In Why do we have organs in pair and only one heart? I ask the audience to put on Wearable_SuperNow an interactive system, of bracelets embedded with accelerometer sensors that allow the body to speak. The wearers transforms the soundscape, with the energy of their movements. The aural feedback plays only if they move the sensors and the tempo of the music is interactive to the energy of their movements. Then I invite them to follow me dancing.
In Inferno, Louis-Philippe Demers & Bill Vorn ask the audience to wear a robotic exoskeleton. The wearable moves them. The choreography is preprogrammed into the wearable system, the wearer only receives the information, no deviation is possible.
Both play with the erotics of movement control systems, listening and participation, but the narratives are different, and they influence the tools and strategies choices to build the experience .
ROBOTS VERSUS SENSING MACHINES.
Why do we have organs in pair and only one heart? is interactive, the audience has the control over the performance while Inferno is pre recorded, the audience has no control over the performance.
IN Why do we have organs in pairs and only one heart? PARTICIPANTS MOVE THE INTERACTIVE WEARABLE.
THEY HAVE CONTROL OVER THEIR BODIES PERFORMANCE
THEY CAN TRAVEL THROUGH THE WHOLE SPACE.
Why do we have organs in pairs and only one heart? IS A SCRIPTED NARRATIVE THAT ALLOWS DIVERSION.
IN Inferno PARTICIPANTS ARE MOVED BY THE ROBOTIC EXOSKELETONS.THEY HAVE NO CONTROL OVER THE DANCE PERFORMANCE; THEY CAN ONLY MOVE WITHIN THE WIRE (LEASH) CIRCUMSCRIBED AREA.
Inferno IS A SCRIPTED NARRATIVE WITH NO POSSIBLE DIVERSION
Demers through the robotic system wants to convey that the nature of control is either voluntary or coerced, while Tognazzi through the interactive system shows that the nature of control is either aware or unaware.
Inferno materializes the sense of strength and invulnerability that came from the lack of responsibility when acting as pre programmed robots, while why do we have organs in pairs and only one heart? materializes the sense of fragility and vulnerability that come from the responsibility when acting like interactive sensing systems.
Both can be experienced as hells or paradises depending on the needs of the moment.
The performance Uncanny Valley by Stefan Kaegi deeply explores humans controversy between the desire to be in control and the desire for the illusion of being free from the responsibility of control by acting like machines.
The reason why I picked those two performances is because although the narratives are different both conclude what Ai and neuroscientists are saying: the reason of brains is not to think but to control movement, the reason of dance is to make us humans.
Why Do we have organs in Pairs and only one heart started from the question: what is the body? The answer after asking a large sample of persons was: the brain function with electrical current, the heart is programmed to work without our control, the body is a machine. From there come the question: how can a machine become human? and the answer was:
In Terminator the TV show they say that machines cannot dance, but Camaron, John’s Connor bodyguard was taking ballet lessons to learn to be human and one day John connor saw her dancing in her room and we all though ohhh so sweet.
This text was narrated as a voice over during the performace. What it didn’t say is what Camaron narrates during the scene: Terminators are more humans than humans because they can appreciate the beauty of dance and art, while humans cannot.
I don’t know what was Inferno original question but when I superimposed the two pieces, this moment in which the participants in Tame Me were gently approaching the ones in Inferno to hug them, perhaps attracted by the little lights shining on their arms, suddenly happened. It made me think of this being split in two; wondering like ghosts trying to reunite with their bodies.
What I love in Inferno is that the robotic wearable can move the wearer and the latter can tactilely sense on their body the action programmed by a person far away.
In Why do we have organs in pairs and only one heart? Tognazzi touch the body of the participants through the vibrations of the aural feedback.
My art work with choreography, interactive art and wearable smart materials focuses on: Sensing and Connecting systems.
It’s all about connecting.
The integration of digital data with analogical materials allows me to create mutually informing systems able to materialize and visualize transformations and give the wearer the super power of capturing and taming the fleetingness of our perception.
I’m fascinated by the politics of the sensorial and the erotics; how contemporary history affects our perceptions and narratives. Data technology per se is information, an intangible essence which, as such, it is neither good nor bad, yet once it’s applied it becomes a material. Materials can be seen and perceived but also manipulated and transformed. Our perception is never neutral, it responds to the fleetingness of the narrative of the moment, which can be aware or unaware.
When I started developing Wearable_SuperNow, in 2007, data technology was portrayed as a democratic medium that could free and connect us. Yet when Louis Philippe Demers made Inferno in 2015, data technology had already revealed being an instrument for coercing control systems.
Interesting fact is that the budget for Por que tenemos organos pares y solo un corazon? was 200 euros, while Inferno quite a few zeros more. Somehow the strategies to physically control people get more subsidies than the ones to give people control.
Philosophers like Sartre in La Nausea speak a lot about the responsibility people have regarding the meaning and name they give to things. In particular about how hypocritical it is to blame something to be something else, when it was us that gave it the name in the first place.
Narratives define our reality but they are also a form to lie to ourselves until at certain point our bodies simply cannot keep up. Art is the only medium with the power to make one feel the break, like it’s so well conveyed in this scene in Good Girls by Beth words and Lisa Caruso lyrics «if only my body could endure the misery»
«I’m going to teach you» gently caressing her forehead…The dream is someone or something that teaches us how to break the vicious circle, how to protect our body from ourselves.
BE MY SKIN:is a PhD research on interactive programmable textiles able to teach us to listen to ourselves and others, caressing us.
Narratives influence the mechanics and tools choices of the experience, its navigated the field of WEARABLE FUTURE SKINS through the poetic of Wearables the erotics of movement control systems: Robots vs Sensing machines.
FUTURE SKINS WILL BE MUTANT and they will reflect that «Everything you touch, touches you. Everything that touches changes each other.»
AxX BE MY SKIN: A journey from you caressing the textile, to the textile caressing you back.
The art of pushing and pulling strings to materialize movement.
Tapestry as a form of archival information and as a carrier of movement data by Paola Tognazzi Drake.
The aim of this PHD tutored by Sarah Taylor and Sarah Kettley (and influenced by «Sarah Connor’s Chronicles») conducted at the Universities of Napier and Edinburgh in collaboration with DOVECOT studio is to research adaptative actuated tapestry: with the capacity to retain and communicate movement memories by shapeshifting, thus transferring them from a body to another one, in a physical and tactile way.
This research emphasizes the central role of materiality to mediate the tactility of human experiences. Tactility is the sense that strongly impact humans learning and communicative abilities.
The idea is to integrate soft robotics, nano technology with ancestral weaving techniques to develop textiles that can perform both actions combinations: Touch & Move the body (Inferno robotic exoskeleton) as well as listen & react (Werable_SuperNow) to the body. We need both sets of actions to be able to sense and connect.
Ie: To embed movement in textiles is not the challenge but to control the directions of the movements in such a way to touch, guide and produce a narrative of feelings in the body, it is.
My aim and challenge within the field of Wearables is to make Inferno robotics melt into a sensing reactive textile so it become invisible but a lot more powerful and perceptible on the body.
The base of this research is to investigate weaving textural dimension in relation to the structural one (PATTERNS MECHANICS) to embed smart materials, in such a way to create a symbiotic process of shape transformation between real time data instructions and the textile.
The purpose of this work is to analyse:
Weaving patterns and cut as major variables to create textiles with the capacity to absorb and reflect the presence of smart materials;
the application of coding visualization software tools and 3D printing techniques to explore tactile and dynamic textiles patterns variations;
Similarities, advantages and limits of different weaving techniques and technologies
to understand, negotiate and translate the aim’s narratives in a collaboration between different crafting languages.
This PhD research centers on a multidisciplinary collaborative process between tapestry, e-textile and haptics /soft robotics. The methodology is that to create a platform, that visualize, map and connect the work of Experts in computational design, Experts in actuated material processes, Experts in actuated materials applications and Experts in weaving textile design within the field of reference of wearables.
REFERENCES CONSISTENT WITH THE NARRATIVE OF AxX BE MY SKIN, Protect me, mark yourself from my experiences:
The Dragon is alive 2014 a reactive 3D printed structure that transform, shapeshift, touch and accomodate the wearer’s movement, I developed at Tu/e University.
METAMORPHOSIS: THE SPACE IN BETWEEN 2015 a 3D printed reactive modular structure embedded in a shirt at Media art Futures. Research on the implications of the 3D experience, through space in relation to movement and transformation, an installation is developed where the tangible is intangible and the static becomes dynamic through the interaction of the viewer in a symbiotic process of formal transformation.
Future Skins a 3D printed reactive full back design in collaboration with prosthetic 3D designer Jonathan Ramirez Diaz de Leon.
FUTURE SKINS is an investigation about wearable 3D printed structures, integrated in garments, in such a way that they can create a symbiotic process of transformation of form between the wearer movements and the structure. It is a study on the materialization of movement and ecological ways to harvest the energy of physical movements to trigger textiles reactions.
This collaboration between the italian artist and physical interaction designer Paola Tognazzi Drake and Mexican expert 3D modeler Jonathan Ramírez Díaz de León aims to promote how wearable technology can be implemented in everyday life and how for that to be possible it’s necessary to design, thinking about the ergonomy of the body, the movement dynamics and natural mechanics without skipping fundamental steps in the analysis by using electronics.
Bruna Goveia da Rocha PhD researcher at Tu/e University. Flow: Towards Communicating Directional Cues through Inflatables «Current research in wearable technologies have shown that we can use real-time tactile instructions to support the learning of physical activities through vibrotactile stimulation. While tactile cues based on vibration may indicate direction, they do not convey the direction of movement. We would like to propose the use of inflatables as an alternative form of actuation to express such information through pressure. Inspired by notions from embodied interaction and somaesthetic design, we present in this paper a research through design (RtD) project that substitutes directional metaphors with push against the body. The result, Flow, is a wearable designed to cue six movements of the wrist/forearm to support the training of elementary sensory-motor skills of physical activities, such as foil fencing. We contribute with the description of the design process and reflections on how to design for tactile motion instructions through inflatables.»
Milou Voorwinden Expert amazing weaver
The space between.
Paula Van Brummelen PhD on Embedding movement in rubber materials applying alloys at TU Berlin
Xinyi Huang Fashion designer PhD on Morphing garments at Edinburgh University. She too moved from alloys to the application of pneumatic s as garments form transformation guiding systems.
The amazing technical and conceptual work by Pauline Van Dongen Dutch fashion designer specialised in smart textiles and smart clothing.
«Pulse” draws the viewer into a speculative world in which textiles come to life.With so-called ‘shape changing textiles’, or textiles that can actively change shape, we investigate the relationship between people and clothing. Our rational thinking is always intertwined with subjective perception and feeling, and in a world of textiles and clothing, the tactile and sensory are eminently important in shaping our ideas and design directions.
Kathryn Walters Weaver Form from Flat Exploring emergent behaviour in woven textile. A PhD on Applying molding and paper yarns, to form a 3D shape with weaving at Boras University.
Anouk Wipprecht the Pangoline project.
Dance choreography literature review
Daniel Leiville Amour, acide et noix” (2001) and “La pudeur des icebergs” (2004) are two wonderful choreographies and performances of lasting impact on me. Atemporal pearls of poetic touching beauty.
The rigour of Léveillé’s choppy and precise choreography references human imperfection but also attests to the skill and athleticism of the accomplished dancers. At times comical and playful, at others austere yet poignant, the music is equally unpredictable. Exploring our solitude and irrepressible desire for contact, this work exemplifies Léveillé’s expressive minimalism with raw and potent beauty.
The modesty of Icebergs – by Daniel Léveillé
Enzo Cosimi “Sopra di me il diluvio”, Premio Danza & Danza 2014 come Migliore Produzione Italiana dell’Anno, e Paola Lattanzi Linke, Premio Tersicore 2015 come Migliore interprete contemporaneo.
In this case, the narrative, political correct context, is just an excuse to make this masterpiece, which content is a lot more universal, personal and intimate. The piece surges from the incredible erotic energy that’s captured and materialised by the collaboration between Enzo Cosimi and Paola Lattanzi. How their symbiosis of no judgement and accepatation can channel, mold and distillate it into pure unleashed unlabelled energy able to travel and touch the audience even through the screens. The experience of the viewer is electrical and magnetic, making it physical.
Both works by Daniel Leveille and Enzo Cosimi, the performer are naked, but the nudity is not gratuitous it has nothing to do with sexuality and provocation as unfortunately, so very often happens. Here the nudity is fundamental as the performance happens on the skin.
Regis Obadia La chambre
and lastly but not least my god Anne Therese de Keersmakers. A genius of music physical analysis and translation.
Accompanied by the pulsating tones of his music, for an hour and ten minutes ten dancers occupy the stage, delineated by a curtain of fine strings, displaying an impressive succession of virtuoso dance phrases. The mathematical figures, the sustained repetition, the geometric occupation of the space, the art of continuous variation – everything that had gradually become the choreographer’s signature was pushed to the extreme in Rain.
In Rain, De Keersmaeker approaches the company of dancers as a close-knit group of pronounced individuals who, one by one, play a vital role in the whole. Seven women and three men allow themselves to be propelled by an unstoppable joined energy that binds them together. It’s a bustling network in which breath and speed is shared as well as that special comradery that forms when you are beyond fatigue.
Dance and philosophy
The role of naming things and of the perspective of looks in constructing the responsibility of the narratives we live.
Interview to Paola Lattanzi on her piece Being and Doing
Sartre: The look of the other that nullifies us
Interview to Esther Barbero, about her workshop Invocations inspired by Focault idea of the peripheral look that make us become part of the scene versus the optical look that put us in the background.
The humanism of Jean-Paul Sartre and the anti-humanism of Michel Foucault. Foucault criticizes Sartre for building his philosophy from the concept of man. Sartre reproaches Foucault for his lack of originality and his neglect of history.