V2_ Knowledgebase

CO2RSET is couture that monitors CO2 levels in the atmosphere and responds by tightening or loosening on the body.

The blend of thought and practice that the CREATE conference wants to encourage was nicely summed up recently by interaction designer, Jack Schulze: "No one cares about what you think, unless you do what you think. No one cares what you do, unless you think about what you do." Our past conferences have been well received for providing a friendly and informal setting where networking, discussion and practical work are high on the agenda.

The Department of Design | Media Arts is located within the School of Arts and Architecture at the University of California, Los Angeles. We are committed to educating responsible designers and artists for the information age by teaching the fundamentals of Design, Media, and the Arts, and encouraging experimentation and innovation. We provide an extensive education in Design and Media Arts practice, history and criticism, and the department fosters a critical and creative exploration of emerging forms of visual communication, typography, interaction and interface design, ubiquitous computing, virtual environments, information spaces, networked agents and other pertinent areas of research.

The Digital Media Master of Research (MRes) programme is a flexible, creative course in the latest interactive technologies, new media theory, and exploratory media art practice. Working closely with Digital Media staff members, the course offers a supportive community for practice-based research, encouraging innovation and active engagement with the wider cultural sector.

Thesis: This thesis consists of a series of extensive projects which aim to explore a new designer role for fashion. It is a role that experiments with how fashion can be reverse engineered, hacked, tuned and shared among many participants as a form of social activism. This social design practice can be called the hacktivism of fashion. It is an engaged and collective process of enablement, creative resistance and DIY practice, where a community share methods and experiences on how to expand action spaces and develop new forms of craftsmanship. In this practice, the designer engages participants to reform fashion from a phenomenon of dictations and anxiety to a collective experience of empowerment, in other words, to make them become fashion-able. As its point of departure, the research takes the practice of hands-on exploration in the DIY upcycling of clothes through “open source” fashion “cookbooks”. By means of hands-on processes, the projects endeavour to create a complementary understanding of the modes of production within the field of fashion design. The artistic research projects have ranged from DIY-kits released at an international fashion week, fashion experiments in galleries, collaborative “hacking” at a shoe factory, engaged design at a rehabilitation centre as well as combined efforts with established fashion brands. Using parallels from hacking, heresy, fan fiction, small change and professional-amateurs, the thesis builds a non-linear framework by which the reader can draw diagonal interpretations through the artistic research projects presented. By means of this alternative reading new understandings may emerge that can expand the action spaces available for fashion design. This approach is not about subverting fashion as much as hacking and tuning it, and making its sub-routines run in new ways, or in other words, bending the current while still keeping the power on.

covers emerging architectural and artistic practices where digital technologies & virtual spaces merge with tangible and physical spatial experiences. An active architecture, sensing, observing, feeling, listening, thinking, reacting, proposing, adapting, learning, even sometimes interacting. It is an architecture in constant flux best suited to prototyping and semi-perminant installations.

New York City designers Peter Allen and carla Ross Allen co-founded the KnoWear design studio in 2000, in an effort to explore new possibilities in design that look beyond traditional boundaries and broaden its relevance within such practice as product design, new media initiatives and culture.

We are a recently formed group of textile designers, bound by a shared vision for the future direction of design. Far from the common perception of textile designers as girls who draw flowers, we are individuals who integrate aspects of material science, fine arts, academic research, storytelling, and product design into our practice. Because this broad understanding of textile design is still considered unconventional, we join forces to create a stronger statement for textiles.

self_passage is a brand and research project that explores how fashion can be used for empowerment, self-development and personal growth instead of being a phenomenon of top-down decrees and collective anxiety. The selfpassage projects try to bend the power of fashion into a force to achieve a positive personal and social condition with which the Everyperson is free to grow to his/her full potential by means of engaged fashion practices.

As a new media installation artist, Suzi Webster's practice is concerned with exploring and critiquing the ways in which technologies, specifically but not solely digital technologies, impact and shape our experiences of being human. In particular, Webster is excited by the possibilities offered by digital media to create work that is collaborative, responsive and dynamic, rather than fixed and static, and that undermines traditional fine art distinctions based on medium specificity. Her current research interests center around wearables that explore intersections between sculpture and performance, fashion and computing, the body and its context, public and private, in a critical way.

Over the last ten years TED has been developing a set of practice-based sustainable design strategies that assist designers in creating textiles that have a reduced impact on the environment.

WIRAD's vision is to become Wales' premier Art & Design research institution with an internationally reputation for cutting edge research in the field. The Institute may eventually become a jointly owned independent entity of its own. By so doing, it will not only serve Wales through stimulation to creative and cultural practices, but also make very evident at an international level the high standing of research in Wales. Research may be commissioned on the contribution Wales might play in the development of pure and applied research within the Art and Design fields; aiming to ensure that the Institute is outward-looking and responsive, serving Wales by serving Europe and beyond.