From the previous class discussion, what I gathered so far is that people are interested in the idea of guessing a person’s emotions or feelings.
That got me thinking of a different type of mind reading. For my previous research, it was heavily centered on psychological “mind-reading”, so I thought this time I would research more on “spiritual” mind-reading.
Methods of “spiritual” mind-reading:
- Crystal Ball/Cystallomancy
- Chiromastry/Palmistry/Palm reading
- Tarot/Card reading
- Astrology/Reading the stars
- Tasseography/Tea leaves reading
- Cold reading
To be completely honest, I don’t really believe a crystal ball, some cards, or the wrinkles on your hand can read your future. But, no doubt it is fun to listen to sometimes (and the illustrations on the tarot cards are nice to look at).
What if the environment is the one reading your mind? Using biosensors such as heart rate sensor and body temperature, the environment will try and read your emotions and display its guess through atmospheric visuals and sounds.
Imagine a dark room with a shimmering crystal ball in the centre.
What do I do?
The big issue is that I have to conduct research with people to understand the correlation between people’s heart rate/body temperature with emotions. There are existing studies into these, and I figured that I should conduct my own research to back up those findings.
The next big question is whether I want to have scenarios in the room that will read and analyse their response.
My concern is whether by entering into a space, will the environment of the space or the atmosphere of a space have an effect on the emotions of the participants? Meaning, if I build my space to a certain vibe, then naturally people would come in with the same emotions that I have “created” from the space. Thus, defeating the purpose of my project of reading people’s emotion.
Second technique: Fusing Plastic
The plastics that were gathered from my online shopping can finally be put to good use.
With the idea of creating a serpent texture, I used several white/transparent plastic and fused it together. Adding some blue plastic straws as an accent colour. Also, to add a little texture on top of the plastic, I fused some bubble wrap.
After some experimentation, I realised applying too much heat on bubble wrap will cause it to lose its shape. Also, fusing transparent or similar coloured plastic together, doesn’t have a significant outcome.
Third technique: Water Soluble
This was great fun but also a pain in the ass. I’m still very new to sewing, so I struggled a bit with using the sewing machine.
While stacking the threads on top of each other, the threads tend to stick with each other, causing movements in the bottom layer. While sewing, the original form also changed from its intended idea. (This is probably from my lack of skills in sewing. With a little more practice, I’m sure this wouldn’t be much of a problem.)
I struggled mainly with the sewing machine because the thread kept snapping, which was caused by the lack of threads for the bobbins.
Note: ALWAYS prepare the bobbin before starting to sew.
I’ll be experimenting more with the water-soluble technique soon. Keep a lookout for the update!
Iridescent headpiece – https://youtu.be/-fviuL8D5vQ
Moving headpiece – https://youtu.be/kHIAPvJBf1w
1.0 Introduction to Biomimicry
Biomimicry derives from the Greek words, “bio” which means life and “mimesis” which means to imitate. Biomimicry encourages to look beyond the form or shape of an organism but to look into its “sustainable models constructed from complex natural systems”.
Janine Benyus describes biomimicry in three primary components:
- Nature as model – New solutions to human problems.
- Nature as measure – Ecology/evolution as the standard of what works.
- Nature as mentor – Learn from nature, not take from nature.
“This human thing is about control, whereas the natural thing is about liberation.” – John Bradford
2.0 Examples of Biomimicry
During a walk in the woods, an electrical engineer Georde de Mestral was curious as to why the burdock seeds clung to his coat and his dog. With the burs of a burdock plant as a source of inspiration, he invented the velcro as a fastener in 1941.
2.2 Morpho Butterflies
The structural colouration of insects, such as the Morpho butterflies, is the centre of focus of Researchers in the Advanced Fiber-Based Materials (AFBM) Center of Economic Excellence at Clemson University. They are looking into creating materials that display colour by making use of the interference of white light reflected from several layers within each fibre. This results in an iridescent effect where it changes colour depending on the viewing angle, without the use of harmful dyes.
3.0 Biomimicry in fashion
“A fabric that imitates the microscopic structure of the wing using nanotechnology. This innovation also saves on water and energy used in conventional dyeing.”
3.2 Fastskin Line by Speedo
Inspired from the shark’s sandpaper-like skin that reduces drag, the Fastskin Line by Speedo is the “world’s fastest swimsuit”. Deemed as “technological doping”, it is banned from use in competitive swimming.
To end this off, from my research into biomimicry, I believe there are still so much of the natural environment that we can study from. The fashion industry is the second biggest polluters on the planet, and it is about time we look into sustainable fashion for the future.
“Design is not just about product. Design is about responsibility.”
Mind you, I am no good in any form of art that requires handcrafting. However, I figured instead of running away from it, I should try and build my handcrafting skills by taking Surface Design.
Learning the very first technique: Transfer Printing.
When I first began, I was bewildered by how a crayon drawing on an ordinary paper could possibly be transferred onto a piece of cloth. Boy, was I stunned by the outcome?
With the demonstration by Prof Galina, the transfer of a crayon drawing is easily done by using an iron you can find at home. By layering baking sheets between the iron and the cloth, it protects the iron from getting stained as well as preventing too much direct heat transfer between the crayon drawing and the cloth.
Of course, there are many different ways of layering the pieces. I also tried reversing the sequence where the crayon drawing and cloth position were switched. However, I found that having the crayon drawing above gave a brighter outcome since the heat is applied directly to the crayon.
During the class, we experimented with using a satin material. Since the material wasn’t really stretchable, we see that when too much heat is applied, the materials start to crinkle. Would definitely try to experiment with different materials in the future to see how the outcome would differ and which material would be able to capture the crayon drawing the best.
Also, when working with crayon drawings, it is important to note that the direction of colouring becomes apparent after transfer printing. It is good to be mindful when coming up with a design using crayons.
The other method was using the heat press machine.
For this method, we used the transprint ink. While painting, the colours turned out very dark on the paper. Prof Galina did preempt us that the colours would turn out a lot brighter but boy, did I not expect that drastic difference. I guess the only way is to continuously experiment with the transprint ink to familiarise ourselves with how the actual colour would turn out after heat press.
I tried using the heat press machine for slightly over 30 seconds. However, the colours didn’t turn out as bright as I wanted it to. So, Minjee and Mus who went after me tried a little longer and their colours came out much better.
Note to Self: Use the machine for 45 seconds instead.
I also attempted using small feathers to experiment with indirect printing. However, the outcome didn’t come out as expected. This was probably due to lack of miniature details on the feather. A larger feather would have probably worked better in defining the delicate details.
All in all, it was an interesting experience working with transfer print. I believe material and colours could be further explored and experimented with to find the right combination.
Chromat’s Adrenaline Dress
Designed by: Intel and Becca McCharen
Reacts to “wearer’s stress levels and adrenal function, and change its shape accordingly.”
“The Curie Module sensors allow the dress to respond to both internal and external stressors by growing and shrinking based on the wearer’s biometric response. The dress itself is made of a memory alloy that can restore itself to its original shape after stretching or shrinking.”
Bubelle Emotion Sensing Dress
Exploring the future of “sensitive” garments versus “intelligent”.
“It uses biometric sensing technology that senses your emotions on its inner layer and projects them onto the outer layer. The result is a beautiful dress that illuminates light patterns within its textiles and reacts differently to every individual.”
Video Projection Dress
Expandable Kids Clothes
Creating a dress that “grows” as a children grow up as well.