Research Critique 1: Wearable Technology

Ying Gao is a Montreal based fashion designer and professor at University of Quebec whose interactive work features a lot of animated textiles. Her recent project – FLOWING WATER, STANDING TIME capture the ever-changing persona of Jimmie G from the novel, The Man who Mistook his Wife for a Hat. He is a middle age man who thinks himself to be still a youth at 19 years old, and he jumps between these two mental age which Ying Gao describes as a metamorphosis.

A Rasberry Pi

According to Dezeen, “The garment reacts to the chromatic spectrum using colour, light sensors and tiny cameras that are connected using a rasberry PI computer, to gather information about their environment. This data then activates a series of actuators and magnets interlaced with silicone to cause the fabrics to move.” It is interesting to note that besides silicone, the fabric also includes glass elements created in studio. These combination of materials, helped Ying Gao to achieve the shifting hues in the “chameleon-like” autonomous dress.

As far as my knowledge goes, Raspberry Pi is another version of an Arduino, they are both open source technology that are sustained by the creative digital community.  Tutorials and project ideas are quite abundant online and there are even ways to help find nearby Raspberry buddies to get creative together. The true benefit of open source technology is that it is firstly, free knowledge. Secondly, the amount of projects available for reference is infinite, the number will always be growing as people feed off ideas of others to make their own.

I have played around with a Circuit Playground before, it is a cousin of the Raspberry Pi. So references and forums I have searched online were a learning process to aid my production process. I think as I am a designer, I do not know what their difference is technically, only that they have a different shape. In this case, we designers need  the engineers for their in dept understanding of the electronics. The designers come up with ambitious ideas that cannot be fulfilled themselves and Ying Gao has experienced this with this project. She says “Technically and technologically speaking, this project is different from the previous ones because the clothes have a much greater autonomy,”

Reference

http://yinggao.ca/

https://www.dezeen.com/2019/10/28/flowing-water-standing-time-ying-gao-chameleon-autonomous-dress-fashion/

Life Circuit: I/O by Inter-Mission

23 August 2019, I attended an art performance by local art collective INTER-MISSION at National Gallery Singapore. It was a confusing two hours while I watched the events unfold before me. As I, then, neither had any prior knowledge of the artwork I was sitting on, nor could I understand what the artists were trying to do; to put it simply, it was strange. The whole time I was just thinking ‘What is happening?’ and ‘Why?’. Perhaps this is why they named it Happenings | “Disappearance, Bar in the Gallery” with INTER—MISSION. “Happenings”, quoted from Sue Kim (the writer from NGS), refers to an event in which the concept of ordinary things is revisited or a work in which the viewer may intervene. That still does not explain much so I thought looking into the original Disappearance, Bar in the Gallery in 1973 would shed more light to what I have seen.

Disappearance, Bar in the Gallery was first exhibited in 1973 at Seoul’s Myeong-Dong Gallery by Korean artist Lee Kang-So. According to the artist, the artwork came from, in my opinion, a casual encounter to existence; a.k.a. he fell into a sudden existential crisis. He describes the backstory as follow –

“One day, I visited a bar in the daytime to treat my senior at the university who came to see me. Although I feel the same now, but the bars at that time were intimate places like coffeehouses today. While exchanging glasses between the two of us at a lukewarm bar without any customers except for us, my gaze stayed on the wooden table and chairs. It seemed as if I was listening and seeing the sound of many people and an illusion full of smoke from cigarettes. The traces of rubbing off countless cigarettes on the table and chairs, burnt marks made by hot pots, and incessant mopping by the worker at the bar – all these seemed to make noises together. But all of this disappeared at once. I was there, and my senior was sitting in front of me, but we were there and not there at the same time. I could not prove it precisely. I could not be my senior sitting in front of me, and he could not be me. The bar I was experiencing could not be the same as the place he was encountering. Where were we?”

Immediately after that, Lee Kang So bought all the chairs an tables of his favourite pub and moved them to the gallery. It is significant to note that said pub is a traditional korean pub, a chumak. Hyperallergic writer Jaewon Che shares the symbolic and cultural value of the pub as it has “connotations parallel to western myth of the suffering male artist, who, tormented by the force of his own creativity and by the paralyzing, incomprehensible absurdities of the world that suppress him, finds, in the sweet oblivion of alcohol (and in the equally mystifying and unfathomable thing called woman)”. I have no way of paraphrasing that with my limited vocabulary but understand that it is a place of comfort for troubled souls. It was a common place in the 1960s-70s, a place where people vented and cried, a place where they dumped unwanted emotions. A part of everyday 70s korea manifested in a “sterile, white gallery environment”. Or is it?

In the original version of Bar in the Gallery, the scent or as Jaewon describes “the acrid odour of makgeolli” (the korean alcohol commonly consumed at the bars) was leaking out of the participants and filling the space. So the essence of the chumak, I imagined, was much more prominent then than it was when I attended INTER-MISSION’s rendition. It has been brought up in my research that the essence of a place is not dependent on its appearance. The essence of the chumak was fulfilled in the exhibition in 1973, however, it had been lost in INTER-MISSION’s performance. The cultural reference and intimacy to the makeshift bar is missing when the audience have no relation to it.

Then again, it is Happenings at the Bar in the Gallery, not the original work itself. Like a spin off of a novel, one of the same and different, Lee Kang So’s core concept of the instant, becoming and disappearing still remains. Sue Kim writes that the marks on the worn tables and benches allows the viewer a look into the past, “to hear sounds from the bar and feel the presence of former patrons, exciting the imagination and senses.” But honestly, while I was there, INTER-MISSION required my full attention. Plus, the ‘music’ was so noisy, I could not think and immerse in whatever the table was trying to have me feel.

Life Circuit is an ongoing project that INTER-MISSION started when they were founded in 2016, they have done a few other versions each in different locations; each seemingly more complicated than the first. In this variation, they hired three dancers, two performing live on site and another streaming live from Tokyo. They were all dancing in weird ways. Luckily for me, a fellow participant who sat opposite me was a friend of the artist and a member of Your Mother Gallery. He offered me a hint that it was something about noise and surveillance. which made sense because at one time there were three cameras targeted at me and my image was projected every where and all the way to Tokyo so that was a little unsettling for me.

By drawing from another Happening at the Bar Gallery, which also had dancers, I could possibly understand their movements a little. In reference to Disappearance, Bar in the Gallery, the dancers were trying to embody the objects of the bar and wandered between the audience and tables “”becoming” a body of rice wine being poured down a visitor’s shoulders or a cup swaying on the table.” So in a way the dancers were present at the bar and absent from it at the same time. That brings us back to the question of how the essence of the bar has changed because the ‘bar’ is pretty much incorporeal now. No more was it an opportunity to reminisce the familiar chumak but more of a time capsule, storing a memory of INTER-MISSION passing by.

At the end, the audience leave without any explanation of what they have seen, only a memory of it remains. Perhaps that follows the ephemerality of the original Disappearance:Bar in the Gallery.

Here is the link to some photos and videos I took of the performance.

References:

“Disappearance”: Lee Kang-So’s 1970s works at Gallery Hyundai, Seoul – original interview extract

Lee Kang-So’s Sensual Semiotics

https://www.nationalgallery.sg/blog/happenings-at-disappearance-bar-in-the-gallery

Jacquard by Google

Project Jacquard was created by Google’s Advanced Technology and Progress (ATAP) department to explore the possibilities of interactivity between the us users and our inseparable smart phones, namely through textiles. By weaving conductive threads into regular fabrics such as Denim, Project Jacquard has enabled cloth to recognise simple gestures that translates into controls; allowing it to become convenient interfaces for our phones and tablets.

“The yarn is created by replacing strands of thread with thin metal wires or conductive polymers. According to the team, their yarn is highly conductive as well as scalable, so it can be used in industrial weaving machines around the world.” Variations of colours, textures and patterns makes this product incredibly versatile.

Whenever we talk about interactivity in class, we are always referring to large scale projects and I think this one is a refreshing take. Due to the micro scale of threads, along with the familiarity of cloth, the end product may be unsurprisingly normal with an invisible interface. As creative technologist João Wilbert says “It’s somehow getting the technology out of the way and making interactions more natural and more seamless.”

In collaboration with Levi’s Commuter Range, Google developed a jacket designed for urban cyclist. So not only is it an interactive garment, it is a practical one that is water and odour-resistant. With a touch of the sleeve, users can access navigation prompts and information on nearby places, change their music, and even answer calls. Such gestures can also be programmed and customised to activate different commands through an app.

See here to check out its functions.

However, the ‘smart-ness’ of the jacket is limited as its sensitivity is only exclusive for touch patches on the cuff of the sleeve. A detachable smart tag as seen in the image will then transmit signals wirelessly to your device. It will also need to be recharge. So despite the jacket being washable once the smart tag is removed, I find the whole spectacle being ruined because the ‘natural’ and ‘seamless’ interaction is not that far from a touch-screen of my smartphone.

References:

https://www.dezeen.com/2016/05/26/google-project-jacquard-levis-commuter-jacket-interactive-denim-smart-fabric-garment-urban-cycling/

https://www.dezeen.com/2015/06/03/google-smartphone-interfaces-conductive-threads-clothes-textiles-project-jacquard/

https://atap.google.com/jacquard/

History of Design [ IM ] – Keith Lam

Keith Lam, 林欣傑, a New Media Artist from Hong Kong.

As a new media artist, can you create without electricity? I think the question raised in the video is worth pondering. In the video he talked about stepping outside your comfort zone and searching for new approaches. If you cannot create outside of your field, then it is your creative process that needs to be reviewed. The materials should not be a burden.

He is interested in the boundaries between technology and art and is very open to integrating ideas from different disciplines, forming ‘mutant’ projects as well as cultivating the T-shape designer instinct in his students.

He explains his preference for tangibility when being asked “So you Prefer Something more tactile in your art?” in an interview. Stating that physical form adds a different aspect to an artwork, “something direct, real, and perhaps a formal way of communicating with our audience”. There is a disconnection between the content for VR and its usage. He says VR is uneccessary unless you want to create an experience that cannot be created in real life. In his opinion, “virtual reality should be used out of the of necessity in creating un-real things”.

As New media refers to the means of mass communication using digital technologies such as the Internet, Keith Lam associates with the label as he plays with the interaction between user and modern technology.

Awards:

PRIX Ars Electronica, Japan Media Arts Festival and Young Artist of Hong Kong Arts Development Awards, selected as “40 under 40′′ of Global Creative Talent by Perspective Magazine.

 

Invited Festivals:

Ars Electronica Festival, FILE, ISEA, New Technological Art Award, 404 Festival, Split Film Festival, Microwave International New Media Arts Festival and Hong Kong Arts Biennale, around the world at Austria, Belgium, Brazil, UK, The Netherlands, Italy, Japan, Argentina and Taipei, etc.

 

Teach:

External Examiner of Hong Kong Design Institute, Visiting Associate Professor of Guangzhou Academy of Fine Arts, Art Director and consultant of Shenzhen New Media Arts Festival. He taught at the School of Creative Media of City University of Hong Kong, Visiting Lecturer of Hong Kong Art School, Hong Kong Academy of Performing Arts, School of Design of The Hong Kong Polytechnic University and Hong Kong University, University of Hong Kong and Chinese University of Hong Kong. International Jury of GDC.

Dimension Plus

He founded Dimension Plus, a New Media Creative Studio, in 2009 with Escher Tsai. Their works revolves around New media spaces and cross-discipline interactive design; experimenting with new ways to enhance the communication and experience between the product and user.

“In the digital era, we still believe the sense of existence while we are living in the real world. By mixing-and-matching of Digital-Physical, we transfer the invisible and digital into a tangible and visible texture, creating works with combination of digital and analog, linking the digital and physical from two heterogeneous dimensions.”

Dimension Plus is recognized worldwide as they are often exhibit in expos and art festivals etc in various of cities and countries including Italy, Austria, Japan, Beijing, Shanghai, Guangzhou, Hong Kong, Taiwan, etc.

They have also earned multiple awards all over the world including Gold Award of DFAA2013 (Design For Asia Award 2013) and Asia Digital Art Award 2012 at Japan, etc.

LAB by Dimension Plus

Under Dimension Plus, there is the Maker Space LAB and common room & co. (a collaborative cultural space that consists of a makerspace of LAB by Dimension Plus and an independent bookstore, Book B). These spaces allows the community of creatives to gather, share and exchange ideas; connecting people from various kind of discipline for more organic discussions.

common room & co.

 

Reference:

http://dimensionplus.co/en/index.html

https://www.fablabs.io/labs/labbydimensionplus

https://www.facebook.com/commonroomandco/

https://onu.is/blogs/inside-out/hong-kong-interview-with-keith-lam

http://journal.the-readymade.com/post/157938292379/keith-lam-new-media-artist-touch-the-city