Cyborg Arena hosted by Régine Debatty

Or are humans better after all?

On 11 April the STRP Expo+ programme showcases artists who use technology to augment their bodies. Cyborg artists, so to speak. What is the result of this marriage between artist and machine? Artist Joan Healy uses her work Cyberskin to playfully show that the interface we call man could seriously stand some improvement. Performers including Suguru Goto and Eboman demonstrate how the use of body extensions offers extraordinary and revolutionary possibilities. And not only on stage but also through interaction with the audience, in flesh and blood and as web avatars. In Daan Roosegaarde’s work man undergoes a symbiosis with the architecture in which he finds himself. A space that senses where you want to go: just how far do we want to take this?

Moderator Regine Debatty (from www.we-make-money-not-art.com) leads the discussion with the cyborg artists in hopes of finding out what merging man and machine means to art. If you ask Professor Levy, author of Love and Sex with Robots, we are ready to engage in an intimate relationship. But the question is, is there a potential for true love? Or will we simply light up a cigarette afterwards and sigh, “So, humans are better after all”?

Moderator: Regine Debatty
Panel participants: Suguru Goto, Joan Healy, Eboman, Daan Roosegaarde

Artist talks:
14:00-15:00
Professor David Levy (Love and sex with robots)

15:00-16:00
Interview Lucas Maassen and dr. Chengge Jiao

18.30-19.30
Cyborg Arena discussion hosted by Régine Debatty

Film:
16:30-17:00
SubmarineChannel talk

17:00-17:30
Molotov Alva (documentary in Second Life)

Performance:
17:30-18:15
Suguru Goto (bodysuits, music and dance)

20:00-21:00
Yann Marussich (Bleu Remix, performance with Stefan Robbers aka Terrace (music)

20:30-21:00
Eboman (Samplemadness).

About Regine Debatty (we make money not art)

Régine Debatty writes about the intersection between art, design and technology on www.we-make-money-not-art.com. She also writes for various design and art magazines. She curates art shows around the world and lectures on how artists, hackers and interaction designers both use and abuse technology.
The blog we-make-money-not-art.com features reviews and stories about international art exhibitions, architecture biennales, digital culture conferences and design festivals.
We-make-money-not-art.com won a Webby Award for “Best personal/cultural blog” in 2006 and 2007 and a Media Guardian Innovation nomination in 2008 for “Best Independent Blog.”

As host of this year’s Cyborg Arena programme, Régine will use her inimitably charming (and critical) interviewing skills to talk with our guests about their work.

Website: we-make-money-not-art.com

 The Sound Advice Project is not just cool looking but also packed with good intentions. The shape represents the waveform of a message to remind kids to stay away from drugs but you can also customize your own message.

[via]

Diana Eng just came out with a new book, Fashion Geek, with a reference to Project Runway next to the byline, of course.

Here is the book description:

“High fashion goes digital with Diana Eng! In Fashion Geek, Diana pioneers an emerging generation of tech savvy women crafters (or would-be crafters) who demand stylish yet practical designs that are chemically charged. Now you can take simple, girly items such as a hoodie or scarf and transform them into must-have techno-accessories through approachable, step-by-step directions. Full-color photos make it easy to see how every project comes to life.”

As its title suggests, the issue explores textiles and electronics and asks, ‘what is the future of wearable technologies’? The journal was launched in the framework of exhibition of interactive art, clothing and design for the future: ‘Coded Cloth, New Media Textile.’

The content of the magazine can hardly be more appealing:

* CODING CLOTH - Dr. Melinda Rackham
* CUDDLY CYBORGS - Angella Mackey
* TIME FOR SOCIAL NETWORKING TO MOVE BACK ONTO THE BODY - Joanna Berzowska
* FEMME FASHION TECH - Alison Lewis
* FASHIONABLE WEARABLES AS AESTHETIC INTERACTION INTERFACES - Sabine Seymour
* A 21ST CENTURY REVOLUTION IN ART, FASHION & DESIGN - Coded Cloth Exhibition
* TöKU TIKANGA — MY CULTURE - Gina Irish
* THE CULTURAL ECONOMY — ARS ELECTRONICA 2008 - Herb Enns
* EMBRACING OUR SOUNDS - Sarah Last
* PORTABLE PERSPECTIVES - Fee Plumley
* SYNAPSE ART SCIENCE RESIDENCY RECIPIENTS 2008/09 - Vicki Sowry
* HAPTASTIC TECH - Warren Veljanovski
* WE ALL PLAY A PART - Advocacy Campaign

Via Switch.

The book, Fashioning Technology: A DIY Intro to Smart Crafting, is written by artist, roboticist, and teacher Syuzi Pakhchyan, and apparently the projects are easy enough (and the instructions clear enough) that there’s no need for any prior tech or electronics knowledge. Here are some of the fun and useful projects you’ll encounter in the book:

* Solar Crawler: magically translating the sun’s invisible rays into song, this pull-toy will fascinate both children and adults alike.

* Space Invaders Tote: featuring an ambient light signal, this bag can remarkably alert you when you receive an incoming phone call.

* Photochromic Blinds: supplementing conventional inks with photochromic inks create patterns that appear and disappear when a UV light source, such as the sun, is removed, giving your blinds a life of their own!

Via PSFK.

“Over the past three years artist/designer Professor Helen Storey, London College of Fashion and scientist Professor Tony Ryan OBE from The University of Sheffield have collaborated to create real solutions for a more sustainable world.

Opera Coat, photography credit Nick Knight

Storey and Ryan first investigated the possibilities behind packaging that would ‘know when it was empty and disappear’. At first the world of science was understandably sceptical of the notion of a ‘bottle with consciousness’ but through the vehicle of fashion, a Trojan horse was created to deliver the concept in an unexpected form.

The Wonderland exhibition focuses therefore on Disappearing Dresses and Dissolving Bottles - both provocations to think differently about our over use of diminishing resources. Plastic is actually precious – it is buried sunshine, and will soon be gone.

The Disappearing Dresses are made from textiles developed by Trish Belford and team at Interface, University of Ulster. They dissolve on contact with water. The dresses are hung from scaffolds and gradually lowered into giant goldfish bowls of water. Each dress ‘behaves’ differently as it is submerged. The dissolving material can create vibrant underwater fireworks that are magnified by the giant spherical bowls. Using fashion as a metaphor, the dresses symbolise our disappearing world and have triggered a broad dialogue with diverse audiences around shared habits of consumption and waste.

The focus of their original work - the Dissolving Bottles - is an exploration of intelligent packaging. Once finished with, the bottles dissolve under hot water to form a gel in which seeds, which are dispensed from the cap, can be grown. The plastic bottle has vanished, and flowers have taken its’ place. The concept could revolutionise the packaging industry and aims to highlight issues surrounding waste plastic.

Wonderland opened as an exhibition at the London College of Fashion in January 2008 and then toured to Sheffield in June in a city-wide event, where the fashion symbolism was not lost on the vast audience at Meadowhall Shopping Centre as they began to question their fashion and environmental habits in response to the work. The project then went on to Belfast - It has now been seen by an estimated 11 million people.

In order to elucidate the collision of fashion and science in Wonderland the model Alice Dellal was shot by Nick Knight in a film short showing the dissolve of one of the outfits disappearing from her body in seconds.

Ebru Kurbak and Mahir Yavuz’ NewsKnitter project comments on the manipulation by the media in Turkey. Live data streams of information are used as an unpredictable base for pattern generation. Web-based information is either gathered from the Turkish daily political news or according to a theme that pervades global news. The data is analyzed, filtered and converted into a unique visual pattern for a knitted sweater. The system consists of two different types of software: one receives the content from live feeds while the other converts it into visual patterns, a fully computerized flat knitting machine produces the final output. The pieces of clothing are not for sale right now but the designers are working on that.

Radiolaria by Nervous Systems

The jewelry designed by Jessica Rosenkrantz and Jesse Louis-Rosenberg of Nervous System, on the other hand, is up for grab. The design is both heavily tech-mediated and inspired by organic forms.

Using two custom-made computer applications –one mimics branching dendrites, and the other the movement of particles–the designers generate forms for bracelets, pendants, and earrings.

The Radiolaria line, for example, is named after the plant cells whose structure was a source of inspiration for Buckminster Fuller. Jewelry from the Dendrite collection takes its cue from the aggregate growth of coral. The Dendrite algorithm both controls the aggregation and allows consumers to participate in the design process

1 of 1 studio tissue collection

Way more beautiful in real than on pictures, 1 of 1 design studio creates one-of-a-kind, made to order apparel. For The Tissue Collection, designer Cait Reas worked together with C.E.B. Reas. The artist generated the images by defining processes and translating them into images with code and software. Cait used a digital textile printing technique to apply the patterns to fabric.

The list of projects exhibited is online.

Here’s a brief outline (the full document is available here):

Exhibition Curator: Elisha Buttler/FORM (elisha@form.net.au)
Exhibition Guest Curator: Kevin Murray (change@kitezh.com) Exhibition venue and dates: April-June 2010, Midland Atelier, Perth

Can jewellery function as an instrument of change?

Jewellery is expanding in scope. Traditionally, the production of a beautiful adornment served as a marker of individual status. Emerging trends in jewellery and related object design are beginning to challenge many customary ideas of jewellery. The creative power of the jeweller is extending beyond the bench to the world which the object will inhabit. This includes jewellery as a functional device, an agent of social change and a way of bringing people together. These trends provide the basis of a FORM exhibition in development for 2010.

Concepts such as ‘functionality’ and ‘change’ are open to multiple interpretations. However for the initial purposes of this exhibition, they have been grouped into two key categories:

1. Function and Technology

This category includes jewellers and related designers who create products possessing tangible functions or new technologies which aim to deploy specific benefits to individuals and/or the broader community. Emphasis will be placed on designs that point to long-term benefits, rather than one-off, largely conceptual pieces.

2. Sociology and Symbolism

This category includes the less tangible elements of contemporary jewellery which have potential to alter perspectives and promote action through their symbolic connotations. Like the Function and Technology category, the underlying themes here are designs which focus on benefits and heightened social awareness for individuals and the broader community.

The exhibition will explore jewellery that fits into either (or both) of the above groups, while focusing on the varied levels of ‘change’ jewellery can wield; namely in the areas of health, technology, sciences and community.

This is a relatively new area of development but one which possesses immense potential for groundbreaking innovation and cross-disciplinary, cross-industry advancement. A central aim of the exhibition will be to highlight this potential for innovation and cross-sector collaboration through jewellery design, and the strategies, investment and other conditions required to foster these new directions.

Also key to the exhibition will be examinations of the crossovers between the two categories, and the relationships between aesthetics and practicality.

Five collections by Ying Gao that tell a story about fashion in five original ways are presented at [plug.in], in her first solo exhibition outside of Canada.

Living Pod, 2008 Foto: Dominique Lafond

The two interactive works Walking City and Living Pod physically respond to the stimuli of their immediate surroundings. Inspired by the immaterial qualities of air and light, their contours dissolve into a multiplicity of aesthetic forms. The intriguing variety of physical shapes emerges from the Chinese art of folding paper, giving a poetic aesthetic form to the ethereal and intangible.

Three further works are based on the unconventional application of software. «Indice de l’indifférence» used the data of an online opinion survey to modify the pattern, angle and width of a man’s shirt according to the indifference of voters. In «(uni)forms», a morphing software rendered new uniforms within seconds – without considering their social implications. «Swiss quality 1» applies software to playfully engage with cultural characteristics that were striking to the artist during her trip to Switzerland, whereby the aesthetic form is inspired by the textile materiality of the dresses.

Indice de l’indifférence, 2006 Foto: Dominique Lafond

However light and playful in their physical appearance, Ying Gao’s garments reflect transformations in the physical and social environment, and challenge contemporary conventions within the fashion system. The dynamics emerging from Ying Gao’s textile creations, their playful and alluring lightness and fleetingness, articulate an intriguing aesthetic language that gracefully tells stories about fashion in fascinating, imaginative ways.

Curated by Céline Studer, in collaboration with Doris Gassert.
With thanks to Sabine Seymour.

On view at [plug.in], Basel, from 01/17/09 to 03/01/09.

*Deadline for applications: December 7th 2008*

To download your application form please follow this link:
http://files.v2.nl/portal/Applicationform_AIR.rtf

Background
V2_Lab has an extensive history in the field of wearable technology. In
recent years, we have carried out various aRt&D projects in
collaboration with various artists and universities. For example, we
developed soft, wearable interactive objects with Thecla Schiphorst
during Soft(n). We recently took these developments further in the
direction of fashion and wearable technology with Di Mainstone?s
Sharewear. In these projects, we combine knowledge from various domains
to produce surprising or critical artistic statements. V2_ is seeking to
further investigate the combination of fashion and technology by means
of an experimental residency.

Introduction
A true revolution is currently under way in the form of personal
fabrication. Wikipedia is already talking about ?fabbers? ? a new word
for the emerging miniature factories. Around the world, initiatives like
the Fab Labs and a lively DIY community bear witness to this
development. This way of working is also increasing in popularity in the
area of wearable electronics.

V2_ Lab sees a great need for simple solutions for wearable electronics
people can make themselves with a bit of know-how. The proliferation of
workshops in things like Arduino and crafting and the success of V2_?s
workshops in Shanghai and Cluj, Romania, seem to support this. As a lab,
we believe it is important for artists and designers to gain knowledge
and hands-on experience with the technical and conceptual possibilities
and impossibilities of these technologies in a professional environment.

At the same time, we wish to combine our creative powers to develop
innovative materials that will enable a far-reaching integration of
electronics with their textile carriers. If this technology finds its
way to artists and designers, it will certainly have an impact on future
wearable projects.

Goal of the residency
The research and development part of the residency will focus on the
development of flexible, textile-integrated circuit boards and
electronic components, manufactured from easily accessible materials. We
wish to involve the artist in this research at the earliest possible
stage, so that the accumulated knowledge will remain easily
transferable. This residency is also geared toward achieving a
satisfying end result in the form of a visually attractive working
prototype.

This residency is relevant at the artistic level because making low-tech
materials and techniques available will enable a much larger community
to develop wearables.

Technology and way of working
The artist will be responsible for the artistic theme, design of the
wearable, and realization of the prototype; he or she will receive
support from the designers and developers at V2_ Lab. In collaboration
with V2_, he or she will develop innovative materials and applications
that will help to realize the goal of creating a working prototype in
which the technology and the textile medium integrate into soft and
flexible circuitry. We will work with DIY and crafting technologies as
well as with rapid prototyping machines.
We highly value convincing design. The integration of technology and
craft, however, is part of ongoing research at V2_, so the technological
aspects may keep an experimental character. The final result will be
presented to the public at one of V2_?s events.

Team profiles
The artist will:
* be an artist/developer/designer having an affinity with textiles.
* be innovative in his/her field and wish to experiment with the
aforementioned technologies, and
* preferably have basic knowledge of electronics, or at least have
experience working in a multidisciplinary team.

The experts at V2_ Lab will:
* offer support with software and hardware development,
* work with the artist on research into the integration of textiles and
electronics,
* have knowledge of materials, and
* be familiar with various crafting technologies.

We work with FabLab Utrecht Protospace, which offers
* the use of milling machines, laser cutters and 3D printers, and
* occasional support from a professional.

*V2_Lab offers:*
* an artist?s fee up to a total of ?3,000.00, depending on experience
and activities,
* free lodging in Rotterdam, and
* travel to and from Rotterdam up to ?250.00.

The contact person for this call is Piem Wirtz, piem@v2.nl,
Tel: +31-10-206-7273.

www.v2.nl

The theme invites contributions related to creative and technical production and application processes that challenge and extend conventional methods of working with textiles and their perceived material properties. It aims to give consideration to innovative ways to produce and use textiles, materials and forms that are capable of extending and responding to interaction. The panel will profile fibre and fabric structures that promote expression, communication and enhanced or altered behaviours.

What kind of ’second skins’, artifacts and constructions can be created that support interactions and context awareness?

Where are the hardware, software and material challenges, the ethical concerns, sustainability issues, aesthetic, cultural and activist potential? Themes may include:

- Information gatherers and communicators
- Mobile and personalized communication systems
- Enhanced aesthetics,
- Adoption strategies
- Wireless sensor networks and wearable computing
- Performance measurements in the medical and sports sectors

Entire open call: Download file. (via microrevolt)

LAByrinth/Elaine Young has a jewelry line that lets you encapsulate a DNA of your choice: person, plant or animal. Currently she’s showing her other line of products, HOST, at the show 100% Design Tokyo. All her products utilize and/or take inspiration from biotechnology.

Designer Gwendolyn Huskens
Department Man and Identity at the Design Academy in Eindhoven (NL).

Photo by René van der Hulst

Wearable Forest bio-acoustically interacts with a remote forest. The clothing design allows users interact with distant wildlife through the use of a remote controlled speaker and microphone set up over a network. This gives users an opportunity to feel at one with nature, even while in the midst of a city. This describes a new interactive sound system that creates a sense of unity between users and remote soundscape.

On view at the ACM Multimedia exhibition, October 27 to November 1, 2008 at Science World British Columbia.

MARTIN MARGIELA, AUT-WIN 97-98, PHOTO:MARINA FAUST

The Atopos paper dress collection . Sandra Backlund . Walter Van Beirendonck . Karim Bonnet/Takashi Murakami . Bless . Hugo Boss/James Rosenquist . Sarah Caplan . Jean-Charles de Castelbajac . Michael Cepress . Hussein Chalayan . Ann Demeulemeester . Yiorgos Eleftheriades/Kristina P. . Maurizio Galante . John Galliano . Harry Gordon . Mathew Holloway . Travis Hutchison . Zoe Keramea . Yannis Kyriakides . Bas Kosters . Tao Kurihara pour Comme des Garçons . Helmut Lang . Suzanne Lee . Jean-Paul Lespagnard . Martin Margiela . Irini Miga . Issey Miyake Jum Nakao . Hiroaki Ohya . Angelo Plessas . Dirk Van Saene . Deepak Raja Shrestha . Raf Simons . Reiko Sudo/Nuno . Marcus Tomlinson/Gareth Pugh . Kosuke Tsumura . UEG . A.F. Vandevorst . Junya Watanabe . Robert Wilson . Vassilis Zidianakis.

RRRIPP!! Paper Fashion
From October 11, 2008 to February 2, 2009

Touring of the exhibition
Benaki Museum, Athens: 01.03.2007 – 15.04.2007
Mudam Luxembourg: 11/10/2008 02/02/2009
ModeMuseum Province of Antwerp MoMu: 12/03/2009 16/08/2009
Design Museum London: 10/2009 01/2010