Play Performance, FIX Festival

My performance for the FIX Festival challenged my own concept of play. The collaborative performance was done on the Ormeau Bridge, with Chrissie Cadman and Christoff Gillen, two professional performance artists, we played games using various sides balls and hulla hoops. We played to four hours repeating the rythms and manipulated them, to disrupt the flow of traffic and the daily routine of viewers travelling home from work. Days after the performance and travelled passed this site; day dreaming of the playful times I had there. It arouse emotions from the happy fun experience I had there.
We claimed the space temporarily for the use of play, it made me consider how children/people claim the streets temporarily in their daily lives; playing football on the streets, cycling their bike or hide and seek between the parked cars. It was our space in the time that the performance took place and I will forever have a connect to it.

I had a chance to experiment with my class mates as I was due to do a presentation on 'how Designers Might Design'
Collect names from groups presented to, contact mobile numbers and email addresses.

Text group informing them that they’re received an email.
“you have received an email from me. Please do not respond to this message”
They receive an email containing an image and a question, questioning the space within the image.

1- How does this space make you feel?

2- How could you change this space?

3- Is this space private of public?

I threw up these questions in the week running up to my presentation. This was done as a build up, for them to question the space and for each participant to think differently about interacting within it.

On the day – Tuesday 11th December, 2007. I invited the group into the space in question, to play games. It was the entrance area of the college. I gave simple instructions for each game. Asked if anyone wanted to add/subtract anything form the instructions.

Game 1 – Pass the Clap
Everyone in the group has an imaginary ball and to pass the ball around one must clap, for someone to catch it they must clap simultaneously. The ball is pass around the circle and once a firm rhythm is established, start accelerating slowly. Add in a few extra balls into the circle so there are several claps going around the circle at the same time.

Game 2 – Zip, Zap, Bop, Toin
Everybody gets in a circle. This game is similar to claps. Each ball has its own special movement pattern, and its own sound. Each word is introduced separately until participants understand the instructions. This time when a ball is being passed to the person next to that, the person says ‘Zip’; to a person across from them ‘Zap’; to block the ball, the participant jumps and puts they’re hands up. The ball is returned in direction by saying ‘Bop”.

Game 3 - Homage to Magritte ‘this bottle is not a bottle’

‘There is many objects with a single object, if the final goal is the revolution; but there would be no objects within any object. If that goal were to disappear’ (Bertolt Brecht). Discuss Rene Magritte’s work ‘ this is not a pipe’; the picture bears titles, which disrupt the identification of the object they depict. ‘This is not a bottle, so what could it be? The game consists of giving the group a bottle, placing it in the middle of the circle, where each participant in succession must discover a use for, by the addition of his or her body to the image; what could this object have been? The body can be acted out as a phone, hairbrush, football, possibilities are endless.

Bring group back to room for a discussion on play and space. Throwing out questions o start of debate. Did you feel like you claimed the space temporarily? Could that be adapted to any space? Where?
Using the college as a metaphor for the city, can you suggest other spaces that we could claim temporarily and use for play? Why some over others? What restrictions are there? Who puts these restictions there? Do we as students own this space, as we have paid for entry (like membership fee into a club), have rights to be in the space. But we do not have authorisation of make permanent changed to the space, temporary play like this is acceptable but not much more. The entrance to the college is cold, clinical, executive, exposed, formal; everything that you would not imagine an art college to feel like. Does the college not no what its suppose to be and what it suppose to be for?
What spaces and Private and Public? What spaces are controlled in the city – college, shopping centre, city hall, alley ways, derelict buildings, public parks etc?
(Architects) Does this idea wreck your head – that a space for play cannot be a controlled space? Did you see any importance in the game exercies, now that the objective behind it is clearer?
I am interested in designing a new game that integrates groups that wouldn’t normally meet. What games already exist within these groups? What games would be possible – football. How do we play in our everyday lives? Modern play – eg facebook, bebo, myspace (online networking), mobiles, SMS, playstation, online multi-player games (Counter Strike, World of War Craft, Call of Duty, Quake Three, Eve), Nintendo DS (portable games console). How do you play in your everyday lives?

I told the story in my presentation about how my ownership and attachment to a space on the Ormeau bridge had changes since my performance there. I hoped each person could gain something from their play experience that day. That it would raise different emotions and question their attachment about the space they just played in.

Cliftonville Community Centre - Initial Plans

Room for workshop

Workshop 1:
A meeting was held in the Cliftonville Community Centre, 11th January, 2008 at 3pm to discuss the ideas for a Workshop to be held at Cliftonville Community Centre (CCC), a time-line of the project, available groups, times available, Tools & Materials. Attending was Ruth Graham (GT Gallery), Michelle Nolan (MA Art in Public). Louise Mathews and Ray Grant (Cliftonville Community Centre).
I approached CCC with my idea of constructing foldable play huts/houses/tools, both Louise and Ray were enthused about the idea. The initial initial workshop – temporary, foldable playhouse/play tools made from recycled or found materials. The group will source the materials themselves or participate in the collect of.
Last summer local lads boys the hut the boys initiated last summer and personally constructed. It lasted 2weeks before it was burnt down, more likely than not by the boys on the other side of the Peace line. Evidence of the burning remains on the wall, where the hut had been placed.

There is a large gap next to the Peace line. An area barricaded off for security purposes, allowing a space to separating the Protestant (Shankill) and Catholic (Cliftonville) neighbourhoods from each other, in case of sectarianism disputes. Tension particularly grows during the summer months and segregated group’s aim with bottles, stones and metal at the other. This ‘no man’s land’ is a contested space and one that the Belfast City Council (BCC) needs to be challenged over. The young people could initiate applications and a proposal for a project to develop in this contested space.

It is arranged that workshops begin on Tuesday 22nd January, at 8pm.

I questioned the possibility of doing a climbing project on the peace wall by constructing a temporary climbing device or a magnetic board game on the galvanized sections. This idea was dismissed because it would pose problems with both communities, aiding easy access but my magnetic board game idea was welcomed and is a possible project in the future.
A Draw-In would be arranged on the second workshop. I suggest inviting the parkour boys (PB) to the Draw-In (Saturdays being available day for them as a lot of them travel in from the country). They would bring a lot of energy and creativity to the workshop. Ramps could be easily constructed. The PB would bring the skills necessary to training/teach the group about free running. Otherwise a trip would be made to the Waterfront (the location were the PB meet) on a Saturday midway through the workshop, like a carrot to keep them motived. Proposed date: 16th February. I would like to invite groups from the CCC, Draw-IN members and give an open invite to come together for a Draw-In session, held at the Playground at CCC. The objective of the Draw-In is to construct temporary obstacle courses, play houses/tools and equipment. LM & RG suggested for this to be held on a Tuesday evening as part of the workshop. The sand playground, football pitch and changing room are available. Proposed date: 22/29 January.
At the end of this workshop I will bring the group camping with there newly produced fold-able huts. Location is yet to be decided. This will come about with the help and organisation of the team at CCC.


Workshops 2:
There was mention about the playground needing a revamp and Ciara (who runs the crèche) has sourced funding for that to go ahead. I obviously expressed my interest in getting involved in the design and construction of. The area directly outside the crèche is presently used for children, 1-7 year olds, but is solely a sanded area with no equipment. A blank canvas as such.

There is huge possibilities for this space and a lot of primary research is needed for the design of play tools/equipment. First off, I propose to set up a camera above the creche (the creche is inside the two shutters) looking down on to the sand area for play. Set the camera at stop motion. Observe the markings on the sand; note the movements in the sand. Do the children make curvy or straight lines? The area with most markings will indicate area used most, likewise with the still patches of sand least used. What play equipment is suitable for frequent use and/or group use? What games or play tools is suitable for quiet locations within the playground and/or individual?
Note measurements in height and in distance form a number of children. Take the adverage of both. Note also the adverage in height and width of the children; how much area space they need.

I will begin primary research for the play space during my time spent at CCC for workshop one. With negotiations with Ciara, design and produce play tools/equipment for the particular children in mind. I will propose workshops with the children attending the creche to get a better understanding of their needs and desires for the space; a wish list. i hope to begin these workshops after the Easter break. Design and production will begin in late September.

Carsten Holler's slides

The Turbine Hall generally has something interesting in it. This time a huge series of chrome tube slides were installed nearly the whole height of the space. A few years ago, there was an exhibit at Boston's former ICA on Boylston Street by the Belgium-born, Swedish artist Carsten Holler of slides. This piece at the Tate Modern is an extension of the earlier, more modest ICA vision. This like some of his other installations is about human behavior, perception, logic and self-exploration. Apparently, the artist is intrigued by the visual spectacle of watching people sliding and the inner spectacle experienced by the sliders themselves incorporating simultaneous anxiety and delight.

And he's 'ittle piggies

Questioning spaces

To realise a playground; develop a model and strategies for designing play environments. Need to understand what is importnat to each player. What design process is best to develop strategies for future projects. What do I need in my toolkit for planning action?
I began my external collaboration with the idea of putting together proposals for Outreach Programmes run by Golden Thread Gallery. The idea for these workshops is to allow opportunity to express their wishes and desires for (un)defined space within their community.

Working with Ardoyle Shankill Health Project ASHP. Sites include Ardoyle Health Centre and Youth Club and Shankill Stadium Youth Club. What spaces are less restricted and unrestricted? And within the building what space is (un)defined or claimed?

Outcomes for 10 week workshops:
Realise their ideas through drawings, models making, performances, drama, through play.
Analysis what is play for them?

Who needs to play? Everyone. Greater need for people that have been deprived in Belfast.

Wikipedia's definition: "A playground is an area designed for children to play. Most forms of play are essential for healthy development, but free, spontaneous play—the kind that occurs on playgrounds—is the most beneficial type of play?" I don't believe this! Children play spontaneously everywhere and children are not permitted to play freely within a playground as they are usually subject to adult supervision and oversight.
Children traditionally "play out" in the streets for long periods without supervision, most commonly in children between the ages of seven and twelve. I believe that playgrounds need to be balanced with marginal areas that appear to be derelict or waste ground. Less restricted space within the community can be space for play and this space is temporarily theirs. Less restricted spaces I'd foresee are woods, fields, phone boxes, the streets, derelict buildings, waste grounds, green areas, stairways, etc. I plan now to photograph such sites and observe what undefined spaces people claimed.
http://en.wikipedia.org/wiki/Children%27s_street_culture

http://www.playboard.org/ - play manifesto

http://findarticles.com/p/articles/mi_qa3780/is_199610/ai_n8758229 - Book

Waterfront - Young people interact through skate boarding.
Design a game that young people engages with people from different backgrounds. E.g Football, Skate boarding. Observe whats in situ at present.
Modern games - invent game, music, multi media, physical game.

Private and Public on facebook.
Sms, mms

Kurt PERSCHKE and Richard Serra

Kurt PERSCHKE's Redball project, back to the United States

Mobile sculptural installation integrates with Scottsdale surroundings to create the art of human interaction New York, NY (January 28, 2008) -- New York-based artist Kurt Perschke brought his RedBall Project back to the United States in January 2008 with a series of installations in Scottsdale, Ariz. Commissioned by Scottsdale Public Art, this is the sixth appearance by the RedBall Project, and the first in the United States since 2005. Perschke states, ?On the surface the experience seems to be about the ball itself as an object, but the true power of the project is what it can create for those who experience it. Transforming the spectator into a participant in the act of imagination.? While the red ball is 15 feet (4.6 meters) in diameter and weighs 250 pounds (120 kilograms), the inflatable orb is more than a simple object. From oddly curious stares, to playful interaction and immediate engagement, Perschke?s RedBall Project has created a buzz in every city it has visited. The Public Art program in Scottsdale saw an opportunity with RedBall to bring an installation to the city which created personal interaction among strangers and entered the public?s imagination. ?I had seen the reaction RedBall Project received in other cities around the world and believed Scottsdale was an ideal location for the installation,? said Valerie Vadala Homer, program director for the Scottsdale Public Art Program. ?Since it first appeared on January 18 the public response has been overwhelming and it has truly created a public dialogue in our city.? Scottsdale Public Art has brought more than 80 public artworks to Scottsdale since 1985. This includes permanent iconic artworks such as The Doors by Donald Lipski, Love by Robert Indiana and Knight Rise by James Turell one of only three skyspaces open to the public in the United States. Future RedBall locales are currently under consideration for cities in Asia, Europe, Turkey and the United States. For more information on Kurt Perschke?s RedBall Project or Scottsdale Public Art, please visit www.redballproject.com or www.scottsdalepublicart.org.

Only boring people are bored. And there are more reasons to live in San Diego than just the fact that we have less traffic than L.A. and more sunshine than New York. Promise. One of the biggest reasons occurred over the weekend when the Museum of Contemporary Art San Diego more than doubled its downtown location space with the opening of the new Copley and Jacobs buildings across the street from the original Kettner building and downtown trolley station. To celebrate, MCASD filled its brand new walls with specially-commissioned installation art like the giant unmentionable-looking, hanging, scented sculpture of Ernesto Neto and Richard Serra's huge steel blocks that line the patio adjacent to the railroad. BTW, the name of Neto's piece is as great as it looks:

"Mother body emotional densities, for alive temple time baby son,"

His works present simple geometrical shapes, planes, ellipses, truncated cones, etc. One of his most famous works, “Snake”, shown in the central image, is based on a third-degree polynomial equation. In this group we can also include those works that adopt forms of surface equations not considered in the other groups. For example transcendent mathematical equations, such as trigonometric or exponential, etc.

Richard Serra's 'Snake' in the Guggenhiem Museum Bilbao - architect Frank Gehry. Great essay about the building in 'Architecture of Aftermath' by Terry Smith.

Upcoming Events...

FIX 07 - 7TH INTERNATIONAL PERFORMANCE FESTIVAL

14 NOVEMBER - 07 DECEMBER 2007

On 28th and 29th November 2007, 7 MA students and 2 members of staff will participate in FIX, the 7th International Performance Biennial hosted by Catalyst Arts in Belfast. On Ormeauary Road, between the Library/Bridge/Annadale Embankment and Haywood Avenue, the artists will make both individual and collective interventions using performances or tempor installations. The interventions/performanes will take place between 3-7 pm. On 30th November 2007, there will be a public round table talk at Catalyst with the participants of the event at 6 pm. Title: creative dynamic social?

The participants are:

Chrissie Cadmann
Kris Gillen
Eleanor Philips
Sarah McAvera
Acitore Artezione
Wendy Nicole Keys
Michelle Nolan
Soirse Higgins
Susanne Bosch
Sinead McKeever
Ann Marie Dillon

FIX07, the oldest live art biennial in the UK, presents a programme of performances, interventions, discussions and workshops illustrating creative strategies for a dynamic engagement with the praxis of live art. Established since 1994 FIX has an international reputation for presenting emerging and established national and international artists. The seventh edition of this festival has evolved its programme to over three weeks with focus on expanding collaborative, investigative artworks that engages with the notions of what is public and live. FIX07 seeks to engage audiences with challenging performances and interventions to explore new approaches and open dialogues.

LANDSCAPE'S FIRST LECTURE: 'OLYMPIC MASTERPLANNING 2012'

You are cordially invited to the first lecture in the play THE Landscape programme. This is the first in a series of four lectures on people, play, recreation, design and the landscape. 'Play THE Landscape’s' first lecture: ‘Olympic Masterplanning 2012’ will be presented by Jason Prior, Managing Director of EDAW.

TOWARDS A BETTER FUTURE: DIALOGUE, NEGOTIATION, COLLABORATION, PARTICIPATION

Half Day workshop
Dates: 6th December 2007
Venue: Interface, Level E, School of Art and Design,
Board Room 82 E04, York Street, Belfast.
Opening Times: 10-2 pm

The MA Art in Public is being established as result of the identification of fundamental challenges to the model of art and the hierarchies of value in contemporary civil society under the influence of globalisation and digitalisation. It responds proactively to the pressing need for the development of advanced, up-to-date transferable and subject-specific skills, applicable knowledge and professional experience that promote a sustained as well as pioneering commitment to interactive, socially and politically engaged creative practices. It recognises the importance of the location of art in the public territory, its cultural and historical as well as social and economical, political and psychological situatedness. A crucial factor for this innovative postgraduate programme is its focus on art practices that centres on templates of practice, which give primacy to the creative process, to dialogue, negotiation, collaboration and participation. It scrutinizes the ways in which those practices produce values and publics, and empower citizens to articulate their interests and actively undertake responsibility in civil society. To do so, the MA programme centres on collaborations with external partners, i.e. NGO’s – community and voluntary art organisations, cultural agencies and art organisations in Belfast and Ireland.
In this first of three half day workshop (the other 2 will be in 2008) partners and students of the MA Art in Public will introduce their organisations and projects. They will have been working together for a number of weeks at this stage, they negotiated roles and contracts. The emphasis is of this workshop is to look at the negotiation process and the defined roles of the artists and the organisation. Organisations from the South and North of Ireland will be present. The role of creative practices as core methods of ‘society empowerment’ will be debated. This workshop and debate is open to the public as it challenges also university structures. It is funded by the Cultural Development Scheme of the UU.

Views of Belfast

'Park and Ride'

I saw this bus passing me in the city yesterday evening, named 'Park and Ride'. Wikipedia's definition is 'Park and ride' facilities are public transport stations that allow commuters to leave their personal vehicles in a car park and transfer to a bus, rail system (rapid transit, light rail or commuter rail) or carpool for the rest of their trip. The vehicle is stored in the lot during the day and retrieved when the commuter returns. Park and rides are generally located in the suburbs of metropolitan areas or on the outer edges of large cities. I took the colloquial meaning from the words 'Park and Ride' and imagined that this busy was owned by a Swinger's organisation. Customers leave their vehicles in a car park and transfers to a bus. 'Park and Ride' would be located in urban areas and transport to various rural locations in the later parts of the evenings or weekends. The 'get to know each other' time on the bus would could come to a close at destination point - adventures in suburbia! This play on words could have endless meaning for people. More innocently, play and take a trip on the big wheel, or drive you car on to a contraption that converters it into a boat and take a trip down the river. You have park and ride site all over the country at vacant car parks, look out points, beaches etc. So I hear!

Hilariously also on the Wikipedia page I found the 'Kiss and Ride'. The photograph is a drop off point at Alewife (MBTA station), Cambridge, Massachusetts. Many train stations and airports with good road connections

include a separate area where cars can discharge passengers in the morning and pick them up in the evening, allowing the driver (most often a spouse and possibly after a kiss, hence the name) to quickly return to the highway. Some of high-speed railway stations in Taiwan has signs outside stations reading Kiss and Ride in English, with Chinese characters above the words that read "temporary pick up and drop off zone". Most people in Taiwan have no idea what the colloquialism means.

'CitiPlay'

CitiGolf bringing outdoor sport inside, situated in the heart of Belfast city. It appeals to corporate golf parties and client entertainment. Is this facility better that your golf course? It offers professional Golf swing analysis, video analysis and instruction available on site from top PGA professionals. It boasts three state of the art golf simulators with over 57 word famous golf courses to choose from and more than 20 different setups for games and competitions. Extras include Karaoke, Black Jack Table, Photographer who will email pictures of guests to the organiser after the event, Champagne reception and results, prize giving 7 award ceremony at the end. That's pretty impressive! Needless to say Citigolf is opening up several new locations.
How about more indoor play facilities for outdoor sports? So what hasn't been done? What about a facility that wasn't for the elitists, free of charge, run by the community. Who most needs an indoor play facility. The weather getting too cold to be hanging around outside. Teenagers are reverting to locate in any hallway that they can get access to. Where would it be? Who would facility it?

Natural Architecture

This is an emerging art movement that is exploring mankind's desire to reconnect to the earth, through the built environment. Referred to as 'natural architecture', it aims to create a new, more harmonious, relationship between man and nature by exploring what it means to design with nature in mind.

The roots of this movement can be found in earlier artistic shifts like the 'land art' movement of the late nineteen sixties. Although this movement was focused on protesting the austerity of the gallery and the commercialization of art, it managed to expand the formal link between art and nature. This has helped develop a new appreciation of nature in all forms of art and design.

Natural Architecture is a movement that is characterized by the work of a number of artists, designers and architects that express these principles in their work. the pieces are simple, humble and built using the most basic materials and skills. because of this, the results often resemble indigenous architecture, reflecting the desire to return to a less technological world. the forms are stripped down to their essence, expressing the natural beauty inherent in the materials and location. the movement has many forms of expression that range from location-based interventions to structures built from living materials. However all of the works in the movement share a central ethos that demonstrates a respect and appreciation for nature. These works are meant to comment on architecture and provide a new framework to approach buildings and structures. They aim to infuse new ideas into architecture be subverting the idea that architecture should shelter nature. instead, the structures deliberately expose the natural materials used in the building process. we see the branches, the rocks and

all the materials for what they are. we understand that these structures won't exist forever. The materials will evolve over time, slowly decomposing until no evidence remains.

The adult craddle of the shaker community is an interesting idea from being rocked as a baby and child, we seem to never loose this sensitivity to rocking motion. Whether by the gentle

lapping of waves on a boat, a swing in a playground, or hammock in the garden most of us would be able to find relaxation and comfort.

Interestingly rocking also helps stimulate our ability of balance, by activating the system within our inner ear. this also goes some way to help us be alert and attentive. The spiritual society of the ‘shakers’ has the most impressive rocking tradition. Rockers are part of all life stages - a craddle for the new born; a rocking horse toy; a rocking stool for work in the household of the community; a rocking chair for leisure time, social meeting and reading of spiritual texts;an adult-size craddle for ill, weak or aged invalids. The gentle rocking movement helps to calm their spirit and prevent from bedsores. The rocking motion closes the circle of life, from birth to death!

By Artist Simon Thomas

iTrek

iTrek a project I was involved with at Computer ClubHouse when in Dublin last year. This idea was run as part of the summer program for the children in the area. This Carbon Conscience program got the kids out exploring the city in an educational and creative way. Trek is a physical and mental challenge taking place both virtually and in reality across Dublin city and countryside. The activity has been organised by SWICN Computer Clubhouse and The Digital Hub Learning Initiative. The gauntlet has been thrown down to 16 young people who will form 4 opposing team. Each team faces the task of completing three missions before taking part in the away mission for the Final Countdown mission.

The challenge is to help prevent environmental disaster through gathering evidence and building up knowledge skills. Technology will play an essential part of the challenge, facilitating faster communication and sophisticated transfer of information. Each mission will focus on a particular aspect of humanity’s impact on the environment. The teams will work against the clock on many tasks but must remember that speed is balanced against their need to reduce their carbon footprint. The first three missions will take place across the city centre in various locations. The Final Countdown will be an away mission which will take place on Larch Hill. An fully interactive website has been created to facilitate this project. The teams will use this website to co-ordinate tasks for the day and document their success.

Each player will set up a personal profile with an Eco Hero avator and teams will upload photos, video status reports and mission evidence. This will ensure that all the teams have access to the whole iTrek experience during and after the event, in addition to allowing parents and supporters to pay tribute to their success. The winners of the overall challenge will have the opportunity to take part in a summer course where the iTrek story will be transformed into a video game. This game will become the crowning glory of the project.

Dan Shipsides

I called into Dan Shipsides's studio at Orchid Gallery (beside FlaxArt studios) to see what he was up to. I had a preview into Dan's work at his presentation at the Pecka Kucks night at Catalyst Arts in October. It made me consider climbers at playgrounds and how I could construct more interested devices? On the Elastic Frontiers project Dan worked with six children from the Oldbury Court Primary School in Bristol initiated by Creative Partnerships and Arnolfini. During this time the children learnt to climb. they explored ways of moving through space and making art using the classroom, school buildings, surrounding areas, local climbing centre and places out in the landscape as their learning environments. The equipment they used ranged from traditional art materials, tables and chairs to specialised climbing equipment. An exhibition was held at the school and Golden Thread Gallery. It included Dan's new climbable sculpture, The Big Cheese, an almost vertical 'slab' wall made of school tables, with holes cut to act as hand and feet holes.

Patrick Walsh

Patrick Walsh exhibited 'The Human Connection' at The Bad Art Gallery in Dublin, 8th Nov - 6th Dec. The IronPig got me thinking about the illusive object; taking the objects out of it's original situation and creating something misleading.

A documentary 'The Genius of Photography' on BBC4 brought up this concept in Man Ray and the Surrealists work. They force the viewer to look closer at the object. They have photographed the object in it's own, obscuring the objects origins. Man Ray found objects, manipulated them and reduced them to photographs. I find Patricks interpretation of his objects interesting. He dissects and constructs them into a sculpture of their own. In the images shown he uses a gas cylinder manipulating it into various meaning .

3D Design Workshop with Deepak Kaushal and Johanna Van Daalen

We were given a brief by Johanna and Deepak to design a product or range of products and create a prototype(s) for a company called TRICO, a small furniture and product manufacturer. For this project we took inspiration from the questions below in creating a wearable item which deals with functionality rather than a fashionable piece of clothing; using our skills and our various backgrounds to look at clothes from a different perspective.

• Why do fashion designers sell their work seasonally?
• Why do fashion designers have to deny their past works after half a year?
• Why do fashion designers produce such an amount of work for such a short time?
• Why do fashion designers sell their work at sale prices afters only a season?
• Why can't we buy our favourite clothes again and again?

My group consisted of a Graphic Designer (Lee), two Textile designers (Beth & Hannah) and (me) a furniture maker/designer. We have 5 hour to develop our ideas and produce a/range of prototype(s). We began by thinking about how are clothes could have another function. Inspired by CuteCircuit's work we came up with 'Mobile Glove'. This is a glove with speakers/headset located within the fibers. Sensors would notify you when their a call. It would answer when you raised your arm up. Deciding that this product is too problematic to produce, we started brainstorming ideas of further multi-functional clothing. We played around with ideas of producing socks/footwear that would prevent wet soaks, reflectors on clothing for cycling, disposable clothing made from recycled paper, jacket that converted to a blow-up neck cushion and blanket etc.

Finally we created Hotty's, a collection of woolly products that heat up, by your wasted heat within your morning routine. Our collection includes a hat, scarf, socks and gloves. We all know that heat will help make us feel better. Our products retain heat from once you leave your house and arrive at work/college, making your trip snug and warm. We've used cherry stones and gel inserts in our woollies. The Cherrystones line the hat and scarf, gel insets within the palm of the gloves and arch of the socks. As an added plus cherry stones have many healing attributes: helps to improve circulation and cell function, decrease stiffness in tendons and ligaments, relax the muscles, decrease muscle spasms and help to lessen pain. Cherrystones retain heat and release it gradually to give long lasting and penetrating heat directly to the area of discomfort. They are also washable. Just 15 minutes on your hot pipes or wrap over your tea pot and they are ready. They can also becomes a perfect cold compress for sports injuries, bumps and puffy eyes.
Get up in the morning, put on the hot water, wrap socks and gloves around hot pipes, make a pot of tea, wrap woolly hat over teapot, pour cup of tea, rest cup over circular gel inserts of the gloves. You collection of woollies are now toasty and ready to wear.

Cute Circuit with University of Ulster staff

"Its products and art installations have been featured worldwide. Its Hug Shirt was named one of the Best Inventions of the Year by TIME Magazine. CuteCircuit combines telecommunication and smart textile technologies with innovative design concepts to create new user experiences. CuteCircuit designs products that make you happy!" CuteCircuit are concerned with HCI (Human Connection Interaction), questioning what is the experience of using their products? How people interact with them? What happens to the product when people are finished with it?

Clothes are 1000 of years off, fashion has changes but our clothes have not. CuteCircuit have revolutionized fashion in today's world. They have merged it with technology to create experiences for the buyer. Some of their technology advancements include Blue-Jacking and Pod-Casting producing this missing link has been Experiential Clothing Design. Designing clothes that empower the user. For example the Kinetic Dress, an evening gown reactive to the wearer’s activities and mood. The Hug Shirt, a shirt that makes people send hugs over distance. Embedded in the shirt there are sensors that feel the strength of the touch, the skin warmth and the heartbeat rate of the sender and actuators that recreate the sensation of touch, warmth and emotion of the hug to the shirt of the distant loved one. My favourite the Accessory Nerve, a Bluetooth mono-sleeve accessory for mobile phones that changes pattern (creating pleats on the fabric) when a user receives phone calls. The wearer recognizes the sender from the pattern the pleats create when receiving an incoming call. If the user is in a meeting or busy can simply flatten the pleats back into the original position, automatically the caller will receive a text message saying “I’ll call you back later”. The Accessory Nerve allows users to exchange information and greetings in a subtle and intimate way. Brilliant!


Cute Circuit worked closely with two lectures at our University, Liam McCormish and Christine Blaney developing a wearable technology system and interactive environment to aid pre-school children in learning to read called 'Jump, Skip, Learn'. Children wearing a smart textile wristband were able to magically control many activities and objects inside this environment. When the children raised their arms it caused the sun to come out, but dropping their hands repeatedly caused the rain to fall, and clapping their hands brought resounding thunder and lightning! I love this idea in creating interactive play environments that animates a healthy physical space whilst developing language and literacy skills. Synthetic Phonics are incorporated which aids the children to sound-out words. I was interested to find out the range of collaboration for such a project. It extended to children, educationalists, technologists, designers and typographers. It made me consider my own project and who I would look to for collaboration in realizing it.

Alexander Brodsky

I came across Alexander Brodsky's work in Another magazine. His unified architectural objects interests me.

http://www.lib.virginia.edu/dic/bayly/time/home.html http://www.feldmangallery.com/pages/artistsrffa/artbro01.html