I was part of the jury panel (together with Maggie Orth, Asta Roesway, Meg Grant) of the 18th annual International Symposium on Wearable Computers, invited by Design Exhibition Chair: Troy Nachtigall.
ISWC 2014 is the premier forum for wearable computing and issues related to on-body and worn mobile technologies. ISWC 2014 brings together researchers, product vendors, fashion designers, textile manufacturers, end users, and related professionals to share information and advances in wearable computing. ISWC 2014 will be held September 13-17 in Seattle, Washington, collocated with Ubicomp 2014. Selected accepted designs will be exhibited at Microsoft Research Studio 99 in Seattle for six weeks following the conference.
ISWC 2014’s Juried Design Exhibition invites submissions of original works of wearable technology and/or novel applications for new audiences using existing technologies. Submissions may comprise any type of wearable technology (electronic, mechanical, textile and garment-based, etc). Awards for the best design will be given in three categories: Aesthetic, and Functional and Fiber Art.
Winners will receive a fabulous prize package from SparkFun and Plug&Wear. Also, a selection of the best designs from the ISWC 2014 will be exhibited at Microsoft Research Studio 99 gallery. A reception for designers at Studio 99 to open the Microsoft Research exhibit will be held on Thursday 9/18, following the ISWC conference.
- Submissions to this category should be functionally-focused wearable designs, aimed at using technology to solve a particular problem or meet a specific need.
- Submissions to this category should be aesthetically-focused wearable designs, aimed at developing an aesthetic or visual effect through the use of technology.
- Fiber arts:
- Submissions to this category should be non-wearable, but textile- or fiber-integrated innovations. Fiber arts submissions may be functionally or aesthetically focused. Confused about which category to pick? Many designs address both functional and aesthetic aspects of a problem. Designers should consider in which aspect their design is strongest, and submit it to that category.
This post was written by Pamela Ravasio and orginally posted on Shirahime
From Friday 20 to Sunday 22nd of January 2012 the ‘Everything must go‘ exhibition in the South Bank’s Oxo Wharf (London, UK) opened its doors to the public.
The event was in many ways special: Not only aimed at bringing interested non-academics and academics together, but its principle aim was to convey to the general public academic research results around recycling commodity chains (from the ‘Waste of the World’ and ‘Worn Clothing‘ project) acquired over the course of 5 full years. The mentioned two projects have 2 major focus areas: Clothing Recycling and the recycling (scavenging) of ships in dedicated shipyards. While the facts and stories about ship recycling impressed through the strength and rawness of their on-site report, it was the how ingeniously literally everything gets a new lease of life left in developing country that made a a lasting impression on me.
This all said, it was the results related to clothing recycling that were the most detailed, and made most accessible to the public through written information, artefacts, and over the course of a day of presentations and panel discussions with seasoned experts. The exhibition was well curated, and stroke overall a good balance between exhibition artefacts, hands on experiences (e.g. upcycling clothes), explanations of processes central to the clothing and rag recycling industry, and finally short documentaries that gave as a good a ‘first hand’ insight as can be expected from a film as opposed to actually being on-site.
(Note: Make sure to check out ‘Unravel’, a documentary about women working as cutters in Panipat.)
The amount of insights offered was staggering, and it is difficult to summarise them in just a few lines. However, the points that were repeatedly made across the entire exhibitions as well as the presentations and discussions are the following:
– In 2006, the average life span of a garment (in London, UK) was of 3 years. However, Primark Oxford street did not open until 2007 …
– When in 2008 about 80% of all donated clothing could be reused in one way or another – either as second hand clothing through charity shops, or through sales to rag sorters -, in 2011 this percentage had fallen to an estimated 60 – 70%.
– In the same period, the amount of clothing donated has decreased by about 20% (estimates say however, this is NOT the case for the total amount of clothing discarded).
Looking at the bigger picture, the talks, in combination with the exhibits, managed to draw a well understandable and memorable sketch of the mechanisms of the global clothing recycling industry. For instance:
The exhibition proved overall that no matter of how we look at it, we know very little of what is really happening to clothing (and other products) once they’ve expired from their first life. The value chains from that point onwards are however not negligible at all, and are a source of income – sometimes even fortune – of a large number of people. But, as it happens with most industries that rely on making a profit from low product margins, the majority of recycling industries have moved further East where salaries are cheaper, workers desperate to have work, and legal regulations not quite as stringent as in Europe or the US.
The industry would in fact not be able to survive otherwise. Which leads to the conclusion that much of our European recycling streams, and hence waste management concepts, entirely depend on overseas processing units. If it were not for these, we’d be swallowed already by the amounts of waste we produce ourselves.
(EN) Pinky and friends visited Slovenia to participate in a series of debates and an art exhibition on radical education. They also went to ROG, the former bycicle factory that became a social center.
(IT) Pinky e i suoi amici hanno visitato la Sloveinia per partecipare a una serie di dibattiti e a una mostra sul tema dell’educazione radicale. Sono anche stati al ROG, l’ex fabbrica di biciclette diventato un centro sociale.
(EN) A growing number of creatives want to design for a better world. This exhibition explores the definition of Social Design showcasing social designers who are paving the way. I wish my teleport was not broken…
(IT) Un numero crescente di creativi vorrebbe lavorare per migliorare il mondo. La mostra che si tiene fino a fine marzo a S.Franscisco esplora il concetto di Social Design, esibendo alcuni lavori di designers sociali che stanno esplorando questa strada. Vorrei che il mio teletrasporto non si fosse rotto…
(EN) The art of information design and data visualization became an exhibition in Chicago last month for the seventh edition of Select Media Festival. Unfortunately works are not visible online but were featured at the experimental cultural center, the Co-Prosperity Sphere, and other venues across the city. You can explore some of the artists websites through the links in this page or download Lumpen Magazine with some nice infographics, their contribution to the event.
(IT) L’arte del design dell’informazione e della visualizzazione di dati è stata protagonista di una mostra a Chicago all’interno della settima edizione del Select Media Festival, il mese scorso. Purtroppo il lavori non sono visibili online ma erano esposti al centro culturale sperimentale Co-Prosperity Sphere, e altri luoghi sparsi in città. Puoi però esplorare i siti degli artisti attraverso i link in questa pagina e scaricare Lumpen Magazine che contiene il loro contributo all’evento.