Some notes and observations from critique:
Because the inks and materials arrived so late, I wound up sacrificing the performance. The only performative aspect of the piece as it stood by critique involved Lindsay wearing the shirt and encouraging people to embrace her wearing the shirt. I included the video as a demonstration of how the shirt works. However, because the shirt already responded to by body heat in several places, the effect was not as dramatic as planned and often not noticeable (I also was hoping for a darker color. I’m not positive where I went wrong with that). I’m thinking with the show in January I might sew a lining into the shirt to counteract the affect of the wearer’s body heat. The video wound up having an interesting discourse of its own; because I was the only person present in the piece, only I could make the marks. It was as if, lacking the presence of others, I could almost replicate the contact by touching myself. The marks still existed; a record of interaction was still temporarily preserved on the shirt. It was simply enacted by me instead of by another person. Maybe I could push the concept of the shirt acting as a comfort device in the absence of another human presence. By embracing and marking yourself, you replicate the effect others leave on you without any others being present. For the show in January, I hope to expand my video piece and have it act as a foil to the performance of wearing the shirt. I look forward to the gallery setting, because this is where I feel the performance can achieve its full realization. I’m guessing encouraging touch will be less difficult in the gallery than on a standard street corner. Hopefully I can redye the shirt to make it appear darker. That way the color shifts will be much more dramatic.
Thursday, December 18, 2008
Project 3.8
Ink finally came, shirt has finally be dyed, and this is how it's functioning. The dye is blue in its natural form and becomes transparent when exposed to temperatures of 31 degrees Celsius or higher. The only trouble is the shirt responds to my own body heat in places, producing a molted effect.
Project 3.7
As an update (and I’ve mentioned it in critique), I ordered my inks from CTI over a week ago and they haven’t come in yet. Looks like the order was never actually put through. As a recap of what was discussed in critique, I’m still very interested in recording touch and contact (touch as mark-making). Lauren and Katerie described light sensitive paper, kind of like photo paper, that begins white and turns blue on exposure to light. Lauren had a few examples in which she’d exposed the paper with leaves on it, leaving a ghostly imprint of the leaves on the paper. The catch is the image only appears when the paper has been soaked in water. Thus, we concocted the idea of covering a raincoat in these papers. The performance would still occur in which I encourage people to hug me (or touch me for a prolonged amount of time). After the performance ended, I would be doused with water (or at least the jacket would be) to expose any marks left on the paper. I would need to encourage the touch to last for awhile so the mark could be recorded. Again, an incidental touch will not be enough to incite a reaction.
Project 3.6
Ok, looks like I found a winner. CTI inks in Colorado:
http://www.ctiinks.com/
Nice guys, said they will send me a sample for free! I’m looking for either a blue or black ink. As it turns out, most thermochromic ink is a particular color that becomes transparent after reaching a certain temperature. So the shirt, once dyed, would be the color of the dye until heat is applied. Then it would revert back to its original color. So I’m going to go with this group. They aren’t even charging me for shipping and even better, it’s in the US!
http://www.ctiinks.com/
Nice guys, said they will send me a sample for free! I’m looking for either a blue or black ink. As it turns out, most thermochromic ink is a particular color that becomes transparent after reaching a certain temperature. So the shirt, once dyed, would be the color of the dye until heat is applied. Then it would revert back to its original color. So I’m going to go with this group. They aren’t even charging me for shipping and even better, it’s in the US!
Project 3.5
While I continue to shop around for appropriate materials, I need to brainstorm about how this piece should be ideally displayed. I feel it is best suited for a performance, where I (or the user) can directly interact with audience members (in the case of a gallery show). Even better, I would love to take the shirt out into the environment and encourage people to touch me. That’s another element of the piece I would like to push with my garment. What impulses encourage touch? What kind of contact is appropriate in various contexts? How likely is it for a stranger to touch me intentionally? For instance, if I’m standing out in Turlington plaza, how do I encourage people to touch my shirt in some way? Reminds me of those free hug guys you see out there every once in awhile. Other than holding a sign that says “please hug/touch me” (which is a tad creepy sounding, I’ll admit) how do I encourage the physical contact? What would be great is if I didn’t indicate that the shirt changes color upon contact. I would enjoy recording people’s reactions as they notice they have left a physical imprint on me by touching me. I’m guessing a video element will make up the primary part of this piece (with an eventual “performance” once our show rolls around in January). I don’t think the ink is sensitive enough that a light bump would show up; the heat must be applied for a distinct amount of time for a change to occur. What would be great is if I could be in a big crowd (a football game or something) and see what kind of marks I could come up with there. I could still try to encourage touch, but there’s a good chance I would be buffeted around by the crowd. In that case, the touch takes on a dual and opposing meaning. The marks could be seen as bruises; the physical interaction winds up harming me and the imprints serve as an indication of that harm. In this case, the interaction would be incidental and not necessarily encouraged by me. I really don’t think a slight touch will be enough to make a change on my shirt. Besides, my point here is that the touch is friendly and reassuring, not invasive.
Project 3.4
Some interesting links pertaining to my project:
http://en.wikipedia.org/wiki/Thermochromic
http://en.wikipedia.org/wiki/Hypercolor
They do (or did) have these!
http://www.colourchange.com/products.htm
So thermochromic ink is the official name of inks/dyes that respond to changes in temperature. Too bad Hypercolor was discontinued. What I would like to do is purchase some thermochromic ink and apply it myself. Unfortunately, it looks like most (if not all) the suppliers of said ink are in the UK and cost a fair amount. I’ve come across one or two places that sell shirts with the ink already applied (also in the UK), so I can always invest in one of those. I will continue the search…
http://en.wikipedia.org/wiki/Thermochromic
http://en.wikipedia.org/wiki/Hypercolor
They do (or did) have these!
http://www.colourchange.com/products.htm
So thermochromic ink is the official name of inks/dyes that respond to changes in temperature. Too bad Hypercolor was discontinued. What I would like to do is purchase some thermochromic ink and apply it myself. Unfortunately, it looks like most (if not all) the suppliers of said ink are in the UK and cost a fair amount. I’ve come across one or two places that sell shirts with the ink already applied (also in the UK), so I can always invest in one of those. I will continue the search…
Project 3.3
Ok, after talking to Katerie, I’ve decided to run with the hug shirt, physical contact recorded concept. We both felt the gloves didn’t have enough artistic merit to them. Other than the initial wiz-bang of having the gloves warm your hands, the meaning of the project is rather superficial. That in and of itself is the major challenge of this project; how to get beyond what we’ve been calling the “wow factor”, the “ooh, shiny lights” impulse. Sure it’s cool to have something light up in response to a specific impulse, but there needs to be a higher meaning that transcends the initial technological pyrotechnics. That would be one of my major critiques of the wearable show in Dublin; the pieces certainly were interesting because of the functions they performed. However, I didn’t feel the garments didn’t inform, develop, or question anything in particular; they simply performed the functions they were designed to perform. Maybe that’s why the hug shirt was the object that stuck in my head; I felt there was a concept that went beyond the technological (or at least an idea that could be more fully developed). The lasting (or fleeting) imprint of human touch. I want some kind of garment that can dynamically respond to touch and record that touch in some way. So on that note, Katerie and I discussed temperature sensitive fabrics or inks that change color based on specific temperatures. Imagine a person wearing a shirt that changed color when touched (I’m sure plenty of these already exist). The touch would literally be recorded by the shirt, making the physical contact exchange between two people visible to both parties. The more intimate the touch (a full hug as opposed to a pat on the arm) and the length of the touch would determine the amount of the garment affected and the extent of time in which the mark is visible. All marks eventually fade as the shirt “cools off”. It makes a comment on the ephemerality of contact; literal touch does not (generally) leave a permanent physical record. But touch can create an emotional impact and my guess is the more sustained gesture is an indication of a more intimate relationship. So yes, I will be researching those color changing fabrics and dyes and hope for the best.
Project 3.2
Going off of some of the pieces I encountered in Ireland, I think I would like to explore the idea of the hug shirt. Specifically, I would like my wearable to consider the implications, both lasting and temporary, of human contact. I remember in psychology class reading about experiments conducted on monkeys to determine the importance of physical contact. None of the monkeys interacted with a live mother. Instead, they were nourished by wire structures that contained the food. Some were wrapped in terry cloth towels, others were left bare. The monkeys that interacted with the cloth “mothers” were much more physically/emotionally stable and healthy. Because the cloth reminded the monkeys of real mothers, they responded more fully to the wire structures. The researchers felt the same principles could be applied to humans and human interaction. The simple act of touch imparts a sense of comfort and security. I’ve often found that simply being in the presence of those I care about is calming and reassuring; contact with those people reinforces the emotional bond I share with them. An illustrative example: I used to hug my high school friends a lot. It was just a nice physical expression of our bonds as friends. When I got to college, I didn’t know anyone well enough to feel comfortable with hugging them. I didn’t know at what point hugging would be socially acceptable within my new groups of friends. For some, the point at which I was finally able to hug a new person officially made that person my friend. The addition of physical interaction took the friendship beyond the level of acquaintance/classmate/hang-out buddy. So I’m interested in making something of my own hug shirt, some garment that can record the physical presence of one person and their interaction with another person through hugging.
Another possible route to take is something involving a device that can detect temperature and respond accordingly. One problem I am constantly running into when dressing warmly is my clothes not adequately keeping me warm, especially clothing designed for extremities. I can wear incredibly think socks and shoes and triple-layer gloves and still feel like my fingers and toes are about to fall off. I’m toying with the idea of making gloves that can detect skin temperature; when that temperature falls below a certain point, the gloves will active some kind of heating element to warm the hands. Kind of like an electric blanket for the hands. If I could get this to work, I should totally patent it! Not entirely positive it’s art though…
Another possible route to take is something involving a device that can detect temperature and respond accordingly. One problem I am constantly running into when dressing warmly is my clothes not adequately keeping me warm, especially clothing designed for extremities. I can wear incredibly think socks and shoes and triple-layer gloves and still feel like my fingers and toes are about to fall off. I’m toying with the idea of making gloves that can detect skin temperature; when that temperature falls below a certain point, the gloves will active some kind of heating element to warm the hands. Kind of like an electric blanket for the hands. If I could get this to work, I should totally patent it! Not entirely positive it’s art though…
Project 3.1
Sorry Lauren, stole your organizational idea (it's just too good!)
Here are some of the pictures I presented from the wearable technology display in Dublin:
I really loved the “hug shirt”. As a refresher, the hug shirt had heat and pressure sensitive devices that could tell when the individual wearing the shirt wrapped his arms around himself. The individual in the corresponding hug shirt would feel an application of pressure and warmth simulating an embrace from the first person. I can’t remember how far apart the two can be before the effect no longer works, but I think it was a significant distance. Of all the different “wearables” we encountered, that was the piece that caught my attention (well, that and the shirt made out of Guinness…)
Simmel
1. Why is imitation important?
In an attempt to a establish some kind of outward identity, it helps if you can identify with a particular group. As much as individuals strive to be unique, chances are they will fall into some kind of paradigm that describes a group. This allows for the process of assimilation. The article suggests imitation breaks down social and economic barriers, leading to what may be considered a comfortable level of homogeneity.
2. What is the dual nature of fashion in terms of cultural expression?
Clothing and fashion can be used as a vehicle of self-expression. You make a direct statement about yourself with what you wear; it is the first and most obvious thing that people can use to identify you (or try to get an understanding of your personality make up). However, fashion also contains the potential for homogenization. When large amounts of people exercise strict adherence to trends, they all wind up looking relatively the same. You might witness variations of the standard template, but the underlying structure is the same across the board. So even while we attempt to differentiate ourselves with clothing style, the trends that make up fashion govern what we choose (and often what is available for us to choose) and encourage us to approach the status quo.
3. Explain fashion as a power structure. (How can it be employed as a power structure?)
Fashion is an indication of wealth. So many designer items are valued simply because of the designer label. The actual quality of the clothing may not be far superior to clothing you would find in your average department store. But because they bear the brand of the elite, we know the bearer of the object is also a member of the elite. Fashion acts as an direct and obvious indicator of wealth, requiring no verbal exchange or further form of communication. We know the woman with the Prada bag has access to some money and are impressed by that knowledge. She doesn’t need to say anything; we know and chances are those of us who can’t afford a Prada bag wind up feeling a bit inferior as a result.
4. Explain the phenomena of fashion as "other" or foreign.
I see this as a commentary on how fashion is an elusive beast. It seems every time you feel on top of a trend, another one is taking the world by storm and your ensemble is suddenly passé. It is constantly a foreign element, always in a state of flux and constantly responding to the never-ending changes in human desires. The article does discuss literal foreign fashion, it which the fashion from outside cultures may be perceived as a threat within specific cultures because they do not fit with that particular society’s cultural context.
5. Contrast the role of fashion in a place like New Guinea with the role of fashion in New York.
First, I’d have to imagine fashion in New Guinea is much more practical and suited for the tasks it was designed to serve. Clothing must be made of available resources, which may not be many. Clothing isn’t designed to make a statement; it is meant to perform a practical purpose. The article discusses that clothing in New Guinea does not make any commentary on a societal power hierarchy. In contrast (as discussed above) clothing is used very much as a tool for power and attention in an environment such as New York. The expensive clothing is an outward label of elite status. Also, our culture simply places more emphasis on fashion as an expressive element. We have entire industries devoted entirely to the promotion of fashion.
6. How does temporality function as a part of fashion (the passage of time)?
This applies in two ways. Temporality in the sense of the articles of clothing themselves implies that the clothing is inherently impermanent. Clothes fade, tear, stretch out of shape, and eventually wear away. They very actively record the passage of time as they are slowly deconstructed through wear and tear. Temporality also applies to the passage of trends. No trend is permanent; what is fashionable today could be totally bypassed a month from now. We are able to easily define generations and time periods based on clothing styles. Popularity is elusive and never graces any one trend for two long.
7. Why are women stereotypically more involved in fashion than men?
Part of this is the cultural emphasis placed on fashion for women. As young girls, the media tells us that we want to be interested in fashion. The article makes the argument that because women traditionally tend to the home and household affairs, they have more time to devote to their own appearances. I think there’s also something to be said about the woman’s desire to attract a man. Her clothes are her easiest avenue to make a statement about herself and staying on trend makes her appear hip and “with it”. I feel at least part of the female adherence to fashion has to do with the desire to impress. I find this ironic because in many other species, the male is the lavishly decorated individual attempting to attract the female. Looks like we might have gotten our gender roles crossed somewhere along the way.
8. What is your relationship to fashion?
I don’t follow fashion religiously, but I certainly can’t argue that I’m independent of it (though I don’t think anyone can truthfully make that argument). I don’t follow trends specifically and generally don’t catch on to popular fashion movements until they are already well established (maybe not the most forward thinking fashionista you will ever meet). That said, I invest much more interest and attention into fashions that already play into my interests and personal tastes.
9. Speculate on how history will characterize the period of time we live in now. How are current fashions reflective of the political and cultural ideas and trends of our current time? Please be specific and think about particular events as opposed to a general feeling.
I feel our time period will just come across as a regurgitation of other time periods. Not even 20 years after the end of the 80s, we’re seeing a resurgence of baggy sweatshirts and leggings. That’s not even out of my lifetime. 80s clothing wasn’t given enough time to become “classic” before it was brought back again. What’s really ironic is that the 80s are frequently ridiculed for the high amounts of decadence and sheer craziness in fashion. And we’re already bringing it back! It’s like we’ve reached a stagnation point and don’t have any idea of how to move forward. So we respond by looking to the past and recycle trends that we know worked at one point. I almost feel this is indicative of how our society functions as a whole; we have more information and technology available in the most convenient ways that we have ever experienced and we simply have no idea what to do with it all. We can’t move forward so we just look back.
In an attempt to a establish some kind of outward identity, it helps if you can identify with a particular group. As much as individuals strive to be unique, chances are they will fall into some kind of paradigm that describes a group. This allows for the process of assimilation. The article suggests imitation breaks down social and economic barriers, leading to what may be considered a comfortable level of homogeneity.
2. What is the dual nature of fashion in terms of cultural expression?
Clothing and fashion can be used as a vehicle of self-expression. You make a direct statement about yourself with what you wear; it is the first and most obvious thing that people can use to identify you (or try to get an understanding of your personality make up). However, fashion also contains the potential for homogenization. When large amounts of people exercise strict adherence to trends, they all wind up looking relatively the same. You might witness variations of the standard template, but the underlying structure is the same across the board. So even while we attempt to differentiate ourselves with clothing style, the trends that make up fashion govern what we choose (and often what is available for us to choose) and encourage us to approach the status quo.
3. Explain fashion as a power structure. (How can it be employed as a power structure?)
Fashion is an indication of wealth. So many designer items are valued simply because of the designer label. The actual quality of the clothing may not be far superior to clothing you would find in your average department store. But because they bear the brand of the elite, we know the bearer of the object is also a member of the elite. Fashion acts as an direct and obvious indicator of wealth, requiring no verbal exchange or further form of communication. We know the woman with the Prada bag has access to some money and are impressed by that knowledge. She doesn’t need to say anything; we know and chances are those of us who can’t afford a Prada bag wind up feeling a bit inferior as a result.
4. Explain the phenomena of fashion as "other" or foreign.
I see this as a commentary on how fashion is an elusive beast. It seems every time you feel on top of a trend, another one is taking the world by storm and your ensemble is suddenly passé. It is constantly a foreign element, always in a state of flux and constantly responding to the never-ending changes in human desires. The article does discuss literal foreign fashion, it which the fashion from outside cultures may be perceived as a threat within specific cultures because they do not fit with that particular society’s cultural context.
5. Contrast the role of fashion in a place like New Guinea with the role of fashion in New York.
First, I’d have to imagine fashion in New Guinea is much more practical and suited for the tasks it was designed to serve. Clothing must be made of available resources, which may not be many. Clothing isn’t designed to make a statement; it is meant to perform a practical purpose. The article discusses that clothing in New Guinea does not make any commentary on a societal power hierarchy. In contrast (as discussed above) clothing is used very much as a tool for power and attention in an environment such as New York. The expensive clothing is an outward label of elite status. Also, our culture simply places more emphasis on fashion as an expressive element. We have entire industries devoted entirely to the promotion of fashion.
6. How does temporality function as a part of fashion (the passage of time)?
This applies in two ways. Temporality in the sense of the articles of clothing themselves implies that the clothing is inherently impermanent. Clothes fade, tear, stretch out of shape, and eventually wear away. They very actively record the passage of time as they are slowly deconstructed through wear and tear. Temporality also applies to the passage of trends. No trend is permanent; what is fashionable today could be totally bypassed a month from now. We are able to easily define generations and time periods based on clothing styles. Popularity is elusive and never graces any one trend for two long.
7. Why are women stereotypically more involved in fashion than men?
Part of this is the cultural emphasis placed on fashion for women. As young girls, the media tells us that we want to be interested in fashion. The article makes the argument that because women traditionally tend to the home and household affairs, they have more time to devote to their own appearances. I think there’s also something to be said about the woman’s desire to attract a man. Her clothes are her easiest avenue to make a statement about herself and staying on trend makes her appear hip and “with it”. I feel at least part of the female adherence to fashion has to do with the desire to impress. I find this ironic because in many other species, the male is the lavishly decorated individual attempting to attract the female. Looks like we might have gotten our gender roles crossed somewhere along the way.
8. What is your relationship to fashion?
I don’t follow fashion religiously, but I certainly can’t argue that I’m independent of it (though I don’t think anyone can truthfully make that argument). I don’t follow trends specifically and generally don’t catch on to popular fashion movements until they are already well established (maybe not the most forward thinking fashionista you will ever meet). That said, I invest much more interest and attention into fashions that already play into my interests and personal tastes.
9. Speculate on how history will characterize the period of time we live in now. How are current fashions reflective of the political and cultural ideas and trends of our current time? Please be specific and think about particular events as opposed to a general feeling.
I feel our time period will just come across as a regurgitation of other time periods. Not even 20 years after the end of the 80s, we’re seeing a resurgence of baggy sweatshirts and leggings. That’s not even out of my lifetime. 80s clothing wasn’t given enough time to become “classic” before it was brought back again. What’s really ironic is that the 80s are frequently ridiculed for the high amounts of decadence and sheer craziness in fashion. And we’re already bringing it back! It’s like we’ve reached a stagnation point and don’t have any idea of how to move forward. So we respond by looking to the past and recycle trends that we know worked at one point. I almost feel this is indicative of how our society functions as a whole; we have more information and technology available in the most convenient ways that we have ever experienced and we simply have no idea what to do with it all. We can’t move forward so we just look back.
Solnit
Think about the idea of pilgrimage. What are your first reaction/stream of consciousness/preconceived notions of what defines a pilgrimage? What sorts of pilgrimages have you been on?
My first thought regarding pilgrimages revolves around religion and faith-based journeys. Thousands of people travel thousands of miles to view religious relics, physical reminders of their individual belief systems. A pilgrimage doesn’t have to be religious in nature; one could embark on a journey to find the land of his ancestors, his place of origin. I think the underlying current is a sense of spirituality and I don’t necessarily mean this simply in terms of religion. The pilgrimage is based on and inspired by unique elements important to the individual. What is sacred to one man may appear trivial to another. But I feel the pilgrimage in its most basic form seeks a state of spiritual fulfillment, whether that involves communing with a specific place, object, etc. Simple road trips could be considered a pilgrimage, chasing that ever elusive concept of freedom in an attempt to break free of the shackles of the mundane. I might consider my trips to Europe pilgrimages, especially those to Paris, because of the intense emotional bond I felt in those environments.
What sort of pilgrimage would you like to make?
Because my faith is an important element in my life and defines much of who I am, I would appreciate a pilgrimage in the traditional “religious experience” sense. By this, I mean I would love to travel to Jerusalem one day and visit the Golgotha (the hill on which Christ was crucified). I would also love thoroughly explore my family history and gain an understanding of the lands my family used to inhabit. I know very little about my genealogy and I’ve always been fascinated by the idea of tracing my lineage and actually visiting the places where family members resided generations ago.
The pilgrimages that Solnit reflects upon are those that are walked. Is a pilgrimage a pilgrimage if one uses an auto or flies or does not particularly suffer? Is something/what is lost in the translation" I am thinking about vacation packages to the Holy Land or Mecca, but not necessarily.
I think it all hinges on what you want the pilgrimage to mean to you personally. Religious pilgrims frequently walked because it indicated they were shrugging off worldly luxuries and relying solely on themselves in an attempt to achieve a heightened clarity of mind and thus a more thorough communal with the spiritual realm. Perhaps something is lost in translation when the struggle and toil is removed from the pilgrimage, but I don’t think self-flagellation is necessary for a meaningful journey. I traveled to Nashville about a month ago for a football game; it was a completely superfluous trip that I took for the sheer pleasure of it. And it was an incredibly cleansing experience; I was able to completely drop my life, my cares, and my worries. The open road was mine for the taking. Of course, my ties to reality were far from broken. The sense of freedom only lasted about two days. But I would characterize this as a pilgrimage, not because I was traveling to worship the gods of football, but because I was traveling for my own peace of mind (and I found it). The fact the journey took place by car and not by foot didn’t belittle the experience. It was simply a means to an end.
Is a labyrinth a map or a practice? Please elaborate.
I feel the two concepts are too intrinsically tied to make a distinction in the case of a labyrinth. It is a literal map of a space, dividing and directing the space in a manner that the walker is expected to follow. The labyrinth at Chartres cathedral in France is clearly mapped out on the floor; the participant does not need to fear surprise because he can clearly see his path mapped out before him. Not all labyrinths are designed this way (with an obviously readable layout) but the difference between a labyrinth and a maze is that the former has one discreet path leading towards a discreet ending point. However much it twists and turns, it leads you inextricably to one point. A maze can lead you to any number of points, most of which are wrong and will get you lost. I’m getting a bit off topic, but the labyrinth functions as a map with one path to one location. But the experience of the labyrinth isn’t complete without the practice. Looking at the path isn’t enough; it is incumbent on the participant to walk the path. Labyrinths are often designed to mirror a spiritual or emotional journey, the physical space of the device itself suggesting the internal maturation and development of the participant. In order to reach the end, the moment of fulfillment, the journey must first take place. The labyrinth is both a map and a practice; one element does not function without the other.
My first thought regarding pilgrimages revolves around religion and faith-based journeys. Thousands of people travel thousands of miles to view religious relics, physical reminders of their individual belief systems. A pilgrimage doesn’t have to be religious in nature; one could embark on a journey to find the land of his ancestors, his place of origin. I think the underlying current is a sense of spirituality and I don’t necessarily mean this simply in terms of religion. The pilgrimage is based on and inspired by unique elements important to the individual. What is sacred to one man may appear trivial to another. But I feel the pilgrimage in its most basic form seeks a state of spiritual fulfillment, whether that involves communing with a specific place, object, etc. Simple road trips could be considered a pilgrimage, chasing that ever elusive concept of freedom in an attempt to break free of the shackles of the mundane. I might consider my trips to Europe pilgrimages, especially those to Paris, because of the intense emotional bond I felt in those environments.
What sort of pilgrimage would you like to make?
Because my faith is an important element in my life and defines much of who I am, I would appreciate a pilgrimage in the traditional “religious experience” sense. By this, I mean I would love to travel to Jerusalem one day and visit the Golgotha (the hill on which Christ was crucified). I would also love thoroughly explore my family history and gain an understanding of the lands my family used to inhabit. I know very little about my genealogy and I’ve always been fascinated by the idea of tracing my lineage and actually visiting the places where family members resided generations ago.
The pilgrimages that Solnit reflects upon are those that are walked. Is a pilgrimage a pilgrimage if one uses an auto or flies or does not particularly suffer? Is something/what is lost in the translation" I am thinking about vacation packages to the Holy Land or Mecca, but not necessarily.
I think it all hinges on what you want the pilgrimage to mean to you personally. Religious pilgrims frequently walked because it indicated they were shrugging off worldly luxuries and relying solely on themselves in an attempt to achieve a heightened clarity of mind and thus a more thorough communal with the spiritual realm. Perhaps something is lost in translation when the struggle and toil is removed from the pilgrimage, but I don’t think self-flagellation is necessary for a meaningful journey. I traveled to Nashville about a month ago for a football game; it was a completely superfluous trip that I took for the sheer pleasure of it. And it was an incredibly cleansing experience; I was able to completely drop my life, my cares, and my worries. The open road was mine for the taking. Of course, my ties to reality were far from broken. The sense of freedom only lasted about two days. But I would characterize this as a pilgrimage, not because I was traveling to worship the gods of football, but because I was traveling for my own peace of mind (and I found it). The fact the journey took place by car and not by foot didn’t belittle the experience. It was simply a means to an end.
Is a labyrinth a map or a practice? Please elaborate.
I feel the two concepts are too intrinsically tied to make a distinction in the case of a labyrinth. It is a literal map of a space, dividing and directing the space in a manner that the walker is expected to follow. The labyrinth at Chartres cathedral in France is clearly mapped out on the floor; the participant does not need to fear surprise because he can clearly see his path mapped out before him. Not all labyrinths are designed this way (with an obviously readable layout) but the difference between a labyrinth and a maze is that the former has one discreet path leading towards a discreet ending point. However much it twists and turns, it leads you inextricably to one point. A maze can lead you to any number of points, most of which are wrong and will get you lost. I’m getting a bit off topic, but the labyrinth functions as a map with one path to one location. But the experience of the labyrinth isn’t complete without the practice. Looking at the path isn’t enough; it is incumbent on the participant to walk the path. Labyrinths are often designed to mirror a spiritual or emotional journey, the physical space of the device itself suggesting the internal maturation and development of the participant. In order to reach the end, the moment of fulfillment, the journey must first take place. The labyrinth is both a map and a practice; one element does not function without the other.
Monday, December 15, 2008
redo of soundscape
or rather retouch of soundscape. i've made some adaptations to my cyborg jacket to make it better. I'll be working on it more over the winter break I think. BUt in the scope of project 4 it involves physical tweaks. I switched out two of the speakers from 0.5 watt to 1.5-2 watt. so, they're more powerful speakers. (the other two speakers were already 2 watt). i was hoping this would create a more universal chance for everyone to feel the vibrations of the sounds coursing through their bodies.
second, i've done away with the ipods. With max's help I used a max patch run through a firewire interface (mixer) on my computer to play the two audio recordings. this means that my computer essentially powers the speakers and dictates the audio while the interface allows control over more specific sound options.
The speakers in the jacket plug into the firewire interface, which is essentially a leash, a limitation for the wearer. i packaged my computer and the interface up in a box to represent this limitation, the concern of power supply.
second, i've done away with the ipods. With max's help I used a max patch run through a firewire interface (mixer) on my computer to play the two audio recordings. this means that my computer essentially powers the speakers and dictates the audio while the interface allows control over more specific sound options.
The speakers in the jacket plug into the firewire interface, which is essentially a leash, a limitation for the wearer. i packaged my computer and the interface up in a box to represent this limitation, the concern of power supply.
ReDO
For the redo project i decided to do the sound project over. I this time wanted to focus more on the form of the project, the movable receiver and people deciding where to put it. I was really interested with the comment that people were interested in finding comfortable spots for the receiver. I was very interested in making the loud outspoken media type of radio and make a comfortable soothing environment with it. there are three boxes each with a repetitive waving sound, one is a oscillating low electric hum, one is the hushing water of a beach, and the other is a slow breathing noise with a heart beat.
Project 4.4
If you would like to visit the website, it is http://digitalmedia.arts.ufl.edu/~lkitkat131/mapping
The images were optimized and should not take long to download, though I found it took significantly longer to download while on campus.
As a side note, I decided to use the "terrain" view from Google Maps rather than the street view. This seemed to be more pleasing to the eye. And now some screenshots from the website itself:
As you can see, I chose the Austria shot from each :-)
The images were optimized and should not take long to download, though I found it took significantly longer to download while on campus.
As a side note, I decided to use the "terrain" view from Google Maps rather than the street view. This seemed to be more pleasing to the eye. And now some screenshots from the website itself:
As you can see, I chose the Austria shot from each :-)
This is the global view: look how much the map changed!
Jupiter
Gainesville
Largo
I'm not sure if the addition of the European country helped or hindered me. I think it got more of the point across of how the map is interacting with certain cities, but the Gene Map itself looks less interesting, since there is just a cluster of locations in one area and a couple of outliers.
Project 4.3
It's kinda hard to document too much on what I did for my redo. Conceptually, it is no different from my original project, and only the aesthetics have changed. There has been only one location added: Jungholz, Austria. Yet this led to an incredible amount of work. Tedious. Long. Work. Here are some of the pictures of Austria with my other cities:
Jungholz, Austria:
Jungholz, Austria with Gainesville, Florida (I wish we had mountains!!)
Jungholz, Austria with Jupiter, Florida (I love the mountains by the inlet :-) )
Jungholz, Austria with Largo, Florida
Jungholz, Austria:
Jungholz, Austria with Gainesville, Florida (I wish we had mountains!!)
Jungholz, Austria with Jupiter, Florida (I love the mountains by the inlet :-) )
Jungholz, Austria with Largo, Florida
Project 3.8
The critique seemed to go well. It's always slightly intimidating having the grad students there to critique since they always seem to find the holes in your ideas, but I am happy with the suggestions. I especially liked the suggestions for the men's underwear, and I will even consider using briefs... or a G-string?? Haha, that would be fun, but again, I need to think about implications. Anyways, here are some pictures that were taken during critique, and be sure to look at the video that Karen took for me!!
Project 3.7
Finally! I have finished my wearables! Yayy for light-up underwear! There are still some minor issues that I would like to have fixed before January's show:
(1) The lights are really bright on the boxers (which are awesome) but a couple of them still flicker on and off, so that needs to be fixed
(2) I had not been having any problems with the bra, but now one side is also having problems lighting up easily and brightly
(3) Some of the underwear lights are bright and others aren't, so that should be fixed
(4) The switches still aren't working the way I want them to on the bra. It is incredibly difficult to put your arms down and get them to turn on, so I would like to remedy this.
(5) As a redo, I would like to get some of those motion censors that Ben is using for his jacket and rig it so that when somebody comes close to you, the lights light up.
This project was incredibly time-consuming. In fact, I am not sure if I have ever worked so long and so hard on a project. Ever. And yet, this is one of the most exciting projects, and one that I have probably enjoyed the most. So that was good :-) I am almost positive that I want to continue to create some wearables for my senior project.
Here are some pictures:
(1) The lights are really bright on the boxers (which are awesome) but a couple of them still flicker on and off, so that needs to be fixed
(2) I had not been having any problems with the bra, but now one side is also having problems lighting up easily and brightly
(3) Some of the underwear lights are bright and others aren't, so that should be fixed
(4) The switches still aren't working the way I want them to on the bra. It is incredibly difficult to put your arms down and get them to turn on, so I would like to remedy this.
(5) As a redo, I would like to get some of those motion censors that Ben is using for his jacket and rig it so that when somebody comes close to you, the lights light up.
This project was incredibly time-consuming. In fact, I am not sure if I have ever worked so long and so hard on a project. Ever. And yet, this is one of the most exciting projects, and one that I have probably enjoyed the most. So that was good :-) I am almost positive that I want to continue to create some wearables for my senior project.
Here are some pictures:
Success!
Friday went pretty well actually. Getting the projector mount set up went as planned aside from misjudging how high it needed to be from the map. I actually liked how it looked on the floor because it was consistent with the aerial photography on the map. I'm glad we were able to look at it in the dark instead of the day because it looked so much better. It surprised me how good it looked actually. The dilation of people's eyes I did not see coming and it is a very nice side effect that I am going to take advantage of. Maybe I can link it to the pieces name, some thing like "Abyss" since some people refer to sprawl as the suburban wasteland or something similar. I was very happy with the way it turned out. The low light levels really hurt my camera without a tripod but the video will be better once I get that up on Wednesday.
The wearable headband and glove went well also but probably wasn't as successful. People brought up some good points about how it was not so much about the hand gesture and lights to convey my mood, it was more of a whole new way to communicate. I have to agree with that to a certain extent but I also still think it has the ability to convey mood from a conscience gesture of the hand. I got some really good feed back on this one and advice on how to take it to the next level.
The wearable headband and glove went well also but probably wasn't as successful. People brought up some good points about how it was not so much about the hand gesture and lights to convey my mood, it was more of a whole new way to communicate. I have to agree with that to a certain extent but I also still think it has the ability to convey mood from a conscience gesture of the hand. I got some really good feed back on this one and advice on how to take it to the next level.
LED Underwear Models Caught On Tape!
LED Underwear Models Caught On Tape!
Some video of Lindsay's critique!!
Video and Soundmasup
I'm really proud of the sound part of the piece (heard in the above video). May I submit it as my VERY very late sound mashup assignment? I used my own recorded voice, music I collected and created white noise using audacity, as well as a small quieter version of my voice that only played in the left ear which was pitched up very high to sound almost like a baby. :D Creepy and fun. Hahaha.
Here's my sound mashup: http://www.upload-mp3.com/public/viewset/37531
Wearable Recap!
All the new people at the crit on Friday were fun to have. I especially got good feedback from Patrick :)
Aside from the one-size-not fitting all: try to keep the connection between the fingers/ sense of touch and the microphone/ sense of hearing more fluid and seamless (gloves a tad bulky - I think Patrick digs the cyborgs)
I also thought putting the speakers into a different wearable such as a beanie or hat and to perhaps keep everything a little lighter, as opposed to the winter look.
Crits aside I was happy to see people having fun with the gloves and find new things to do with than I had intended. Dr. Ross (I hope I had her name correct) went up and down the 3rd floor hall trying them out to see if he could hear conversations. Word is she could!
Super Crit
I got lots of good feedback for this project. the two main things I thought most valuable were the idea to make the suit enticing to draw people in and then confront the personal space issue. this would make a more specific point about wanting to be connected to people, wanting to please people yet not wanting to get to close. the other thing which i found very interesting was that as soon as I told people that the jacket was about personal space they immediately invaded mine to see the effect. Most unexpected.
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