Prosthetic Knowledge Picks: Computed Fashion

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Virtual Clothing Touch 'Heatmap' Feature Of CLO 3D

A collection of items from the Prosthetic Knowledge Tumblr archive and around the web, around the theme of 'Fashion'.

 




Glitch Embroidery by Nukeme 

Clothing with embroidered logos whose sewing machine file has been purposefully corrupted, creating glitched outputs: 

 






CLO 3D 

South Korean 3D CAD software developed specifically for industry-class clothing design:






CLO 3D is Easy-to-Use 3D Apparel CAD, enables you to design, to view 3D samples in real-time and to communicate easily with partners. It is possible to create a virtual sample photo-realistically within 1 hour using your 2D pattern. You can send 3D clothing data in network to colleagues, and it�ll enable you to communicate effectively with your team members across the globe. You can view in real-time the impromptu changes in patterns, designs, colors, fabric design with others

[PK Link]

Netstyles

Limited edition T-Shirts designed by net artists:



Triangulation Blog has an interview with Netstyles' creator, Stirling Crispin: 

What is the idea behind Netstyles? How did this project come to your mind and when did you start it? Where you inspired by the bad smelling boy tumblr or other artists?
Netstyles is a digital aesthetics fashion line which translates virtual art into physical form. The clothes act as hyperlinks in physical space to emerging concepts developing in contemporary culture. I launched Netstyles on February 6th of 2012 but had been researching and doing tests since at least August of 2011. Many artists working today have adopted a post-internet sensibility and create far more digital objects than physical objects. Netstyl.es was created to provide a common platform for contemporary artists to experiment with, and make physical what would otherwise remain as digital forms. Bad Smelling Boy and Body By Body were two influences, both of which are included in ...

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BLDGBLOG Interviews Nicholas de Monchaux, author of "Spacesuit: Fashioning Apollo"

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Image from Spacesuit: Fashioning Apollo by Nicholas de Monchaux

For instance, the word cyborg originated in the Apollo program, in a proposal by a psycho-pharmacologist and a cybernetic mathematician who conceived of this notion that the body itself could be, in their words, reengineered for space. They regarded the prospect of taking an earthly atmosphere with you into space, inside a capsule or a spacesuit, as very cumbersome and not befitting what they called the evolutionary progress of our triumphal entry into the inhospitable realm of outer space. The idea of the cyborg, then, is the apotheosis of certain utopian and dystopian ideas about the body and its transformation by technology, and it has its origins very much in the Apollo program.

But then the actual spacesuit—this 21-layered messy assemblage made by a bra company, using hand-stitched couture techniques—is kind of an anti-hero. It’s much more embarrassing, of course—it’s made by people who make women’s underwear—but, then, it’s also much more urbane. It’s a complex, multilayered assemblage that actually recapitulates the messy logic of our own bodies, rather than present us with the singular ideal of a cyborg or the hard, one-piece, military-industrial suits against which the Playtex suit was always competing. ... — Nicholas de Monchaux, author of "Spacesuit: Fashioning Apollo" in an interview with BLDGBLOG's Geoff Manaugh.

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Elastic Youth: Interpreting the Scrunchie Video

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In case you missed November's Elastic Youth: Interpreting the Scrunchie lecture by David Riley, organized by DIS Magazine, videos of the event are now online. The lecture comprised part of the programming for the exhibition Free.





Originally via DIS Magazine

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#hi11 Times

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Today we'll be turning the blog over to the many people involved with #hi11, a New Year's Eve happening produced by Ryan Trecartin and Lizzie Fitch. For the event, the organizers took over three floors of a house in Los Angeles, transforming it into an interactive, multimedia environment. (The full list of names of everyone behind #hi11 is available here on the 2240hill site.) The house was equipped with video capture throughout, which allowed live video feeds between the rooms and a broadcast online. One of the rooms was covered over entirely in green screen fabric, so video captured therein could be augmented. Inspired by the organizational design of IKEA, the rooms in the house were assigned a letter and a number, for example, B2, C4, etc. The rooms themselves operated much like sets, and in many cases, IKEA furniture was used, mostly beds and couches for lounging. The house was illuminated by black lights, red lights, projections (some of the dump.fm chat room), and videos from the other rooms, giving the space an overwhelming feeling akin to Trecartin's delirious videos. An impressive amount of work went into #hi11. To name a few of my personal favorite details: the chandelier constructed out of Brita water filters, the herbal sexual enhancement pills freely distributed at the bar, the professional Diva wearing a headset connected to the PA on the dance floor, who would break out into song while walking around the party, the one water cooler (out of 4) in DIS Magazine's "refresh_forum" room which contained solely vodka (quite a surprise!), a small room off the dance floor which was intended as a secret Nine Inch Nails sex chamber, where participants could wear headphones (with flashlights attached to the top) blasting the band on repeat while ...

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Interview with Daniel Pianetti of No Layout

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No Layout is a new online platform for independent art and fashion publishers. While mainstream print publishers are struggling to address online content, making their magazines available through clunky PDF apps like Exactly or posting limited articles to their websites, no one has yet come up with a solution for the relatively niche market of independent art publications and zines. No Layout, started by Daniel Pianetti, provides a fully readable library of this print material. So far, their roster rivals that of a well curated museum bookstore or specialty shop, including gallerist Javier Peres' art mag Daddy, Swiss contemporary art journal der:die:das:, urbanism magazine Monu, small art zines like FPCF, and even historical publications like the avant garde journal 291 from 1915, to name a few of the 100 or so publishers available through the site. I spoke with Pianetti to find out more about the project.

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Homebrew Electronics

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LaraFelt.jpg
Lara demonstrating one of her projects

I met with sisters Sarah and Lara Grant of Felted Signal Processing the other week at their Brooklyn apartment. Felted Signal Processing is an ongoing project, which came out of their individual research as graduate students in NYU’s ITP program. Sarah entered the program to further her skills in new media and Lara went to learn how to program, play with hardware and generally learn the electronic side to apply to her interactive fashion. Now graduated, they have teamed together up in their Felted Signal Processing project, which allows them to explore their joint passion for soft circuitry and wearable technology. Together, they build colorful, handmade felt interfaces that allow users to manipulate sound through physical interaction such as pulling, scrunching or stroking. Most of their interfaces are built to output sound, but they are also interested in the development of new materials and techniques for fabricating soft sensors for interfaces that can be hooked up to a variety of outputs. Lara has been felting for 7 years, and they explained that felt is their “dream medium.” Sarah was the first of the two to apply the medium to soft circuitry; the name “Felted Signal Processing” actually came from her thesis, where she hacked a guitar pedal and integrated conductive felt into the circuit, letting users squeeze and scrunch the material in order to literally shape sound. Once Lara embarked on her thesis, she chose to develop a skill set of techniques to create and control variable resistance in soft circuitry. Sarah, a programmer with a background in new media art and a long standing interest in sound, focuses on the software and hardware side of their projects while Lara, who spent years working in fashion and textiles with an emphasis in conceptual ...

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Interview with Jaimie Warren of Whoop Dee Doo

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Whoop Dee Doo is a kid's show, run by about 20-30 volunteers in Kansas City. The show is filmed in the style of public access television shows of the 70s, 80s, and 90s, drawing heavy inspiration from the likes of The Carol Burnett Show, The Gong Show, Pee Wee's Playhouse, You Can't Do That on Television, Mr. Wizard, Soul Train, Double Dare, public access horror show hosts like Svengoolie, and the Chicago public access program Chica-go-go. The group has put together shows around the country and internationally, from the Smart Museum in Chicago, to a holiday party at Deitch Projects, and a collaboration with Loyal Gallery in Malmo, Sweden. In each new venue they draw on local communities of performers and artists to collaborate and contribute. Performers range from musical acts and performance artists to Civil War Re-enactors, Celtic Bagpipers, Christian Mimes, drag queens, drill teams and science teachers. Kids help build the sets and make props along with artists and volunteers, and they are a huge part of the show itself. Whoop Dee Doo is intended to showcase the diversity of artistic talent within the community, and to create an opportunity for these groups to work, and party, together. Unlike many kid's shows, Whoop Dee Doo is in no way dumbed down or infantilizing, and it forms an important part of the vibrant and creative Kansas City arts community.

The show is hosted by artists Matt Roche and Jaimie Warren. Matt plays a quiet, awkward werewolf, and Jaimie is generally wearing red spandex and covered in empty food packaging. I spoke with Jaimie about the art scene in Kansas City, about working with kids and technology, and about the philosophy of Whoop Dee Doo.

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Dis & Dump.fm

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Two heavyweight internet champions - online magazine DIS (check our interview with them here) and image-only chatroom dump.fm (check a statement about the project by co-founder Ryder Ripps here) - will join forces this week for New Style Options, an event where dump.fm users will be encouraged to post fashion and style-related images to a designated DIS portal. If we're lucky, hopefully participants will use New Style Options as an opportunity to venture further into the warped Walmart meets Home Depot meets poolside LA direction of the recent DIS summer fashion spread.

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Electric Dress (1956) - Atsuko Tanaka

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(reconstruction, 1986)
Enamel paint on light bulbs, electric cords, and control console

Atsuko_Tanaka,_Electric_Dress.jpg
Atsuko Tanaka in 1957, wearing her Electric Dress (Source: Wikipedia)

Born in Osaka, Japan, in 1932, Tanaka was a member of the Gutai Art Association, the major experimental postwar Japanese art movement founded by a group of young artists in Ashiya in 1954. She was best known for sculptural installations made from non-art materials, such as Electric Dress (1956), a wearable sculpture made of flickering light bulbs painted red, blue, green, and yellow. When originally worn, the sculpture both made the body the center of artistic activity and masked it in a mass of light and color.

-- DESCRIPTION FROM MOMA/P.S.1'S INSIDE/OUT BLOG

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Interview with DIS

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The art and design behind DIS Magazine is unlike any other fashion publication to date. Its contributors eschew the standard conventions of print publication to create an ever evolving series of related threads, organized around categories such as distaste, dystopia, discover, and dysmorphia. DIS is a collaborative project amongst artists, designers, stylists, writers and friends. They are Lauren Boyle, Solomon Chase, S. Adrian Massey III, Marco Roso, Patrik Sandberg, Nicholas Scholl, and David Toro, along with guest contributors that include artists such as Ryan Trecartin, Anna Lundh and Scott Hug. I recently conducted this Q&A via email with the members of DIS, in which they discuss the magazine's goals, its unique use of digital media technologies and the Web, and the future of the publication.

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