Conductive Bodypaint
영국의 베어 컨덕티브 스튜디오(Bare Conductive Studio) 가 개발한 ‘베어’는 일종의 전도성 잉크다. 일시성, 수용성 이라는 점과 음식, 화장품 첨가제로도 사용되는 비금속 전 도성 입자로 구성돼 몸에 직접 사용해도 안전한 것이 특징 이다. 특히 사용자의 움직임과 감각을 통해 전자 기기와 상 호작용할 수 있게 돕는 다리역할을 해 사람과 사람, 사람과 컴퓨터 간에 정보를 전달하고, LED와 같은 작은 전구에 전 력을 공급하는 데에 사용할 수 있다. ‘베어’의 사용법은 간 단하다. 붓이나 스프레이를 이용해 잉크를 몸에 바르면 하 나의 회로판이 만들어지는 셈인데, 여기에 전류를 흐르게 하면 된다.

Contornos
O laboratório criativo baseado em Londres Bare Conductive foi convidado a se juntar aos designers Fabio Antinori e Alicja Pytlewska para desenvolver uma metáfora em grande escala para a ideia de dar vida a uma coleção de peles têxteis responsivas. ‘Contours’ está no centro da instalação de tapeçaria interativa; uma série de sensores capacitivos são aplicados aos substratos de tecido suspensos usando tinta condutora. Esses sensores reagem à presença de uma pessoa nas proximidades e rastreiam seus movimentos, emitindo uma paisagem sonora ambiente constantemente modulada que lembra os ambientes de pesquisa médica. A ornamentação geométrica abstrata conecta os sensores individuais das tapeçarias para formar painéis gigantes, servindo como um loop de feedback acústico que alude à relação entre a ciência e o corpo.

Skin Sucka

A project conceived with Clive van Heerden, Jack Mama (Philips Design Probes) and Bart Hess, Skinsucka explores a vision of our nano technology future whereby bio technology and robotics come together to question our attitudes of a synthetic future. Skinsucka reveals a future where microbal robots live in our shared spaces and autonomously they will undertake menial tasks such as cleaning our homes by eating the dirt. ‘Skinsuckas’ clean the skin, removing the vestiges of make up and providing the remedies to combat the excesses of the night before They swarm over the body extruding metabolized household dirt, dressing the body in a daily ritual of real time, customized manufacture – yesterday’s discarded clothing ready for recycling.” Clive and Jack’s work has consistently brought very diverse skills together in new innovation processes. In the late 1990’s they took designers and other creative skills into Philips Research labs in the Redhill, London and New York and created a specialist studio in London to develop the skills, materials and technologies for a host of Wearable Electronic business propositions in the areas of electronic apparel, conductive textiles, physical gaming, medical monitoring and entertainment.

Tornado Dress
with Meghan Price & Maryam Golshayan
The lining of the dress has been embroidered with conductive threads and electronic components including super bright white LEDs. Three small photocells have been embroidered to the outside of the dress and detect the amount of ambient light. Depending on the quantity of light that is sensed, different flashing patterns are triggered that are reminiscent of lightning effects that can accompany severe weather situations.

Contours
London-based creative laboratory Bare Conductive was invited to team up with designers Fabio Antinori and Alicja Pytlewska in order to develop a large-scale metaphor for the idea of breathing life into a collection of responsive textile skins. ‘Contours’ is at the core of the interactive tapestry installation; a series capacitive sensors are applied to the suspended fabric substrates using conductive paint. These sensors react to the presence of a person within the vicinity and track their movements, outputting a constantly modulated ambient soundscape reminiscent of medical research environments. The abstract geometric ornamentation connects the tapestries’ individual sensors to form giant panels, serving as an acoustic feedback loop that alludes to the relationship between science and the body.

The Climate Dress
The Climate Dress is made of conductive embroidery, over hundred of tiny LED lights inserted into the embroidery, a CO2 sensor and an Arduino Lilypad microprocessor. The LEDs visualise the level of CO2 in the nearby surroundings and are powered trough the embroidery.

Temporary Encampment (Five Blue Solids)

The precarious installations of Nina Canell (born 1979 in Växjö, Sweden, lives and works in Berlin, Germany) could be read as essays on changeability and uncertainty. Hinged upon a fabric of electromagnetics, her communities of objects quietly interact with each other through modest arrangements, balancing careful ambitions to sustain certain frequencies, movements or altitudes. Electrical debris, wires and neon gas establish temporary, almost performative sculptural unions with natural findings such as water, wood or stones, yielding open-ended moments of synchronicity. An improvisational methodology and a flexibility of form highlight Canell’s quest for sculpture, which exists somewhere in between the material and the immaterial, forming and questioning the conductive relations between solid objects and mental events.
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Field and Loops

Loops and Fields, is a collection of drawings that resonate sympathetically to the electromagnetic fields within the gallery. These graphite drawings function as graphic antennas and explore the qualities and inherent nature of a combination of hand-drawn and mathematically generated forms. Delving into algorithmic structures, fractals and the chaotic nature of the hand drawn line, these drawings are an exploration of conductive materials and the possibilities for drawing electronic components. When connected to a sound system they make audible their interior activity and reveal the energy that exists in the immediate environment.Relying on the basic principles of the directional loop antenna, the drawings in Loops and Fields, like any receiving antenna, convert an electromagnetic wave into a voltage; the loop antenna is particularly sensitive to magnetic fields and outputs a voltage proportional to that field. Monitoring this activity allows us to experience the local fields and generates a site-specific and dynamic aural landscape.The different shapes and line qualities that make up the algorithmically generated and stencilled drawings come from thinking about the possibilities of extending a line. Fractal mathematics and the research into fractal antennas has focused on reducing the overall size and space an antenna needs to occupy. My interest is in the frequency range at the lower regions of the spectrum, where the wavelength is large; so my interpretation of recent antenna design research has led me to explore the possibilities for drawing antennas that can receive large wavelengths, on something the size of a standard piece of fine art paper.