responsive e-textiles for dance
TRANSCRIPT
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Proceedings of the 1st International Conference on Digital Technologies for the Textile Industries
Manchester, UK, 5-6 September 2013
Responsive e-textiles for dance.
Lyle Reilly,
School of Art and Design,
AUT University,
Auckland 1020
New Zealand
ABSTRACT.
The development of e-textiles requires a multidisciplinary approach, utilising a variety of
technical and specialist disciplinary inputs. Such collaborative processes require a well
focused coordinated approach to draw together both technical and aesthetic development
considerations. This paper focuses on how such an approach was embraced for the
development of an e-textiles project for interactive dance performance. The project team
consisting of researchers from the Textile & Design lab (TDL) at AUT University worked
closely with New Zealand Dance Company to create a smart dance costume that visually
responded to both the emotive music and the physical movement of the performer. An
iterative process of experimentation, analysis, prototyping, testing and review was undertaken
by the research team. Importantly input and feedback from the costume and lighting
designers, dancers and choreographer was pivotal to creating an aesthetic that responds
naturally and in one with performer and audio for the piece. As a result the work took on a
more creatively adventurous response than that of a traditional technical problem solving
approach of imbedding existing computer functionality and thus demonstrates the potential of
expressive e-textiles for further development and even commercial possibilities.
Key words: e-textiles; dance; fibre optic; knitting.
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Introduction
Fresh developments in fabrications and yarns combined with the availability of accessible
technology to program and run small electronic devices present possibilities to how artists
and designers from non-scientific or engineering backgrounds can engage in the emerging
field of e-textiles. Dr. Patricia Wilson poses an optimistic view surrounding the potential of
smart textiles and wearable electronics, “No longer can we look at a piece of cloth and think
of it as technology as old as time. We must start to realize that it holds infinite possibilities
when put into the hands of a creative team who strive to answer the question, “What if?”
(Wilson, 2005 p209).
To date, a number of clothing and electronic interactions have resulted in innovative and
commercial product launches specifically for the sectors of healthcare, sportswear,
emergency response, safety and wellbeing, (Hurford, R.D 2009). In particular, the
development of smart textiles and sensor technology has allowed designers to integrate
physical Bio-monitoring signals for heart and respiratory rates, blood pressure, physical
movement and location. As such, the theory surrounding the field of smart clothing and
wearable technology has tended to focus on the techno functionality associated with
computing and product development. While individual research projects and commercial
direction may vary, there is common ground in so far as firstly a particular problem or a
physical need has been identified, secondly a targeted or “user centered” response is used to
develop appropriate solutions.
This paper takes a shift of emphasis from a scientific and functional perspective towards the
design considerations and processes to develop an e-textiles project for interactive dance
performance, placing emphasis on an expressive and artistic context. Birringer, J. & Danjoux,
M. (2009) discuss similar topics in relation to their “Emergent Dress” project. “ The research
connecting digital performance with new fabrication and interactive textiles requires not only
new fashion content for wearables, but perhaps place emphasis of design somewhere else
entirely, namely to different qualities of ‘performance’ addressing not functionality but
character, emotions, memory, fantasy and experimental or psychological dimensions along
with heightened kinetic awareness of bodies as intimate communicators” (p394)
Project Outline
In early 2012 the New Zealand Dance Company (NZDC) developed strong linkages with the
Design and Creative Technologies Faculty at AUT University, this included commissions for
the set and costume design for a forthcoming production “The language of living”. Andreas
Mikellis a successful menswear designer and educator took on the role of costume designer
for the five main performance pieces and invited the TDL Dynamic Textiles group to take
part in an exploratory research project to design an e-textiles dance costume for the opening
piece for the show. Past collaborative TDL e- textiles projects with industry partners, in
particular Zephyr Technology (Reilly, L; Fraser, G & Heslop, P. 2010) had predefined and
targeted outcomes that drove the research and application. However such emphasis on
functionality and accurate bio-monitoring readings would not be the priority for the Dynamic
Textiles group for this particular venture. A searching research question of “How might
expressive e-textiles be used to enrich the experience of dance performance?” would be used
to frame the project in an unrestricted manner to encourage experimental approaches.
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“In opera, theatre and dance the traditional costume design tends to support or illustrate
character, and character is expressed through voice, dialogue and movement. The intelligent
garment therefore, would have to considered as having a ‘voice’ of its own or participate
equally in the immanent expressive role play” (Birringer, J. & Danjoux, M. (2009). p397
While the intended outcome was to design and produce an e-textiles dance costume was
delivered, disappointingly technical issues prevented the piece actually being used in the
show. Nevertheless the research highlighted in this paper illustrates the considerations and
processes used in the development of such an engagement.
Stake Holders
The Textile and Design Lab (T+DL)
The Textile and Design Lab (TDL) was established at AUT University in 2006 to establish a
cutting edge R&D centre at its Auckland City campus. One of the key aims of the TDL was
to build capability and create value in the NZ apparel and textile sectors by encouraging
industry partners to engage with it and access its technologies and staff expertise for the
purposes of research and development, design innovation, product development, sampling
and small scale production.
A wide range of projects and working partnerships have since been developed including
e textile commercial collaborations with Zephyr Technology and Footfalls and Heartbeats,
both companies utilising Shima Seiki knit facilities and expertise for the development body
monitoring technology. Smart garment workshops and presentations by international guests
such as Dr Leah Beachley developer of the Arduino LilyPad system and Dianna Eng author
of “Fashion Geek” have also helped to galvanize a small group of staff and student
researchers into forming the ‘Dynamic Textiles’ group.
The core team of four for this project included Dr Frances Joseph, Associate Professor,
Director of (TDL) and co-Director of Colab, (AUT's Creative Technologies Research
Centre); Lyle Reilly, Senior Lecturer in Fashion and Product Design; Post graduate students
Hyun Jin Yun who’s research investigates the relationship of knitted composite materials to
light and finally Charlotte Alexander who explores creative technologies interactions. The
strength of the team lay in the diverse skill set and expertise in a variety of associated areas
such as computer programming, development of knitted structures and wearable technology
integration.
The New Zealand Dance Company (NZDC)
The New Zealand Dance Company (NZDC) are a new and ambitious company who have
built a strong reputation for creative and artistically brave collaborations over the past couple
of years. Their vision is to take contemporary dance to a wide audience and in doing so
adding to New Zealand’s cultural and creative identity both locally and internationally. One
of their strategies to reach a wider audience is to make their shows a more accessible and
inclusive experience for the audience. The director Shona McCulloch’s attempt to shift the
public perception of contemporary dance from an elitist arts based activity included the rather
unconventional step to invite a number of creative designers with no prior experience of
dance production to collaborate in the audio and visual aspects of “The language of living”
show.
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Project Methodology
The methodology used could best be described as practice based research with an
experimental approach towards concept development. Prototyping using an iterative process
for analysis, testing and review was undertaken to guide the research team throughout the
project. Clear communication with the dance company and within the multidisciplinary
dynamic textiles group was a crucial to ensure that progress was being made, so weekly
meetings and blog updates were used to record and critique individual developments and
group workshop activities. The project would include three main development phases:
Phase 1. Started with the identification of available fabrications and yarns as well as suitable
electronic componentry. This lead to initial concept experimentation to identify a range of
aesthetics responses to be presented to NZ dance company choreographer.
Phase 2. Further experimentation and testing leading to iterative developments based on
collaborative feedback and reflective analysis.
Phase 3. Confirmation of final piece for trials with choreographer, dancer and lighting
technician etc. leading to final implementation.
The methods and approaches employed specifically for electronic prototyping are largely
thanks to the technological development and accessibility of low tech packages such as
Arduino and Processing and the LilyPad wearable electronics system developed by Leah
Beachley. The man advantages are access to simplified computer programming and
connectivity processes normally associated with electronics expertise. The free software and
relatively inexpensive componentry has empowered enthusiasts with little electronic engineer
or computer science experience to develop new DIY technological advances. Buechley calls
this the “High-Low Tech: Democratizing Engineering and Design” she argues that
technology is no longer only in the hands of large companies and that with the advent of the
internet “Online communities devoted to hobbies from crafting to electronics tinkering-where
people share designs and construction tips-are flourishing” (Bueachly,2009)
Fellow project researcher Charlotte Alexander describes these developments as liberating
the way she is able to engage with technology beyond simply being useful. “Technology is
now used amongst artists as a means of creating narrative, exploring concepts and making
statements. Technology has taken on a new aesthetic; it is becoming expressive, meaningful
and responsive.” (Alexander, C. 2012)
While the user-friendliness and accessibility of the electronic componentry was advantages,
there were some doubts relating to power limitation, robustness and reliability to meet the
rigors of a commercial dance performance. These doubts would later resurface and
unfortunately lead to the late withdrawal of the finalized e-textile piece from the show.
Prototyping
The value of prototyping cannot be underestimated particularly within a collaborative
framework, it enabled the team to communicate activities of creative development, testing
and refinement in a visual and tactile manner, this was important as each member had
different background experience. “Time and energy that would be more usually spent
discussing and planning, gathering and analyzing reams of information, trying to express and
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accommodate multiple stakeholders’ often conflicting points of view, and making
frustratingly imperceptible progress is instead employed in the creative, collaborative, and
rewarding pursuit of learning together in forward-thinking and constructive activities.”
(Couglan, Fulton Suri and Canales, 2007)
Another benefit was the clear articulation of development ideas and progress to the “client” in
this case the Dance Company, without prototypes it would have been difficult to convey the
range of possibilities available, so the options presented for review were discussed
immediately. This allowed for a selection process to occur, omitting less successful
experiments and placing more focus on future development of the more favorable elements
“The visible changes brought about by prototyping represent indications of progress and even
when they result in small failures, are inherently motivating.” (Couglan, Fulton Suri and
Canales, 2007)
Phase 1 Concept Exploration
The Dynamic Textiles group members had a range of relevant technical skills and
experiences to bring to the project including knowledge of material, componentry, integration
and application. This was particularly valuable as the planning stage strategizing for e-textiles
is complex as there are so many variables to deal with such as:
Componentry: Power options; Software processing/ hardware and controllers.
Sensor options: location, tilt/compass, sound and light etc.
Textile properties : for support, conductivity and comfort.
Construction and integration: for aesthetics, comfort and safety.
All of which will influence the performance, look, feel and effectiveness of the artifact.
The intention at this stage was to generate possibilities for project discussion, this proved
advantageous as the team were able to build a catalogue of e- textiles resources for future
research. The following concepts were explored for consideration for the project.
A) Explore qualities of different lighting types:
LED's; Fibre optics; EL wire; UV lighting; Direct light source (reflection, shadow etc.)
B) Explore different applied surfaces/textures with different lighting effects: Including: Fabric Reflection and raised texture
C) Explore ways of activation and response:
Existing Sensors (accelerometers; compass/location; pressure, sound; other?)
Develop Knit sensor with smart yarn (stretch and compress)
D) Research different power sources and control systems:
Prototyping platforms, batteries, remote control
E) Explore integration methods:
Conductive thread; UV thread; embroidery
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Phase 1 Reflection
Choreographer Shona McCulloch was invited to review a series of short and basic
demonstrations to highlight possible technologies available and clarify direction for further
investigation. Considerations included the dancer’s movement/ restrictions for a full piece
costume and importantly could the lighting effects be controlled under varying lighting
conditions such as ambient light in theatre conditions. Figures 1-4 show a cross section of
some of the experimental concepts and effects presented for this phase of research.
The key insights were that electro luminescent wire was striking yet quite predictable in
regards to colour and brightness. The effectiveness of ultra violet yarn was also limited; the
combination of needing direct external lighting and the inability to respond directly to music
or movement stimuli meant that it was not considered appropriate.
Visually, the project direction should proceed using a combination of the more successful and
inspiring tests which included a combination of reflective yarns, fibre optics lit by RGB
LED’s, with further sensor investigation to enable more spontaneous interaction with the
dancers movements.
fig 1. EL wire imbedded into knitted structure. fig2. Fibre optic strands held in knitted structure.
fig 3. Arduino LilyPad with tilt sensor and wireless signal. fig 4. Fibre optic structure
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Phase 2 Experimentation and development
To help generate further concept developments the Dynamic Textiles group were given a
sound-score entitled “Evolve” by NZ composer John Elmsly to be used for the short opening
sequence. The nature inspired ambient music / sounds had no repeat melody or rhythm
pattern and created an atmospheric backdrop to base the piece around. The choreographer had
suggested that the movement might evoke a sense of evolution such as the morphing of a
prehistoric sea creature to some other life form. The Evolve piece would be performed by
Kiwi dancer Ursula Robb internationally known for her work with the Belgian dance
company Rosas and Paris Opera Ballet. With clearer identification of music, dancer and
choreographer direction allowed for a targeted approach for the following developments.
Imbedded Fibre optics in knitted base garment.
This development involved the hand flat knitting of a simple garment top that utilised a
combination of transparent and reflective yarns to support fibre optic strands. The main
considerations were to establish if the knit structure would restrict dance movement and
explore the aesthetic effects in darkness or with exposure to stage lighting.
Reflective yarn “Spine”garment.
This concept focused on the use of reflective yarn to be knitted into strips and then
incorporated into a dancers costume such as a leotard. The main theme would be the position
of a reflective spinal section against a more translucent fabric to give the effect of the
movement of an electric eel. Considerations involved the limitations of the dancers
positioning and movement to audience and direct light source.
External RGB Fibre optics on wrist band controlled by Tilt/ Compass Sensor.
The concept was to use 2mt fibre optic strips that utilised an RGB LED light source. One end
of the fibre optics were mounted on the wrist/glove and the RGB lighting control was
controlled by tilt/ compass sensor, essentially this meant that the fibre optics would change
colour in response to the dancers movement. The red led was linked to the compass heading,
blue for horizontal and green for vertical tilt movement. Considerations included the dancers
ability to engage with the piece, On/Off functionality, power and quality of light source.
fig 5. Fibre optics in knitted base garment. Fig 6. Reflective yarn “Spine” garment.
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Phase 3 Project development
NZDC lead dancer and choreographer were invited to review the phase 2 developments and
decided that the knitted base garments were somewhat restricting for the particular dance
sequence that involved extensive torso movement. However if the supported fibre optic knit
structure could be combined with the external wrist band sensor perhaps a compromise could
be met. A smart wearable piece to be known as the “knitted e-sleeve” was proposed (fig 9), it
consisted of 2 meter long knit structure positioned on the shoulder but would be controlled by
the dancers arm. Importantly, it did not inhibit movement and could be programmed to work
in harmony with the music or movement in conjunction with the mood of the opening piece.
The challenges facing the dynamic textiles team at this point fell into a three categories:
firstly the practical application of the main construct of the responsive e-textile, secondly the
computer programming to support the responsive lighting effects and finally the design and
full working integration of the “knitted e-sleeve” with the dancer.
A key development for the successful integration of fibre optics strands into a knit structure,
was the choice of a monofilament yarn (essentially fishing line), visually the advantage of
this was the visual translucent appearance that does not obscure the colour of the illuminated
fibre optics. The normal lighting transmission of fibre optic is to send the light source through
the length of the strands so the finished end becomes the main focal point; however it was
discovered through experimentation that by carefully sanding the side walls of the strands
that sections of light could be displayed at a variety of points. The combination of fibre
movement and light diffusion helped to create an effect similar to that of an underwater sea
anemone; this was in keeping with the desired evolutionary themes for the dance piece.
The knit structure was developed using an industrial hand flat machine, with fibre optic
strands inserted laterally through the monofilament knit configuration. The physical
properties of strength to support the fibre optics and the lightweight structure ensured the
flexibility suitable for dance movement. The fibre optics were supported by the monofilament
knit, this gives it structure and shape particularly for torso movement yet when the dancer
evokes more subtle expressive hand movements the fibre optic tips spread out to opens as in a
fan like effect.
fig 7. Fibre optic encased in monofilament yarn knitting structure. Fig 8. “Knitted e-sleeve” componentry shoulder bag
The computer programming of the fibre optic lighting effects were done using a combination
of Arduino Processing, LilyPad sensors and Isadora (an interactive media software package)
that would be used by the NZDC sound and lighting engineers. The initial idea of having the
dancer’s movements influence the lighting effects had been explored earlier in the project,
essentially if the dancer were to put her hand in the air there would be a colour response via
the RGB fibre optics. However at studio rehearsals the dancer felt that the lighting changes
were somewhat predictable for large body movements but at the same time subtle body
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movements hardly altered the lighting effect at all. An alternative approach was to program
the lighting response to combine with the ambient frequencies of the “Evolve” sound-score,
the sporadic nature of the music meant that the RGB lighting could alter in both density and
color in accordance with frequency changes. A WIFI transmitter was used to directly link the
microprocessor and the music; this alleviated any concerns that additional live theatre sounds
may create signal disturbance.
A further challenge was to ensure that the “knitted e-sleeve” control unit would be robust
enough to meet the rigors of the dancers movement yet at the same time be mindful of any
physical restrictions that the integration of the technology could cause. Dr Patricia Wilson
poses a straightforward question, “Why do electronics have to be hard?” (Wilson. P 2005)
while there has been development particularly in the size of componentry, smart clothing
integration continues to deal with the complexity of hard electronics and soft fabrics. An
important consideration when integrating electronics is to minimize and disguise the
technology in a way that feels both natural and comfortable to the wearer, a small close
fitting shoulder bag would not impede the dancers movement and would be simple to remove
immediately after the dance sequence.
The bag was padded for both comfort and support, was flexible enough to bend over the
shoulder area to ensure the position of the fibre optics and the integration of a simple
strapping configuration allowed for easy on/off access during the performance.
Rechargeable battery unit, RGB LED’s, fibre optic connector, the LilyPad micro controller
and Xbee wireless radio transceiver were positioned in routed channels to secure
componentry. While conductive thread was a consideration, tests lead us to believe that
soldered electrical connections were stronger and more reliable for this particular application.
fig 9 .The “knitted e-textile sleeve” during tests fig 10. The “knitted e-textile sleeve” during tests
Three iterations of the fibre optic/ monofilament “knitted e-sleeve” were trialed to establish
the optimum length and width for the performance, an additional shoulder bag containing
back- up componentry was also made.
While there had been some doubts about the strength of the power source it was not until the
move from studio rehearsals to the much larger ASB theatre that we fully recognized that the
light intensity was not strong enough to be seen by all members of an audience. Perhaps the
importance of space had been underestimated, the visual impact for a live audience in a small
intimate venue in regards to costume, make up and set design can be subtle while a larger
venue requires a more dramatic effects and clever use of lighting. The fact that the project
visual effects worked best in relative darkness precluded any additional stage lighting, this
would have actually detracted not enhanced the piece.
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Reflection and conclusion
Interpretations of what act of designing consists of may vary, but it is generally agreed that
the designer exercises a considerable amount of control to plan, formulate, create and execute
a particular project. Learning Experiences gained from this venture suggest that the
unpredictable nature of smart and interactive textiles with a focus on the performing arts
sector poses a shift in our expectations from a pre-conceived result to something quite
different all together, certainly no member of the team would have predicted the final work.
Perhaps a shift of thinking is merited, from human control that dictates what an object should
be to what an object can by allowing technology have a say in the process.
The evolution of this project had many unpredictable outcomes none more so than the late
withdrawal of the “knitted e-sleeve” from the show. While bitterly disappointing for all
members of the Dynamic textiles group, the team could accept that limitations to integrate a
stronger power source to deal with the sheer scale of the ASB theatre Auckland was the main
drawback. Nevertheless the original and creative approach displayed throughout the project
was warmly recognized from the production team and cast of the New Zealand Dance
Company, paving the way for possible future collaborations.
The original research question of “How might expressive e-textiles be used to enrich the
experience of dance performance?” is partly answered in the paper as it illustrates the creative
journey and the unique challenges for work with the performing arts area. There is no doubt
that e-textiles projects such as this one can be complex, the creative exploration, design and
technical issues require input from a range of disciplines. The value of using a collaborative
approach cannot be underestimated. Through the implementation of technology and e-textile
development the Dynamic textiles group were able to develop a final piece that worked in
harmony with the dance performance, the combination of responsive light, music and
movement evoked the spirit of the appropriately named titled section “Evolve”.
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(2010)
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Terminology
EL: Electro luminescent lighting.
E-textiles, fabrics that enable digital components (including small computers) and electronics to be embedded in
them.
Fibre Optic: A flexible, transparent fiber made of high quality extruded glass or plastic.
LED’s (light emitting diodes): A semiconductor diode that converts applied voltage to light and is used in lamps
and digital displays.
RGB: is an additive color model in which red, green, and blue light are added together in various ways to
reproduce a broad array of colours.
Smart Fabrics: Textiles capable of sensing and responding to external stimuli, such as changes in the lighting
or temperature.
Solder: Joining two metals together by using a soldering iron.