A recollection of the weekThesis & FMP
In the picture above are sketches about moving the dress. This week I wanted to focus on the kinetic technical parts of the garment making sure it can move with various ways. I got pretty far and next week we continue to test while Hana figures out how to work with tech equipments on her costume. I really like this way of working with Hana the back and forth and quick prototyping.
But also I had a talk with Nicolas about how the input should read.
This mind map is really how messy my head was at the beginning of the week because I knew the dress moving was the output and couldn’t make up my mind about what is effective and feasible for the input. But after the tutorial I think at the moment I should just work on output for now and the input can be figured out later and may not need to be as complicated as I had originally thought. My options are to use simple buttons or sensors like proximity, or computer vision and machine learning. Which eventually is where I want to get to with the project but may have to be after I graduate.
Next, we also met with Ben Branagan and Tobias about the exhibition. Originally this was my sketch for the exhibition:
But Tobias and Ben made a good point that I shouldn’t JUST show the costume like a trade show but rather think about how I can show this in a way that brings the audience into the system that the costume lives and talks about. How can I get the audience to experience my thesis ideas without much explanation? What is the main thing you want the audience to get from all your research and thesis and how can they interact with your exhibition?
This was also another point that Nicolas brought on, which is that I am not designing the costume but rather the interaction. DUH… I should design around how this costume interacts with the performer, but how I am the middle piece that connects these pieces together in terms of the interaction between why the dress moves and when does it move and how does it interact with the dancer. If my thesis is about turning the everyday gesture into a wearable organic interface, then I should be thinking about this as part of the performance. So we thought that it would be good that during the performance, the costume starts normal and reacts only when the dancer starts showing bigger everyday gestures of affection. When the dress transforms, it makes the dancer become the performance from the recognizable everyday human, exaggerating gestures.
- When does the gesture happen?
- What are the gestures involved?
- What’s the context connecting performance, dance, interaction?
Pipe also suggested that maybe when the audience claps, the dress shrinks in a shying away motion. Like the dress reacts to the audience.
On Tuesday, I had another think about the exhibition style from the notes above and came up with some sketches.
The 2 main ideas are:
- Presenting this costume in a future shop and building a scenario of how this garment would look if it was already in shops.
- Exhibiting it hanging with a series of mylar panels juxtaposed in various angles so the audience has to walk around, look up, and generally a way to make them gesture around the costume. Also on the mylar sheets, illustrate some gestures or line drawings of the costume when viewed a a certain angle it matches up with the hanging costume. Ideally it would be nice to make the costume pieces move while people are walking around it.
Here are some reference images from other exhibitions and store displays: