Fart-free pants

How did this excellent product exist since 2001 and we haven’t posted anything about it? Ok, maybe these pants won’t prevent flatulence but if it doesn’t smell, it doesn’t exist, right? The makers of the Under-Ease underwear claim that they’ve got a product that will literally absorb all smells via a filter. I will refrain from posting picture but you can see it on their website. Also their website:

Under-Ease are underwear for protection against bad human gas (malodorous flatus) and are made from a soft air-tight fabric (polyurethane-coated nylon). To maintain the air-tightness, elastic is sewn into the material around the waist and both legs.

A triangular “exit hole” for the flatus to be expelled is cut from the back of the air-tight underwear, near the bottom. This “exit hole” is covered with a “pocket” made of ordinary porous fabric sewn over the “exit hole”. This unique design forces all expelled gas (flatus) out through the “pocket”.

Inside the “pocket” is a high-functioning, replaceable filter - the core of the technology. This multi-layered filter is made in a sandwich-style, and begins with the two outer layers of wool felt. The second two layers are made of non-woven polypropylene and spun glass materials. In the center of the filter is a single layer of activated carbon.

The filter is then covered with soft ordinary material to allow for easy replacement in or out of the pocket. The underwear are washable and will last approximately a year depending on the frequency of use and laundering. Each filter will last from several weeks to several months depending on the frequency of use and laundering.

Skin+Bones: Parallel Practices in Fashion and Architecture

November 19, 2006 to March 5, 2007

“The exhibition focuses on the significant and manifold parallels manifested in the skin, or exterior surface, and the bones, or structural framework, of both garments and buildings through the work of 46 of the world’s most innovative fashion designers and architects.” - Brooke Hodge, exhibition curator

Photos: MOCA

Breaking the Mode at LACMA

LACMA SHOWCASES ICONIC DESIGNERS WHO CHANGED FASHION FOREVERThe Los Angeles County
Museum of Art, presents
Breaking the Mode: Contemporary
Fashion from the Permanent Collection
,
opening September 17.
Los Angeles County Museum of Art
(LACMA)
5905 Wilshire Boulevard,
Los Angeles CA, 90036.

For more information about LACMA
log on to http://www.lacma.org


The design of clothing—for protection, profession, or spectacle—has shifted dramatically throughout the past twenty-five years. The Los Angeles County Museum of Art’s (LACMA) exclusive exhibition, Breaking the Mode: Contemporary Fashion from the Permanent Collection, presents more than fifty designers who were at the forefront of this movement—designers who introduced subversive elements into the system, deconstructed its conventions, and changed the rules for good about what is considered fashionable.Throughout history, the ideal body and silhouette have changed, and so too have the clothes that adorned them. During the first half of the twentieth century, an hourglass figure was most coveted, and designers like Christian Dior used construction techniques—cutting, layering, boning, and stitching—to give a rigid form, and a narrow waistline to the garment. Decades later, designers such as Jean-Paul Gaultier and Hussein Chalayan would be the new breed of fashion pioneers who redefined beauty in silhouette and technique.Essential to this fashion revolution were advancements in textile technology. Rather than relying solely on tailoring techniques, designers could now create dimensional garment shapes utilizing synthetic fibers and innovative processing methods. No longer did they create garments to shape the contours of the body; now, the body would give shape to the dress, while still other clothes would be independent of the body’s form all together.

In addition to exploring modern technology, contemporary designers pushed the conceptual limits behind their creations by referencing historical fashion or creating fashion as art. Vivienne Westwood’s Mini-Crini collection from the 1980s was inspired by petticoats of the nineteenth century, while Burberry, Martin Margiela, and Comme des Garçons all referenced officer coats of World War I for their updated versions. Other designers illustrate the blurring lines between fashion and art, such as Issey Miyake, Jean-Charles de Castelbajac, and installation artist Andrea Zittel.

Included in the exhibition are works from the following designers: Gilbert Adrian, Azzedine Alaïa, Nobuyoshi Araki, Christopher Bailey, Cristóbal Balenciaga, Geoffrey Beene, Pierre Cardin, Hussein Chalayan, André Courrèges, Jean-Charles de Castelbajac, Jean Dessès, Christian Dior, Dolce & Gabbana, Mariano Jose Maria Bernardo Fortuny, Dai Fujiwara, John Galliano, Jean-Paul Gaultier, Rudi Gernreich, Romeo Gigli, Madame Grès, Tim Hawkinson, Yoshiki Hishinuma, Akihiko Izukura, Charles James, Norma Kamali, Rei Kawakubo, Patrick Kelly, Lachasse, Christian LaCroix, Karl Lagerfeld, Hervé Léger, Georges Lepape, Martin Margiela, Alexander McQueen, A. H. Metzner, Issey Miyake, Yasumasa Morimura, Franco Moschino, Thierry, Mugler, Cai Guo Qiang, Reiko Sudo, Hiroko Suwa, Takezo, Olivier Theyskens, Philip Treacy, Madeleine Vionnet, Junya Watanabe, Vivienne Westwood, Yohji Yamamoto, and Andrea Zittel.

CALL: Wired Madness DAW07

CALL: WIRED MADNESS

The Digital Art Weeks 2007 invites Performing Artists to submit
proposals in connection with wearable technology and the arts. We are
seeking works that empower the performer in an explosion of the
boundaries of the body and link the audience into the virtual of
technologically animated space. Any form of immersion should trigger
critical observation in the mind of the audience in order to counter
act the most logical form of evolution in the 21st century enabled by
technology: Intelligence without morals. A series of performances
during three evenings will be organized in partnership with the
Cabaret Voltaire of Zurich.

Deadline Friday, 2nd March 2007. Notification of acceptance of
proposals will be sent out on or before Friday, 2nd April 2007. For
more information regarding the call please write to: daw-
perfs@inf.ethz.ch

Wear Now Symposium

Wear Now Symposium

Friday 2nd February
5:00pm to 7:30 pm
On the last day of the reSkin lab we’re throwing open the lab doors to invite the public in to see the prototypes artists have been working on. Come along for informal discussions, wearables viewings and drinks with reSkin artists and facilitators. Launch of Filter wearables edition.
Venue: The Textiles Workshop and Foyer Gallery at The School of Art, Australian National University, Building 105, Childers St, Acton, Canberra, ACT.

Saturday 3 February
10-10:20 Welcome Dr Melinda Rackham ANAT Executive Director
10:20-12:00 Wearable Histories
Assoc. Professor Joanna Berzowska and Dr. Stephen Barrass Panel Chair Nigel Lendon, Associate Head of School, School of Art, ANU.
12:00-1:30 Wearables Now
Elise Co, Susan Cohn and Angela, Rowena and Juliana Foong of High Tea with Mrs. Woo label Panel Chair Valerie Kirk, Head of the Textiles Workshop ANU.
1:30-2:30 Lunch
2:30-4:00 Wearables Research and Development
Robin Cranston (CSIRO) Oron Catts (Symbiotica) and Sarah Kettley (Arts and Science Research Fellow, Napier University, Edinburg). Panel Chair Gordon Bull, Head of School of Art, ANU.
4:00-5:30 reSkin Outcomes
Dr. Alistair Riddell and Cinnamon Lee and demos from participants. Panel Chair Eleanor Gates-Stuart, Head of CNMA, ANU.
5:30-5-50 Closing Statement
Catrina Vignando, General Manager, Craft Australia
6:00-7:00 Informal Drinks
7:30 Symposium Dinner at The Chairman and Yip

Venue:
Visions Theatre
National Museum of Australia
Lawson Crescent
Acton Peninsula
Canberra
Acton ACT

USB drive jewelry

Designed by Vicky Wei and only in concept phase, this is a great way to carry around your USB drive. The colors remind me of those spiral key chain holders that I would not let myself be caught wearing. Somehow, these are cool though.

[via]

Dissolvable dress

This is the ultimate in disposable fashion. A symbol of our throwaway society - not to mention the stuff of male fantasies.

The dissolvable dress
The dress has flowers that ‘behave like animals’ in water

But, to the professors who designed this disappearing dress, it is a profound artistic statement about how plastics can be made to be kinder to our polluted planet.

Here is the world’s first dissolvable dress, the culmination of a creative partnership at the University of Sheffield between the award-winning designer Prof Helen Storey and Prof Tony Ryan, a leading chemist, to show off new materials that can make consumer products less environmentally harmful.

Prof Storey has worked with the University of Ulster to develop a series of innovative dissolving textiles based on polymers created in collaboration with the Sheffield Polymer Centre.

During a forthcoming exhibition, up to eight dresses made from these textiles - minus their wearers - will be lowered into enormous goldfish bowls where they will be left to liquefy.

The fabric is knitted from a clear polymer - polyvinyl alcohol - of the kind used in sachets that release detergent in washing machines. The dresses will dissolve and turn into a form that can be recycled as a bottle.

However, they break down so slowly that they can survive a sweaty party.

“The dresses Helen has created are a metaphor for the beautiful things we create and use but never really think about and just throw away,” said Prof Ryan.

“In your lifetime you throw away around 20 tons of packaging material. We want people to think about that. But it has made us think more seriously about science, too.”

The dresses are decorated with cleverly designed flowers that slowly give off a dye when they dissolve, making them move around like sea anemones in the huge goldfish bowl.

“Each dress will behave differently,” said Prof Storey. “These flowers will chase each other around the bowl in a biological way.” The dyes set up massive differences in surface tension - the forces that make the water’s “skin”.

“If you have a star shape, they appear to dance,” said Prof Ryan. And if one flower has a positively charged dye (called a cationic dye by chemists) it will stick to another with a negatively charged (anionic) dye. “They will behave like animals.”

As a result, said Prof Storey, there will be “something extraordinary” to see in the giant bowls “as the dresses dissolve, chemically react and explode as they are lowered deeper into the bowls - and will no longer exist when the exhibition closes”.

Wonderland, the umbrella project through which these new inventions are being developed, will stage an exhibition in Sheffield this autumn to provoke a debate on our throwaway society, backed by the Government’s Engineering and Physical Sciences Research Council.

“The idea is to get people curious about something that is hard to talk about and not glamorous - how to get rid of your waste responsibly,” said Prof Storey.

The designer was inspired to contact Prof Ryan when he appeared on BBC radio to explain how plastics can self-destruct, and she has worked with him to merge art and science in other products.

They have made bottles that, once empty, can be dissolved in hot water - when the solution cools down it makes a gel that can be used to grow seeds into flowers. Another product is a water purification pillow.

The potential of dissolving dress polymers is enormous, both for the environment and humanitarian development, said Prof Ryan.

“This isn’t about boring labs and test-tubes,” he said. “It’s about turning ideas into reality.”

reSkin

UPDATE (1/18/07): The ReSkin wearable technology lab kicked off on Monday, with participants and facilitators flying in from all over Australia and the world to meet up for 3 weeks of intensive creativity. The impressive group of participants and facilitators includes 3 current Australia Council Fellows and highly skilled and experienced designers and artists. For the rest of us, the online blog offers a sneak peak into the lab where participants will be keeping us updated each day.
Facilitators confirmed for ANAT Wearables Media Lab to be held in Canberra, January 2007

http://www.anat.org/reskin SUSAN COHN (Australia), NIKITA

PASHENKOV (USA), CINNAMON LEE (Australia), STEPHEN BARRASS (Australia), ELISE CO (USA), JOANNA BERZOWSKA (Canada) and ALISTAIR RIDDELL (Australia).

In the workshop, we will introduce electronics as a medium similar to wood or paper and experiment with materials that can enable simple expressive computational forms. We will examine and reflect on the futuristic vision that all design artifacts will be “smart”, will “think”, and will “communicate” with one another. How will this enrich or change our lives? How much technology do we want in our physical world? How much embedded electronics can we digest before facing the environmental consequences?

Technically, we will look at the integration of electronics and new materials into traditional craft practices and design artifacts, with a particular (but not exclusive) emphasis on textiles. We will look at alternative materials that enable the construction of soft circuits to design and build simple interactive or “smart” artifacts. All participants will learn some basics of electronics, physical interaction design, and electronic textile construction. They will be introduced to new and old materials and processes for embedding conductive components into textile substrates.

In lectures, we will present an overview of previous work, as well as theory and history, in several relevant thematic areas, which include (1) physical interaction design, (2) physical computing, (3) ubiquitous computing, (4) tangible media, (5) wearable computing, (6) technical textile history, (7) electronic textiles, (8) embedded electronics, (9) sensor integration, (10) responsive environments, and (11) design research concepts. We will also focus on conceptual concerns that include (1) the building of complex interaction scenarios, (2) addressing culturally-specific and context-specific thematic areas, (3) sustainability and ecology, and (4) culturally-appropriate integration of new technologies into traditional craft and design practices, methods, and aesthetic forms.

ANAT has a limited number of scholarships for participants and

funding is also available through the state based arts funding bodies.

About reSkin
reSkin is an intensive three-week workshop focussing on wearable technology,

embracing the skill-based practices of object, jewellery, fashion design and media art. The Lab will focus on research and development, experimentation, collaboration and project development.
January 15 - February 4, 2007
Australian National University, Canberra
http://www.anat.org.au/reskinHow to Apply

reSkin is open to Australian and International artists and designers with at least 3 years of practice in the fields of jewellery and object design, textile design, fashion design, media arts, hybrid art and other related disciplines.

Application guidelines including further details on the Lab, facilitators, and public outcomes can be downloaded from the reSkin website at: www.anat.org.au/reskin Applications close Monday 9th October. Further information: Alexandra Gillespie Project Manager reSkin ANAT Media Arts Lab 2006 Email: alexandra@anat.org.au Melinda Rackham ANAT Executive Director Tel: (08) 8231 9037 Email: melinda@anat.org.auhttp://www.anat.org.au/reskin How to Apply reSkin is open to Australian and International artists and designers with at least 3 years of practice in the fields of jewellery and object design, textile design, fashion design, media arts, hybrid art and other related disciplines. Application guidelines including further details on the Lab, facilitators, and public outcomes can be downloaded from the reSkin website at: www.anat.org.au/reskin Applications close Monday 9th October. Further information: Alexandra Gillespie Project Manager reSkin ANAT Media Arts Lab 2006 Email: alexandra@anat.org.au Melinda Rackham ANAT Executive Director Tel: (08) 8231 9037 Email: melinda@anat.org.au

Vibrating vest could send alerts to soldiers

A vibrating vest that writes messages on its wearer’s back is being tested by researchers in the US. In future, it could be used to send important commands to soldiers or fire-fighters, warning them of imminent danger when ordinary radios cannot be used, for example.

The vest is made from black spandex and fastens around a person’s lower torso with Velcro. An array of 16 small vibrating motors is embedded in the back of the vest and connects to a control unit on one side. This unit contains a wireless transceiver linked wirelessly to a controlling computer.

Commands sent from the computer are translated into patterns “displayed” – like Braille-on-the-back – by the vibrating motors. The wearer’s back was chosen to receive messages because it is a relatively large area that is also less likely to sustain damage.

The US army is part-funding the research: “They are interested in a way to communicate simple commands in situations when the hands are doing other things, or radios can’t be used,” explains Lynette Jones, the MIT engineer leading the project.

Along with colleagues Brett Lockyer and Erin Piateski, Jones has been testing different symbols on volunteers wearing the vest. “We have created 15 with very high recognition,” Jones says.

Stop and go

Eight of the symbols are derived from hand signals already used by the US military. “They communicate things like stop, look left, run, proceed faster or proceed slower,” explains Jones. When four corners of the array vibrate, for example, this means stop. And a vibrating column, moving from one side to the other, means turn left or right.

Five volunteers were asked to follow the tactile symbols while being directed around an obstacle course. They were also sent signals meaning “raise arm horizontally”, “raise arm vertically” and “hop”. Out of the five, only one volunteer made a single mistake during the tests. The vest was also shown to work while worn under a backpack.

“This is best suited to command-based situations like the military or fire-fighters,” says Jones. “It could also be used to direct blind people around a city, but because their path is less defined, that would be more difficult.”

The vest could operate continuously for around 5 hours, Jones says, which should allow it to function for several days under normal conditions, as messages would not be relayed continuously.

Visual processing

Researchers have previously tried integrating tactile displays into pilots’ seats or astronauts’ clothing, says Steven Wall, who works on tactile displays at Glasgow University, UK. “Because they use a different channel of communication, they don’t take up the very valuable channel of visual processing,” he explains.

Danial Siewiorek, who works on wearable computing at Carnegie Mellon University in Pittsburgh, US, agrees that the vest has promise, but says producing a version that is robust enough for general use could be a challenge.

“When I have worked with the military, sound is a problem,” he told New Scientist. “In the high desert at night sound really carries, so anything that vibrates needs to be silent.”

Siewiorek adds that the system would need to be tested to ensure it works in all circumstances, especially when the wearer is being very active or is carrying a heavy load.

A new breed

0aanomadsi.jpgMary Mattingly’s computer-enhanced photography and videos portrait a world she believes the human race will one day inhabit. After the fall of post-industrial civilization, humans will transform into comfortably numb spiritually nomads (the “navigators”), they will wear their high-tech home on their backs and be mentally and materially equipped to survive in a landscape reconfigured by the rising tides and unstable weather patterns.

People will live an inward life, clinging to their gadgets as they wander around the barren landscape. For example, they will carry a G-Simpod, a handheld device that acts as a “God substitute,” providing graphics and sounds (it’s basically a music/video player) but it also enable the user to avoid any human interaction by “transforming the intangible into the tangible.” One emergency button on this device makes the user feel warm and fuzzy in his/her brain, heart and erogenous zones. This key is meant when the nomad is in mall-space, filling him or her with a sense of happiness and self-worth that derails his or her thoughts to enter into buying-mode. A second emergency key satisfies all of the user’s cravings, such as hunger, by stimulating the brain or hypothalamus with electrodes.

Mattingly spent a month living in the desert outside of Bend, Oregon experimenting with prototypes that appear in her photographs. “I wore a wearable home, equipped with a “toolbelt,” a tazer and pack of 9V batteries, solar-recording equipment from sponsor companies like Spy Emporium, pockets for a month’s worth of vitamins and other compact food sources, compass, diary, analog camera, and a prototype Blackberry that would pick up signals as far as 50 mi. out of range.”

0stillsfron.jpg
Stills from A New Breed

Several of her images make us reflect upon the role that corporations have taken into our lives. One of them shows plastic dates, bananas, pineapples, and apples hanging from the tree. All of them are branded, Banana Republic, Lexus, Nestlé, etc. Considering that corporations are currently copyrighting parts of our genetic code this doesn’t seem so far fetched (artcritical.)

Via networked_performance.

The Muttering Hats

The Muttering Hats

mutteringhat_sharing

Kate Hartman

Private thought processes enter the physical world in the form of hats.

http://www.katehartman.com/projects/mutteringhat/

The term “muttering” is traditionally defined as “a low continuous indistinct sound, often accompanied by movement of the lips without the production of articulate speech”. This project considers internal mutterings - indistinct and intertwined thoughts that get trapped within your own head. By using the form of a hat, the attempt is to expose these mutterings and to release them to the world.

Our head, as part of the body, is very self-contained (self-centered?) and closed off (closed-minded?). It seems so seldom that we that we get to “think” physically. This is something that, in my work in general, I’m trying to approach from a variety of angles. But this project is, in a way, me taking the thought process, and the conversational nature of it, and trying to physically pull it out of the head. It’s absurd, but sometimes effective, and a way to engage people in thinking about thought.

So often we get caught up in thought, walking around accompanied by the soundtrack of our own musings. We sift through memories, plan ahead, run through grocery lists and past and future conversations, give ourselves both pep talks and criticism, and critique and comment on all that surrounds us. Slivers of these unspoken utterances may slip out through facial expressions, body language, or references made in conversation, but for the most part they remain contained, internal, unexposed. There are many valuable practices that pursue the stillness or the emptying of the mind. But here I am interested in the other end of the stick. I would like to articulate the chaos that lives within, amplify and expose it in a playful manner.

The Muttering Hats take on two forms based on models of thought processes that we engage in with ourselves:
1. The Voices in Your Head Hat: In this scenario, a pair of muttering balls are tethered to the hat. They may be stuck to your ears, so that all other noise is obstructed by the mutterings, or they may be detached, providing the opportunity to escape from the mutterings or to share them with a friend.
2. The Talking to Yourself Hat: Through the use of a communication system embedded in the hat, you may speak outloud to yourself while retaining the right to a somewhat private conversation.

Implementation

Complex systems of fleece, tubing, wire coathangers, hacked MP3 players, headphones, speakers, and plastic funnels are used to draw the mutterings out of the head. These hats are meant to be worn by many. They will be available to be worn at the show.

Electrolux Dustmate shoes

A new pair of shoes have been invented that vacuum as you walk.

The Electrolux’ Dustmate has a tiny rechargeable vacuum inside the base.

The shoes are made of green nylon with a flexible rubber sole and elastic sock to fit any foot making it comfortable to wear.

A spokesman for Electrolux said: “We all have to vacuum our home - this product is designed for busy people who want to keep the housework down to a minimum. Dustmate provides a cleaning solution that doesn’t take up any precious free time. As you walk, the base of the shoes collect dust on the floor without requiring any effort. It is a simple yet creative cleaning concept.”

The designers came up with the invention after asking consumers what they wanted and finding that they were just too busy to spend lots of time doing housework.