing the appearance of the smart sock. This is all done while not compromising the effectiveness of the product itself. They transfer the ‘bulky’ things like screen displays, etc, by bluetooth transferring it to a mobile application that will display all the data from your smart phone.