Screen Society Book

AN INVESTIGATION OF MEDIA DRESS by Shagane Barsegian Launey A Project Presented to The Graduate Faculty California College of the Arts In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts

Approved:

____________________________ Brenda Laurel

____________________________ Wendy Ju

____________________________ Scott Nazarian

____________________________ Joanna Berzowska __________ May 6th, 2009

new media/design/wearables/wearable space/public interactions/virtualization SCREEN SOCIETY: An Investigation of Media Dress Shagane Barsegian Launey This work is an exploration in creating alternative values for body, dress, and identity. In this futuristic setting dressing is transferred into another medium – digital content such as images, video, and real feeds. A new body, the cloud, is what surrounds the body and is dressed. Screen Society broadens the meaning of dress to include media content and objects that are virtual or real. The media ensemble can be created or linked to, and placed in undetermined proximity to the body. Screen Society is an experience designed to translate the wearing of the Cloud Suit, model the presence of digital identity in day-to-day life, and anticipate consequences in regard to production, aesthetics and social interactions.

"The Cloud Suit is a composition of thought bubbles" - Wendy Ju, Assistant Professor in Interaction Design California College of the Arts "Screen Society concept resembles facebooks that follow you" - Viviana Ponton, Graduate Design Student California College of the Arts "Dress becomes panopticon dust" - Scott Nazarian, Adjunct Professor California College of the Arts "Body is wrapped in image" - Geoff Kaplan, Adjunct Professor California College of the Arts "It is identity linked to the ether" - Joanna Berzowska, Associate Professor of Design and Computation Arts and Director of the Graduate Certificate Program in Digital Technologies at Concordia University

Please visit http://shaganebarsegian.googlepages.com/screensociety

cc

THANK YOU to FAMILY Dr. Maximilien Launey Kamo, Tanika and Armine Barsegian Baboulia, Baba, Deda, Papik UNDERGRADUATE ADVISORS Lynn and Dick Richardson Gene Newburg Cathia Pagotto GRADUATE ADVISORS Dr. Brenda Laurel, Rob Tow and Larry Rinder THESIS ADVISORS Dr. Wendy Ju, Scott Nazarian, Joanna Berzowska, Kevin Killian, Dr. Abigail DeKoznik CONTRIBUTING FACULTY Maria McVarish, Chris Noessel, Geoff Kaplan, Martin Venezky, Dr. Barry Katz, Kaz Nakashiki CCA Futurism class (Fall 2008) Team Awesome Members: Choong Kim, Ebony Dallas, Aaron Goeth, Vivianna Ponpon, Dana Ragouzeos CCA FAMILY Tessa Sutton Grad Design faculty and classmates School faculty and students THE WORLD Writers, designers, academics, artists, and projects that are referenced here, and many more that I have no record of but who inspired me to higher education Open Source Code: Processing and contributors to the code libraries

PREFACE Context Terminology Goals Title Voice SCREEN SOCIETY Legend Cloud Suit Multiforms SOCIO-ECONOMIC CHANGES Post-materialism Production literacy Distributed perception AESTHETIC CHANGES Fragmented body Collective body Dis-clothe, invisible technology SOCIO-POLITICAL CHANGES Micropolitics Body, gender and face Territory and space CONCLUSION FOOTNOTES REFERENCES BIBLIOGRAPHY

PREFACE

“I look for a new body.”

Change is the essence of fashion and fashion industry. It creates duality between in and out of style, desired and rejected. Fashion generates seasons for everything and unleashes its actants(1) into the world. It relies on many details to make things new. An apparel designer can change form, feel, fit, colors, textures, washes, embroidery, stitching, weave, notions, trims, and much more. From time to time, he can even go as far as to reorganize the body. Think small waists of the fifties, little thin legs of the sixties, and wide shoulders of the eighties. Fashion can also shift erogenous zones(2) allowing clothing to make sensual breasts one day, sexy legs or shoulders the next. Though it is not only that fashion needs to spotlight or rearrange body parts, it also seeks a new body through deforming the old. Fashion mostly has utilized illusion to redesign the body such as shoulder pads for example. The practice has been to distort the body but only to a certain degree. The body has to change and look new.

It has to seem different without looking crippled. The field is ripe for alternatives. While physical reengineering is not yet achievable, one has to explore other options. In this tradition of fashion, I look for a new body.

Being from a generation who has been given the tools to shape and form digital identity virtually, I am interested in finding tools to make digital mobile identity in real life. In An Archaeology of Mobile Media, Erkki Huhtamo (2004) describes the communal conditioning that happened prior to massive mobile-media adoption: Being in “perpetual contact” with absent people by means of a portable device would have made little sense for the inhabitants of a medieval village, who rarely traveled and stayed within a limited radius all their lives. Quite obviously the preconditions include relatively developed spatial “mobility” within society, if not as a widespread practice, then at least as a shared idea.

The mobility may be motivated by official needs (a messenger services) and commercial imperatives (the distributions of goods, for example), or by a developing taste for “mobility for the sake of mobility”, as exemplified by the habit of strolling the city streets and the emergence of modern tourism.

His essay concludes with a chapter named: The Life and Times of the Mobile Cyborg, hinting that ideologically we are being conditioned for the next step. I am here proposing a digital mobile body for the physical world.

Screen Society (SS) is a discourse on the remediation of dress and transfiguration of the old body into a new one - the cloud. First, the Cloud Suit allows dressing in a different medium. Dressing now means creating, picking and surrounding oneself with digital distributed content. Personalized data can be streamed live, presented as video, images, and information visualization on the cloud.

Second, the Screen Society project explores alternative aspects of garment and apparel industry in the time of posthumanism, the forthcoming economical, political, and aesthetic regime. Post-modern tendencies cannot be completely avoided as this essay is written in this time period. Where it insists to reemerge, post-modernism will be noted. Critical theories on post-humanism discuss the forming bodies or cyborgs that embrace organic and technological components (Haraway, 1991; Hayles, 1999). From this perspective Screen Society assumes a transition to a new body, the cloud. The cloud becomes dressed in a variety of media ensembles* outlined above. The social and communicative aspects are transferred from fabric to cloud.

In this context, dress retains its traditional definition as “an assemblage of body modifications and/or supplements” (Eicher, 1993), which entails “material properties”, “expressive” (Hansen 2004) and informative abilities (Bart, 1990). Within Screen Society, the term dress includes media content and objects, virtual or real, that are created, linked to and placed in undetermined proximity to the body. The expanded term

This essay anticipates consequences that the media ensem-

treats technology as social networking site www.facebook.com

bles and cloud body can have on society. It also hopes

and Apple I-phone as dress because they face the exterior

to expand realities of knowledge and experiences (Giannetti,

(public) to amplify the interior (character).

2004, Aesthetic Paradigms of Media Art). It does not claim neither a positive nor negative cultural impact. Its utopic or

The redefined dress described above can be perceived as an

dystopic tendencies are yet to be determined.

avatar because it services other realities, affects the wearer and observer, suspends disbelief, creates camouflage and disguise.

The discourse is complimented by a physical implementation

Since the Cloud Suit is much more impermanent and fragmented

of the conceptualized body and dress. This iteration aims to

than the avatar, it can be refered to as a costume.

visualize the experience by designing an interactive environment. The live video feed of the audience is captured by a

Fashion is reduced to trends, styles, looks and/or practices that

web-camera, processed by a computer which superimposes

reflect change and seasonality. Naturally, it is assumed that the

content using Processing software and projects in front of

media ensemble can experience change through the phenom-

the audience as if they were seeing themselves in a large

enon of fashion. Finally, as for original functions of textiles and

mirror. It is assumed that there is an unlimited potential to

clothes, warmth and protection, these remain in place.

reinterpret this concept into a physical form.

PREFACE

“...dress includes media content and objects, virtual or real, that are created, linked to and placed in undetermined proximity to the body.� wall camera

screen society puppets

video story s

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computer

projector audience

PREFACE

Cultural theory has an expanded discourse on faces that screen thoughts and emotions, bodies that display information, and skins that mask interior organs (Wegenstein, 2006).

Screen Society thickens the human body with an additional layer of skin. This new layer of skin is the new exterior screen.

The word screen was chosen because it implies the display and the displayed. Its complimentary meanings have been examined and point to smaller aspects within Screen Society: defining the same word as separation or partition references the deferral of the material representation of the body; sifting or filtering is pointing to extracting information from the projected and constructing a persona; to screen someone as to examine suggests a study of nuances; the meaning of showing or broadcasting speaks to the glorification (Sester, 2008) the medium will provide; screening as concealment and veiling disguises control the wearer possesses in construction of messages.

The word society is an ironic counter to the Rational Dress Society founded in 1881 in London that protested deformable, unhealthy and restrictive clothing women wore (Stern, 2004).

It is also recalls Guy Debord’s Society of Spectacle,

a critique of image production that disguises and alienates people from reality (Debord, 1995).

Fictional references will be indicated in text with (*). For the purpose of the narrative, the scale of the media adoption in

The term society is placed to express gathering of people of

society will be exaggerated so to present an affective case

mutual values to perform activities.

of the outcomes felt.

Historically, Screen Society rose as a byproduct of the human pursuit of the digital and mobile. Digitizing aspects of life was sub-cultural practice that evolved into being a

In 2008 the first primitive form of individual augmentation

cultural phenomenon. At the beginning of the 21st century,

emerged with the arrival of portable projection(4)

information and communication industries allowed more and

to market. Illustrators and filmmakers appropriated portable

more people to access technology and build a participatory

projection for simultaneous and multiple content screening. It

culture (Jenkins, 2002). In first world countries this was the

was showing and watching of narrative(s) at once, choosing

time of information saturation and exchange. Previous actions

what to show and what to watch.

media

now dematerialized, gave affordances to send, share, copy, delete, upload, and download. This scaled distribution of

Artists, designers and filmmakers in the second half of

media released access to knowledge though simultaneously

the 20th century had conceived projected wearables. John

unleashed peer-to-peer surveillance and control. Society had

French’s projection photography, Hussein Chalayn’s Pixel Dress

become a transparent place where everything was visible but

together with Victor and Rolf’s collection Bluescreen, all were

the invisible, a culture where individuals in desire for celebrity

experimentations towards conceiving a digital fabric. Jacques

and promotion are caught up in self-exposure and self-surveil-

Demy in Peau D’ane showcased a dress with projected clouds

lance (Sester, 2008). Mark Andrejevic in iSpy, Surveillance and

moving across the body of Catherine Deneuve. Nam June

Power in the Interactive Era criticized this kind of stardom

Paik created a TV Bra for Living Sculpture in which two

across media domains, which in his view led to self-surrender.

small television screens with video were worn as a bra. Both

So was awakened the longing for opacity or camouflage, the

Demy and Paik worked in the movement of reversing the role

wish for stand-in bodies in physical space.

between dress and film, to film being used in and as dress.

Media designers as Pranav Mistry, Rafael Lorazo Hemmer

The body prior protected for warmth and modesty became

developed conceptual and functional wearable projections

protected from observation. This was done through veiling

though not as dress. Finally artists working with projection

and staging to obscure the individual. To escape media that

such as Katya Bonnenfant, Lee Yong Baek, Karolina Sobecka,

had become a distributed panopticon(3) (Huhtamo, 2004) the

Pablo Valbuena, Johnny Lee helped push aesthetics, technol-

body had to surround itself with panopticon dust.

ogy and place for projection in visual culture.

SCREEN SOCIETY

Sester, Marie. Access. 2003

French, John. Projection photography.

1960

Challayan, Hussein. Pixel Dress. 2007

Victor and Rolf. Bluescreen Collection.

Season 2002-03

Demy, Jacque. Peau D’ane. 1970

Mistry, Pranav. Sixth Sence. 2009

Loranzo Hemmer, Rafael. Under Scan.

2005

Loranzo Hemmer, Public. 2005

Rafael.

Subtitled

Paik, Nam June. TV Bra for Living Sculpture. 1969

Lee, Yong Baek. Video Installation.

2007

Sobecka, Karolina. Wildlife. 2006

Murillo, Jeff. Projections. 2008

Valbuena , Pablo. Projection. 2008

Lee, Johnny. Foldable Displays. 2007

Usman, Haque. Primal Source. 2008

Tachi, Susumu. Invisibility Cloak. 2004

Unknown.

2007

Japanese

Photo

Booth.

Godzilla, MTV Awards Performance.

2005

SCREEN SOCIETY

Virtual dress found some simularities with avatars.

John

Bell in his book Puppets, Masks and Performing Objects, explained that avatars take ‘signs of life’, abstract them ‘from sites of actual life’, and to plant them in ‘sites that have no actual life’. Avatars stand for life, human, animal or plant.

The concept of avatars in the physical world can be traced to virtual band Godzilla (Musioneyeliner, 2007) and 3 Legged Dog productions (McElroy, 2007), both of which performed with Musion Eyeliner projection system.

Since the Cloud Suit could display multiple screens at once, they were called suities*.

By 2010 Screen Rooms were

popping up as growing environments for suities and virtual suity agents (vsa), similar to avatars and virtual human agents (Bailenson, 2003) though they rarely looked human.

January of 2013 dated Generation 1, a marker for this media

Both could have appearances as animals, thought bubbles,

evolution. By December of that year the Cloud Suit was a

plants, images, floating objects, shadows, and text. Suities

recognized embodiment. It started to reframe what was the

were made up of content the wearer prepared and uploaded.

outer shell, splitting dress into categories of immaterial (vir-

They did not initiate action unless they were programmed to

tual) and material (physical). The immaterial cloud extracted

do so.

the expressivity from the material.

Virtual suity agents exhibited higher forms of intel-

The textile was left to

ligence. They could simulate living, thinking and even acting

protect the body and keep it warm. Fashion jumped from tex-

for the wearer.

In these virtual rooms people raised their

tile to cloud, leaving fabric as an outmoded expression. The

own creatures, signs, symbols, forms, patterns, languages,

human body became adorned in multiforms*(5). With time and

behaviors, texts and messages for their projections. As with

technological advancement, the new body and the new way

other digital media, Screen Libraries were built to exchange,

of dress conditioned distinct exchange and ethics. By 2019,

trade, and sell content.

the 20th century dress became rare.

“The more projections one carries, the more they have to diminish in size as specified by the Space Law.”

The name Cloud Suit comes from the term scramble suit.

Philip K. Dick in his science fiction novel A Scanner Darkly imagined a screen membrane which controlled by a computer looped through databases of human features and projected compilation of randomized hair, noses, eyes, skin colors at any nanosecond over the whole person (Dick, 1991). Today, the Cloud Suit is observed in a variety of public places. It floats around or next to the individual. It is rarely carried by

…the self in the contemporary era as a reflexive project, maintained by the construction of biographical narratives and developed through an engagement in relationships and activities that can enhance that narrative. Thus, the self is an essentially cognitive phenomenon.

wearers and is mostly installed in places to afford an off the body experience. For the outdoors the device has to sit in

The Cloud Suit stands in reference for a person’s character,

desired locations on the body.

knowledge, hobbies, status, skill, in a form of self-compiled narrative(s), made for the spectatorship and entertainment of

Users experience Cloud Suits through mobile devices. These

others.

are recognized within in environments and are given permis-

several important parameters are to be considered. Content

sion to display the suit. At that point the wearer selects

orientation determines if the content is facing wearer or ob-

suities or vsa. Unlike historical projection that took images

server. If designed for multiple observers the projected can

from a device and emitted a projected image of the same

present several perspectives at once or rotate them. Originally

thing, many interfaces have been designed to allow variety of

the screens of computers and television in the 20th century

alterations. These effects can be inserted prior, during and

presented a square screen at eye level. Portable projections

after the projection.

introduce other geometric (circle, triangle, heart, diamond,

Once content and form are imported to the device,

bear, car, giraffe) possibilities where objects and subjects can signal > image > projector > projection <image < signal

be used at different angles and perspectives. Control and recall are assigned to gesture. The person decides the place-

Users create, catalog, share and sell video clips through

ment and proximity of projections playing at one time. The

Screen Rooms. Creating your own content is highly valued

more projections one carries, the more they have to diminish

and can be compared to stature of patterns on women’s

in size as specified by the Space Law, which in 2027 passed

robes in seventeenth century Japan that conveyed level of

legislature on projection scale that banned expansion over 5

literacy (Barnes, 1992). It is assumed that content is expressly

meters horizontally and 1000 meters vertically. Length of pro-

chosen by the user and is a valid representation of the self

jections falls into categories of short animations (tell a story

for others to draw conclusions from. Hardey (2002) compared:

to a passerby) to long simulations unrestrained by time.

SCREEN SOCIETY

SCREEN SOCIETY

Once projection technology became fluid and content creation fluent, the projected came to reference internal cues (thoughts, images, histories, memories, likes, dislikes) replacing the former characteristics as looks, clothing, posture.

Now, internal came before external. Screeners adopted and adjusted to the language of the new medium. The behaviors that were initially noted with the emergence of virtual interactions in screen theory started to reoccur. Walther and Parks (2002) demonstrated that information extracted from face-to-face interactions had little impact on established virtual relationships. Their claim was supported by the study of Bargh, McKenna and Fitzsimmons (2002), who revealed that students could express their true self vs. actual self (self shown to other people) better and easier through computermediated communication rather than face-to-face. Progressively people became more comfortable and self-expressive through computer-mediated communication that enabled us in the words of Harley (2002): …to reconstruct our self-identities and recraft our bodies by reducing the constraint of our organistic existence and facilitating our development as ‘information processing devices’. (Harley. 2002)

Uniform is specific or specialized dress that carries sameness, control and order. It is confirmation of social status and disguise of social demographics, reductive of external identity or uniqueness. It carries shades of secrecy due to concealment of the interior. Diluted dress in the market place has been referred to as uniforms (Fussell, 2002) or ‘shared vocabularies of bodily idiom’ (Goffman 1959). Screen Society observed emergence of multiforms, uniforms that demarcated individuals from other individuals rather than groups from citizens.

Unique uniform has been historically adopted by creative figures as Gilbert and George, Oscar Wilde, Andy Warhol, Andrea Zittel, Van Gogh, Samuel Palmer, James McNeill Whistler (Gayford, 2006; Zittel, 1992-1995). Marguerite Duras in Practicalities described her daily style to resemble a uniform. It seemed to define her. It was something found without looking and always managed to stick around.

At the nascence of portable projection the strength of light did not allow day use, which forced screeners to adopt multiforms in order to distinguish each other during the day.

Once a person found an outfit he liked, he bought seven of them to wear during the course of the week. These outfits looked exactly the same from day to day. Katya Bonnenfant

Projection came to represent identity, self-representation, and

introduced stylistic referencing in her 2005 animated projec-

creativity. Underneath, the textile was downplayed as it was

tion. It showcased a wall covered in wallpaper with an anima-

not digital thus customizable. There was still a need for

tion resembling the wallpaper with in the wallpaper. Her work

warmth and protection of the body. Clothing was redirected

influenced some to match their multiform to their projection.

to produce a different type of garment.

When the bundle got old a new set was purchased.

At the end of the first decade in the 21st Century global markets were also experiencing limitations of raw materials and water (Economist, 2008). Post-materialism as Philippe Starck called it became a universally appealing trajectory (Leberech, 2008). Though digital research can be traced back as far as Willy Wonka’s Wonkavision (Stuart, 1971; Burton, 2005), it was only at the end of the 20th Century that virtualization aggregated with the World Wide Web. The immaterial production gave new economies that in return gave new forms of literacy and perception.

Remix culture was born. In this time of digital renaissance(6) cultural consumers evolved to become cultural producers.

These technologies allowed for new forms of writing self, or hypomnemata(7)

(Ars Industrialis, 2008; Benkler, 2006).

The read&write culture as Lawrence Lessig (2007) called it, fostered sharing, reinterpreting and recreating, emancipating formulation of content, diversifying interests, sprouting niches and greatly contributed to the formation and production of avatars for the real world.

These practices make their practitioners better “readers” of their own culture and more self –reflective and critical of the culture they occupy, thereby enabling them to become more self-reflective participants in conversations with culture (Benkler, 2006).

Developed by curious communities and volunteers, open and shared knowledge grew markets, products and services. The

Agency, practice and performance in consumption which Han-

French continental philosophy collective Ars Industrialis described

sen (2004), Woodward (2001), and Crane and Bovone (2006)

this process by which so called technologies of control and influ-

described came to fruition with commons-based peer produc-

ence reformatted within the social organization of capitalist order

tion(8). Participation and production allowed greater hypom-

to become technologies of the soul and of consciousness.

nemata, self-completion and control.

SOCIO-ECONOMIC CHANGES

“Participation and production allowed greater hypomnemata, self-completion and control.”

SOCIO-ECONOMIC CHANGES

Screen Room services are enterprises that set up virtual shops to assist digital production. Day and night everybody seems to stumble into spaces so crowded and loud they resemble Middle Eastern bazaars. VJ’s are professional mixers of content working with video and other digital information.

The demand for virtual mash-ups (Jenkins, 2002) has turned formerly labor-intensive production and manufacturing process (Entwistle, 2000) towards a supply of visual databanks, based on code that is reused, recycled, and customized.

Consumer, user, fan, enthusiast have become cultural intermediaries(9) (Bourdieu, 1984). Though initially not rewarded, established Screen Room infrastructures support and reward post-material and immaterial labor(10), enabling: …social production and exchange to play a much larger role, alongside property- and market – based production, than they ever have in modern democracies.(Benkler, 2006)

Creating for themselves, users push expressive capacity(11). The desire for extravagant backed by personal time investment, allows for louder suit statements. The user has positioned power to direct supply and demand, or what Zukin and Maguire (2004) called to shift means of self-expression. This was the return of control to people of which Karl Marx wrote in 1884: It is therefore in his fashioning of the objective that man really proves himself… for a man reproduces himself not only intellectually, in his consciousness, but actively and actually, and he can therefore contemplate himself in a world he himself created.

(Marx, 1884 (1975)) Physical technology usually developed out of long production cycles could not compete with the seasonality of 20th

Meaning and attachment accreted, as people engaged in

century fashion. Immaterial technology of the Cloud Suit had

self-assembly. The wearer determines longevity and boredom

the means to align itself to speedy trends while multiforms

with suities and vsa.

lived a more permanent life.

The new proletariat will only free itself by uniting, by decategorizing itself, by forming alliances with those whose work is similar to its own (once again, nearly everyone), by bringing to the foreground the activities they have been practicing in shadow, by assuming responsibility - globally, centrally, explicitly - for the production of collective intelligence. (Levy, 1997) The dissemination of knowledge and information decategorized individuals. Self-construction through multiplicity of interests. The consumer of today is one who swims in a variety of links and interests and brings to life Jacques Lacan’s fractal body (Wegestein, 2006). Within Screen Society, the selfreferential branding culture ceased to sterilize messages and images. Diversification of information, knowledge forms, and cultural exposure, increased the ability to negotiate complex, unrelated information that together noodled(12) into something whole, complete and original. In order to entertain and intrigue, brands have to pursue a myriad of angles. Branding

once an organized, controlled, and totalizing activity

redirected itself towards multiplicity of messages. A good example of that can be drawn from Abigail Derecho’s analysis of the Matrix and The Animatrix release. Two films are with two different endings.

“That the anime films have the status of the “official” text is significant because one of the Animatrix shorts, The Second Renaissance, takes a highly oppositional stance toward The Matrix live-action films.

This opposition originates from within the same network of corporate and creative power as The Matrix, not from outside it.

Warner Brothers and the Wachowskis clearly had approval over the Animatrix films and control over the content, and the fact that TSR was allowed to turn out as it did, to make the claims that it does, means that The Matrix franchise is one that permits not only expansion, but internal contradiction. That is, the “additional” products released to augment the live-action feature films do more than replicate the perspectives and experiences presented by the movies, in order to sell more items to Matrix fans, these additions also complicate the movies’ narrative and underlying assumptions. (Derecho) By working against self-referencing, the Matrix and the Aniatrix appeal to the distributed logic of the post-human condition (Hayles, 1999). The audience of today is attuned to more active and complex modes of spectatorship.

If in post-modernism the market engaged in the illusion that goods were available to anybody, so did the consumer perform the ability to afford almost anything. In the end we negotiated identities with what was for sale. Peer production economy situated the individual to assemble rather than choose oneself (Slater, 1997; Crane, 1997). Design and production pushed more elastic boundaries for highly tuned tastes. The meaning of acquiring changed from buying a finished product to scraping, collecting bits and pieces for an original compilation.

SOCIO-ECONOMIC CHANGES

“...acquiring changed from buying a finished product to scraping, collecting bits and pieces for an original compilation.”

By virtue of the accelerating technologies of media delivery, a person with ten minutes of time has the ability to sample the music of a different continent, see the streets of a distant city, participate in an armed revolution in an imaginary galaxy, or play a virtual soccer game alongside the greatest athletes in history. In this way, media messages dominate the way that individual people shape and contextualize their world. (Petersen Jensen, 2007)

The Cloud Suit presents inward and outward perspectives. Facing me options allow private viewing and entertainment, while facing you settings disguise the outside. These settings also affect proximity and anonymity to other people. They create more or less distance, illuminate or obscure. It is also an outlet to explore submerged identities (Krueger, 1991) and responses(14) (15)

to them. It is assumed that there is deviation in content

The distributed perception described above together with dis-

reception(16). The embodiment reveals an emphasis on time.

tributing technologies such as mobile phones, voip, internet,

What is observed at any particular moment can constitute an

dispersed the historically whole body into pieces. The Cloud

entire impression. Its play of time allows and affects specta-

Suit makes the screen become skin, a tabula rasa. The dress

tor’s original perception of him and her. Time becomes even

shatters rituals of appearance, gender and hierarchy. Orlan,

more prominent with content that is real-time or intelligent.

a 20th century artist upset at physical limitations, referred

Every moment is a particular instant and circumstance to be

to her physical body as ‘I am never what I have’ (Wegestein,

never repeated again.

2006). On the contrary, the 21st century virtual body delivered unlimited freedom to sculpt, to accumulate, collage, superimpose, replace and even to erase oneself (Wegestein, 2006). The natural body perceived as unnatural, rewritten to be natural by culture, a wild thing tamed to the norms, was once again hidden. Using Stelarc’s expression, the Cloud Suit is a phantom body that is made of fractal flesh. It is fandom

For ‘modern primitive’ to be looked at is to command the gaze and the grotesque does command view, it is to have power over the Other. Whether the gaze invokes disgust by the mainstream or acceptance by the subculture, to be viewed as different is to gain empowering recognition. (Langman, 2003)

because it is only a virtual referent. It is fractal because it is made in pieces of dust particles grouped together.

Noticeably, the occupation of space or the stature of the body size goes against the tradition of the postmodern aesthetic

Wearing a Cloud Suit is a public behavior with intentionally

body. The bigger, the more noticeable and dominant one

built-in spectator experience(13). The user is constantly publicly

is. Watching is an occupation of the wearer. Walking along

rearticulating and reacting himself. He and/or she are overriding

something intriguing is an accepted behavior. It allows people

characteristics and personalities. They are also controlling the

to follow and solicit the moving content. At any moment the

opacity of the screen thus the exposure of his or her body.

suit could be deactivated and the human undressed.

AESTHETIC CHANGES

The Cloud Suit Episode

â&#x20AC;&#x153;People engage in creating social and shared bodies.â&#x20AC;?

AESTHETIC CHANGES

The cyborg body is also only partly individual; it is also a collective body. The cyborg is a kind of disassembled and reassembled, postmodern collective and personal self. (Haraway, 1991) People engage in creating social and shared bodies. InteracIn Screen Society the body is a site of lived experience, a leg-

tions with other suits or projections are divided into light

ible surface, and a collective body (Joyce, 2005). The body is

and strong touching. Light touching means that the person

wrapped and engaged in media conversations (Kelly, 2008). The

retains his projection, so that the one who approaches cuts

suit is its own writing and reading language. The visual aesthet-

broadcasting of his projection as a request for information

ics of 20th century technologies as cinema, television, popular

from the passive projection. Depending on its programming,

music, and Internet gets carried over to the cloud. The digital

suit can have different reactions.

bricoleur(17) can create content that is animated, non-linear, nonrational, non-intentional, decontextualized, and intertextual(19).

Strong touching means jumping from your projection inside to somebody else’s. This action cuts the initiators broadcasting

Cloud Suit everts the human. It abandons one’s physical body

and resumes transmission when he or she is out of the other

to the shade and puts the cognitive one in the spotlight.

suit. Appropriate projection touching rituals are largely pre-

One covers his body in different amounts and sizes of suit-

scribed by time, place and event. When people meet in formal

ies/vsa that express one’s interior, soul and inner thoughts.

settings, the suit is used to establish credentials and support the

Body parts (suities and vsa) can scatter themselves across

desired impression. In informal settings, it is used extravagantly.

large spaces, abandoned or even carried at distance as tails

Stacking of projections can occur and create interesting visual

(Braidotti, 1994). Dynamic and informative statements are at the

affects. Crowding of enormous suits at times disables communi-

anterior and more generalized messages move to the posterior.

cation and can be solved through scaling content down.

In 2008 a company under the name of w-41 released to market clothing with barcodes or ShotCodes. The Netherlandbased online company designed an application for taking phonecam pictures of the barcoded garments. The apparel directed the observer to the wearerâ&#x20AC;&#x2122;s preferred social networking sites or websites (Lipton, 2008). The technology was leveraged in manner that addressed and softened the becoming of a cyborg terror (Hayles, 1999). This design was significant in the way it hid technological intelligence that tends to threaten the human body. We have been historically nurtured to respect the tradition of spirit, thus the virtual cyborg does not alarm. The physical or the real cyborg on the other hand causes discomfort. Machines unlike humans are immortal. In transition from natural to artificial life, tending to the cyborg complex is a crucial factor that will determine comfort and usability levels. Cloud Suit is built in direct effort to cater to this complex and make the technology inconspicuous.

AESTHETIC CHANGES

The Cloud Suit Animation

The Cloud Suit Episode

Zittel, Andrea. Six Month Seasonal Uniforms 1992-95

Burton, Tim. Charlie and The Chocolate Factory. 2005

Dick, Philip.K. 2006

Klein, William. Polly Maggoo. 1966

Scanner

Darkly.(Film)

Bonnenfant, Katya. The North, The South. 2005

SOCIO-POLITICAL CHANGES

(19)

Public space is also created by technology. Consider, for example, how MySpace.com is shaped by performance and new definitions of public space.

(Peterson Jensen, 2007) Wearable projections have turned wearers into personal billboards. Each user decides what to show. Products, services, values, thoughts, events, stories, blurbs, and non-sense are found in the content mix. The Cloud Suit has empowered The virtual is shaping the actual (Rushton (Deluze), 2002).

people to influence public agenda. The decentralized messaging has become highly controversial. Its opponents accuse

Jason Salavon in Flayed Figure Male (1998-2001) reorganized

this democratized propaganda of visual pollution. Defenders

a printed photograph of his body in scale. The arrangement

of free speech insist on this exchange. They argue that the

ordered the artistâ&#x20AC;&#x2122;s skin light to dark to form an anonymous

screens carried on the body, differ no more than shoes

and different looking body. A body with no privileged nor

and clothes. As long as these are not left around, they are

discernible parts. If Cloud Suit is metaphor free, does it have

individual property and expression. The opposite argument

form? Does it have gender or can it be gendered? In the 20th

speaks to the visionary work of Michael Bielicky and Kamila

century dress as short and pants had claimed to be neutral.

Richter. In Falling Times (2007) the duo examined information

To dress neutral was to dress like a man. The Cloud Suit

pollution mixed with entertainment. They call for a reduced

hides the body and creates multiple bodies. The traditional

visual language for public space, conscious and ecological

differenciation of gender based on form becomes limited. The

approach to data in the physical and digital space. The two

face, the historically dominant body part in Western society

conclude that information had lost its referent. It had been re-

takes a less important place. It is displaced by ideology that

duced to a pattern, a decoration for daily life, and an illusion of

the interior should represent the exterior. Just as Salavonâ&#x20AC;&#x2122;s

connectedness. Thus there formed a consensus of fear towards

rearranged body, the Cloud Suit as a new body ends the

empty reproduction of reality Jean Baudrillard envisioned, which

distinction between face and body. They become one, body

threatens real perception of reality, and can as Jacques Ellul

is face and face is body.

wrote becomes an instrument of power (Arva, 2008).

“Who overlaps whom?

Is there a size limit?”

Barry Wellman has imported into sociology a term borrowed from engineering – affordances. Langdon Winner called these the “political properties” of technologies. An earlier version of this idea is Harold Innis’s concept of “the bias of communications”.

In the Internet law and policy debates this approach has become widely adopted through the influential work of Lawerence Lessig, who characterized it as “code is law”. (Benkler, 2006)

The behavior of self-expanding is the historical quest for territory and question of power. Elizabeth Grosz (1994) analyzes spatial sensitivity of the body, its caution towards

Dress and body have possessed many forms throughout his-

distance, variance from zone to zone and even person to

tory and have had direct consequences on the amount of

person. The surrounding spaces she described to have great

space we physically occupy, movement and gesture, reflecting

affect on the body image and therefore life. Grosz stressed

one’s and others influence and perception for each other. As

that objects also become part of space or body influenc-

beauty ideals have ranged from full figured complexion to ex-

ing behavior that carries over into body image. The body

treme slenderness, so have garments evolved from crinolines

composed of sensations. In order to perform an action is

to mini skirts. Consider the towering dresses worn by Kylie

always guided by the body image. The body image is out

Minogue on tour (2002) and Marina Abramovic’s performance

of personal control and is formed by it’s own and other’s

(2005), which were about three floors high. The Cloud Suit

nature and nurture. It is inseparability of biological from psy-

physically does not occupy space, but visually creates illu-

chical elements. The Cloud Suit raises questions of what is a

sions of spacious extension. The projections ranged in form,

conversation(21), how is personal space(22) negotiated, when

content and space directing multiple levels of engagement(20).

invaded(23) what is the etiquette for response(24)? Who over-

Virtual expansion has been touched upon in the film Final

laps whom? Is there a size limit? When is dress isolation? Is

Fantasy: The Spirits Within where a watch expanded into a

real life anonymity a social hazard? What do crowds(25) look

blanket above the skin to display information; Second Life

like? Is there a threat of collective action(26)?

invention called Wearable Spotlight – a circumference of portable light around the avatar; and Scott Snibbe’s installation

As place and space become foreign (Gieryn, 2000) and mo-

Boundary Functions that allocated space to individuals based on

bility common: does the cloud become the last shelter from

the amount of other individuals present in the gallery space.

the pixel tracked world?

SOCIO-POLITICAL CHANGES

Salavon, Jason. Flayed Figure Male.

1998-2001

Textual Healing. Free Speech Bubbles.

2006

Second Life Wearable Spotlight. 2007

Bielicky M. and K. Richter. Falling Times. 2007

Scott Snibbe Scott. Boundary Functions. 1998

Hironobu Sakaguchi. Final Fantasy: The Spirits Within. 2001

w-41. Fashion Scan. 2008

Minogue, Kylie. Fever tour, song Burning Up. 2002

Abramovic, Marina. Seven Easy Pieces: Entering the Other Side. 2005

Wegenstein (2006) writes that ‘despite the body’s capacity to ‘disappear’, embodiment cannot’. One’s experience of beingin-the-world is the original experience of embodiment. The Cloud Suit is a body of no constraints since it has no initial body. In it, the body and the face have become one. Both are impermanent in relation to time, place and the human being they represent.

The Cloud Suit signals a decline of real presence at a time where one can be replaced with cloud stand ins. This emerging form of dress shapes new bodies and new identities, with the central notion that they are never real but always a reproduction. The reach of these virtual identities is gaining power as they are easier to reproduce and populate.

Screen Society revisits the point of origin - our body, to understand the changing terms of expression and communication. It concludes

with insight into the fact that culture

is looking for vehicles other than textile through which our identity can be dressed and capitalized(27).

(1)

Actant - a term developed from recent approaches in the sociology of science and technology to refer to entities - both human

and non-human – which have the ability to act socially (Woodward, 2007).

(2)

Erogenous zones - fashion rotates body features that are presented as erotic charm of the moment, and are concealed when

replaced with a new part (Davis, 1994).

(3)

Panopticon- a prison designed by Jeremy Bentham in 1785 for observation prisoners without their awareness of being watched

(Foucault, 1995).

(4)

Accessory projectors - a small battery powered projector, which can be connected to mobile devices and projector phones (mobile

phones with embedded pico projectors) that project high resolution media content anywhere and potentially any size (Greaves, 2008).

(5)

Multiforms - uniforms that demarcated individuals from other individuals rather than groups from citizens. Once the person identi-

fied what he liked as an outfit, he bought seven of these to wear over the course of the week.

Digital renaissance - media and cultural convergence to describe transformation of the social, cultural, political, and legal institu-

(6)

tion’s response to the destabilization created by media change (Jenkins, 2002).

(7)

Hypomnemata – personal writing, reading, noting, conversation and reflection to engage oneself and to establish as adequate

and as perfect a relationship of oneself to oneself as possible (Foucault, 1984).

(8)

Commons-based peer production - a new modality for organizing production: radically decentralized, collaborative, and nonpro-

prietary; based on sharing resources and outputs among widely distributed, loosely connected individuals who cooperate with each other without relying on either market signals or managerial commands (Benkler, 2006).

(9)

Cultural intermediaries - those involved in providing symbolic goods and services (Crane 2006).

(10)

Ethical surplus – human ability to create social relation, a shared meaning, an emotional involvement that was not there before-

around a brand can be understood as the direct basis of its economic value. Circulation of information encouraged by consumption is a production of information, thus consumption creates immaterial labor. Customers contribute to the production of the actual service they consume. Brand management feeds off the ‘reservoir’ of autonomous immaterial labor that evolves outside of the domain of the firm. ‘These new forms of mediatization together with new forms of social organization have radically enhanced the capacity of social actors, or, to use their term, of the ‘net-worked multitude’ as a whole, to produce an ethical surplus in a form of a common. Lazzarato uses Marx’s term ‘General Intellect’ to refer to this ubiquitous symbolic resource, employed as a means of production by immaterial labor. In deploying this ‘General Intellect’ immaterial labor produces what Lazzarato calls an ‘ethical surplus’. It produces a social relation, a shared meaning, or a sense of belonging; what Hardt and Negri (2004) have more recently called a common… that makes the production or the realization of value possible’ (Arvidsson 2005).

(11)

Expressive capacity – ability of objects to afford individuals the opportunity to articulate aspects of self in material engagements

in an attempt to communicate something about themselves (Woodward, 2007).

(12)

Bruce Mau in his Incomplete Manifesto advised to follow the reading style of Marshall McLuhan, who only read the right side

of the books leaving room for noodling on the left. (Mau, 2009)

(13)

Spectator experience – is a taxonomy that uncovers four broad design strategies: secretive, where manipulations and effects

are largely hidden; expressive, where they tend to be revealed enabling the spectator to fully appreciate the performer’s interaction; magical, where effects are revealed but the manipulations that caused them are hidden; and finally suspenseful, where manipulations are apparent but effects are only revealed as the spectator takes their turn (Reeves, 2005).

(14)

Behavior confirmation is the process where by the expectations of one person (perceiver) cause another person (target) to

behave in ways that confirm the perceiver’s expectations (Yee, 2007).

(15)

Proteus Effect – people infer their expected behaviors and attitudes from observing their avatar’s appearance. It is a two way

process: a seductive avatar elicits more attention from other users and is enabled and emboldened by his avatar (Yee, 2007).

(16)

Reception theory - explains that a literary text is not universally perceived but rather is individually interpreted (Jauss, 1982).

(17)

Bricoleur is a kind of ‘tinkerer’, who is able to bring multiple creative tools and strategies to bear to solve material problems

or create new structures. …The bricoleur makes do, collecting and using objects in variety of possible combinations…The bricoleur therefore does not merely speak with things, but speaks through

the medium of things (Woodward, 2006).

(18)

Intertextual – in reference or retelling of the classical narratives (Kristeva, 1980).

(19)

Institutions and organizational bodies direct politics. Micropolitics are formed from decentralized messaging of individuals toward

other individuals. Content of these messages, intentionally or not, builds agenda that acts and influences what others see and think.

(Morley, 1999).

(20)

Multiple levels of engagement - include those directly interacting, those in an immediate co-located group who share the interac-

tion, and bystanders who observe from a distance, learning by watching others and waiting their turn (Reeves, 2005).

(21)

Transormed Social Interactions theory that exhibits a number or special, visual parameters that interactants can utilize during

conversation (sensory abilities, situational context, self-representation). (Bailenson, 2005) (22)

Personal space – an area with an invisible boundary surrounding a person’s body, into which intruders may not come (Sundstrom, 1976).

(23)

Spatial invasion - when an individual violates norms of interpersonal distance by approaching too closely and the subject does

not expect or desire to interact with the potential invader (Sundstrom, 1976).

(24)

Compensatory reactions - responses to excessively close proximity include adoption of indirect body orientation, use of barriers,

employment of objects to create boundaries between self and the other, and increase in distance (Sundstrom, 1976).

(25)

Group Space - spatial norms concerning groups resemble those of individuals (Sundstrom, 1976).

(26)

Deindividuation – a state of decreased self-evaluation due to anonymity or being in a large crowd, led to incrased anti-social and

anti-normative behaviors. People have mulitiple identities individual and social, in deindividualization they loose individual (Yee, 2007).

(27)

Identity capital – investment people build in themselves, which assists them in making their way in a variety of personal and

professional arenas they aspire to belong to (Woodward, 2007).

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