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What the Poet Said About It
Get PDFA comedic prose poem remixed from the work of Martin Stannard. Part of an online birthday tribute anthology
Clothing + Embedded Technology: Past Challenges, Future Opportunities Developments in the Design of Smart Clothing and Wearable Technology.
No full textClothing + Embedded Technology: Past Challenges, Future Opportunities
By Sarah Elizabeth Braddock Clarke
Chapter Keywords:
Design; aesthetics; function; collaboration; materials; technologies; physical/digital; interactive; sport; fashion.
10 keywords (5-10 keywords)
Chapter Abstract:
With a focus on the positive attributes that good design can bring an overview of developments in the area of smart clothing and wearable technology is given, as well as current prototypes that pave the way for future production. Highlights of the past three decades are given that demonstrate innovation in materials and technologies to ensure desirable aesthetics and functions, both visual and tactile, for increased performance capabilities. Past challenges are addressed where clothing embedded with technology has perhaps not reached its full potential and possible considerations are posed where interactive, human-centred design is core. In the creation of body-related items benefits are given of collaborations between disciplines together with a fusion of physical and digital approaches and realisations. Looking ahead to a positive future, the growth of this area follows a trajectory of inclusive and sustainable design across the worlds of sport and fashion.
Past Challenges, Future Opportunities Developments in the Design of Smart Clothing and Wearable Technology
My chapter is Chapter One – titled Clothing + Embedded Technology: Past Challenges, Future Opportunities of Part One – Developments in the Design of Smart Clothing and Wearable Technology. My chapter provides an overview of developments in the sector over the last decade and focuses on the practice of good design and connections between traditional, physical approaches with available and future digital technologies. The publication is intended as an academic resource for designers, industry, researchers, and end-users.
Published as a paperback book (626 pages) and as an electronic book (searchable PDF) - 16 September 2022.
ISBN: 9780128195260 (print). ISBN: 9780128205778 (online).
(2020 – September 2022
KELP! 2023
No full textContext and area of research
Solutions to the climate and biodiversity crises already exist. A significant obstacle to implementing them is lack of awareness amongst decision-makers and voters. More than 80% of media articles use disaster framings for future scenarios, creating eco-anxiety and apocalypse-fatigue. Neuroscience research shows that negative framings interrupt the brain’s logic and reasoning functions, whereas positive framings propel the motivational centres of the brain and build problem-solving capabilities. There is an urgent need for research into how we can be most effective in creating engaging content about solutions and mobilise the immense power of storytelling to drive cultural change.
Central research question
Does a positive story focused on solutions shift the audience’s view of the future towards possibility and opportunity?
Methods and rationale
Stage 1 – production of documentary KELP! using positive framings, upbeat music and edit style.
Stage 2 – screenings of KELP! to provide live feedback on how effective the film is in achieving the desired impacts through discussion with audience. Points of note that arise from the discussion are recorded, as are individual responses.
I am the co-director of KELP! and co-run screenings.
Outcomes, contribution and significance
The outcomes from screenings and discussions strongly support a powerful shift in future-view in our audiences. Some audience quotes:
"I have no words... just wow! I felt my mind shifting while watching it. Thank you.”
“The whole world needs to see this film! We need hope and you gave us hope… Thank you.”
“I feel a weight of anxiety lifted.”
The film was also entered into international film festivals and has attracted numerous awards, including being selected for the International Ocean Film Tour. We have received overwhelming feedback that the positivity in the message and style of the film is the main reason for this success
Glorious Combinations
Get PDFA book review of Modern Buildings in Britain. A Gazetteer, Owen Hatherley (hbck, 605pp, Penguin
The culture I identify with: An interview with Gary Budden
Get PDFGary Budden is the co-founder of award-winning independent publisher Influx Press, and the author of several books, including London Incognita (Dead Ink, 2020), Hollow Shores (Dead Ink, 2017), the Shirley Jackson Award-Shortlisted Judderman (Eden Book Society, 2018. His writing has appeared in numerous magazines and journals including Ambit, Nightscript, Gorse, The Quietus, Structo, Minor Literature(s), Confingo, Uncertainties, The Lonely Crowd and many more. He lives in Enfield, north London.
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Gary Budden's London Incognita (2020) is an engaging and witty self-referencing collection of short fiction, creative non-fiction, hommages, tributes and asides that slowly accrues into a metafictional web of material that explores the dark underbelly of late 20th Century London. Budden's characters are often homeless, or burnt-out squatters, junkies or alcoholics; many are socially and spiritually lost, inhabiting a countercultural netherworld of punk bands and zines, surrounded by imaginary creatures who act as a personification of the unspeakable horror that are rumoured to inhabit the unknown regions of the city.
It's not all gloom and doom and disappearances though, as some characters kick their habits, some succeed in the music business with their band Scarp, others return from wherever they've been after disappearing, and Melissa – one of the many writers that Budden creates and writes as in this collection – makes a mark with her zine, Magnesium Burns, which twenty years on from issue 1 is getting mainstream recognition in the form of a collected book edition and retrospective exhibition.
Throughout, Budden namechecks or alludes to his literary sources and inspirations and in addition creates a new fictional pantheon of obscure and neglected writers, some of whom he then inhabits to create diaries, stories or letters, whilst others are simply mentioned in passing by his characters, often in association with imaginary collectable small presses. In a similar manner, much is left to the reader to imagine, especially the elusive monsters known as the Judderman and the Commare who are seen by many out of the corners of their eyes and can seem both scary and alluring. Either way they act as personifications of the dark, damp and unknown, luring characters to unknown destinations, be that elsewhere, undocumented suburban sprawl or death.
Budden is adamant that 'London is never finished. London never was like it was. Build and destroy and repeat.' (2020: 303) His book is set in the cracks between community and gentrification, a world where poverty is real, tower blocks burn, music and drink and drugs are not signs of rebellion but are all that hold many people's lives together. London Incognita is an astonishing exploration of the city, imagined and real, tinted with horror in all shapes and forms, real and imaginary. Its characters live on the edge, geographically, socially and psychically. It is melancholic, horrific, brutal, honest and inspirational by turns, not to mention shockingly readable. I wanted to find out more about this punk psychogeography
Telling stories in soundspace: placement, embodiment and authority in immersive audio journalism
Get PDFThere has been an increase in the use of immersive or spatialised audio formats for radio and podcast journalism. Immersion is used to put audiences to the heart of a story, enable richer experiences, and encourage empathy with others, but it can disrupt the ‘grammar’ of broadcast formats and the codes that structure the relationship between audience, journalist and story. Immersive journalism research has not tackled the impact on audio-only storytelling, and the lack of research by and for audio journalists means programme makers have until now lacked a conceptual framework and terminology to describe how space is constructed in immersive audio, the creative and editorial choices available and their effects. This article, based on analysis of immersive output and interviews with those who produce it, critically examines the differences between mono/stereo space and immersive audio space and argues they are not only a matter of aesthetics or comfort, but communicate differential authority over the story and merit further attention when journalists are trained in immersive audio
Enthusiasms of Scale model boat clubs of Cornwall
No full textMany seaside towns in Cornwall possess a human-made, Victorian era, boating lake. These watery, placid, civic structures tend to occur in towns where part of their peripheral boundary is defined by a much larger, uncontained and wild ocean. Boating lakes hark back to Victorian era leisure activities such as promenading, sporting lifestyles and model boat building. In this way, Cornish boating lakes are nostalgically imbued with nationalistic histories of industrialised prosperity and the associated leisure activities and nascent identities enabled by this socio-economic shift. Compared to more contemporary Cornish coastal leisure activities such as skate parks, kite surfing and coastal walking, model boat clubs and boating lakes are often spaces associated with indigenous members of the community from more elderly and poorer demographic groups. Model boat clubs are often spaces for the expression of a nostalgic connection to a nautical history of maritime boat building that has, on an industrial level, seemingly gone elsewhere. Communities of model boat owners create, maintain and pilot their boats with an enthusiasm that is inherently linked to and at the same time separate from the oceanic body of water that is often only a thin strip of tarmac away from where they practice their craft. This video presentation investigates, collects evidence and represents the geographically specific enthusiasms of the users of Cornwall’s boating lakes as evidence of a cultural phenomena that is specific to UK coastal leisure communities in the 21st century. Through the application of an interdisciplinary research methodology that uses ethnomethodology and journalistic interview techniques, this research investigates the cultural practices and opinions of those involved with model boat building in Cornwall