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February 16, 2006
3 USC Sources
After much Googling within usc.edu, I ended up with many projects and departments that I have yet to look into. Here, however, are three people I plan to start with:
Daniela Bleichmar
Department of Art History
Mellon Post-Doctoral Fellow (2004-06), Early Modern Visual Culture
Ph.D., Princeton University
http://www.usc.edu/schools/college/art_history/faculty/daniela_bleichmar.html
Want to contact because she is:
A) Interested in visual and material culture, trained at Princeton as “a cultural historian of early modern science”
B) Interested in Interdisciplinary topics, desires information exchange across disciplines
Gary Seaman
Associate Professor, Department of Anthropology
http://www.usc.edu/dept/elab/anth/FacultyPages/seaman.html
Want to contact because he is:
Co-director of the Center for Visual Anthropology which oversees the Ethnographics Lab which “[P]rovides archival and computer facilities for students and faculty who work with nonlinear editing systems and interactive media in anthropology. The primary mission of the Ethnographics Lab is to promote the integration of all forms of information, whether text, graphics of time-based media, into a new synthesis of anthropological knowledge."
Diane Winston
Knight Chair in Media and Religion
Annenberg School for Communication
http://ascweb.usc.edu/admin/faculty/uploads/Winston-CV.doc
Want to contact because she:
Gave “You Are What You Wear: Thinking About Clothes in the Study of Religion,” presentation at the material History of Religion Project teaching conference, “Teaching the New American Religious History,” 6 June 2001
Posted by rosenblj at 11:13 AM | Comments (1)
February 09, 2006
Thesis Update & 3 Sources
So I've been sending my assignments privately to Peggy and Michael these past two weeks, because I had just had a revelation of an idea and wasn't ready to release it publicly yet. I have since summoned the courage to make my musings public:
Thesis Concept Draft #1
Preface: I recently rediscovered the joy and confidence I take in the construction of costumes. I learned to sew from my mother and grandmother, and have worked in theater costume shops for a total of about five years. The wearing of a costume is also an incredibly immersive experience - you feel like a different person. Costumes also form a bridge between my creative and historical sensibilities. One of the most moving examples of this was in a hands-on costume exhibit at the Musée de la Civilisation in Québec City, where I was able to try on a large hoop skirt and then try to walk through a door frame. Ever since, my perception of women from that time period has changed. I also had a very poignant experience working in the costume shop at Carleton, when I constructed a corset and then was allowed to wear it for a few minutes - those few minutes were uncomfortable and restrictive, but when I took off the corset I felt like the most clumsy and awkward person on the planet. In that moment I understood the psychological message that the corset conveyed, and why women would have felt it necessary to wear such a thing. These experiences, combined with the desire to inspire such moments of historical empathy in others, have lead me to the following concept.
Concept: A large box, the size of a small room, with exit and entrance doors. Before entering the box, the visitor is shown five historical costume pieces from different periods and chooses one to try on. These pieces are from both male and female costume and can fit a visitor of either sex, and all pieces will affect the visitor's physical movement in a significant way (e.g. hoop skirt). Once the visitor has put on the piece, they may enter the box. The costume piece contains an RFID tag that triggers a projection system inside the box to play a corresponding presentation. The presentation will briefly introduce the visitor to the historical background of the clothing they chose, and then walk the visitor through various physical tasks (e.g. picking up objects from the floor, dancing, etc.) that will quickly and pointedly show the visitor how wearing that piece of clothing changes your interaction with the physical world (approximately 5 minutes). Finally, the visitor is again shown an image of a historical figure wearing the same item of clothing, the idea being that the visitor's perception of that figure will have changed since wearing the piece. The visitor then exits the box and returns the costume piece for the next person. (Note: The box will allow the containment of noise, the maintainance of the element of surprise, and also the privacy of the visitor, who might otherwise feel intimidated or embarassed to attempt the tasks assigned to them.)
3 Sources
IDEO's Prada Dressing Room
(http://www.ideo.com/case_studies/prada.asp?x=4)
What is it? A high-tech interactive dressing room where the glass walls turn translucent when a customer enters (but can be switched back to transparent if the customer pushes a button), the closet has an RFID reader, and the room has a touchscreen display with further information and recommendations on the clothing chosen by the customer. The room also has an interactive time- delay mirror so that the customer can see themselves from any angle and in motion.
How does it connect to my project? This product augments the customer's experience by trying to anticipate what the customer wants to know in terms of information and appearance. It shows the customer how the clothing looked on the runway and allows the customer to try out the same movement themself and see how it looks. It also allows the customer to be as exhibitional or private as they want.
Relevant issues: RFID, media-augmented clothing experience, imitation of movement, display, privacy
This American Life: "Simulated Worlds"
(http://207.70.82.73/pages/descriptions/96/38.html)
What is it? An NPR piece that discusses the American drive to create simluated and miniature worlds, and the experiences that result from visiting and participating in them.
How does it connect to my project? My goal is to create a small simulated "world" for the visitor to enter and interact with. I need to step back and learn what our cultural conventions and expectations are for the facilitation of such an experience.
Relevant issues: Simulation, living history, immersion, participation, engagement, creation
Bill Nye the Science Guy
(http://www.billnye.com/)
What is it? A PBS show that teaches kids about science principles by way of simple visualizations, experiments, and humor.
How does it connect to my project? My project centers on hands-on learning facilitated by a pre-recorded host(s). I will be assuming little prior knowledge of the subject, and my goal is to convey simple but meaningful demonstrations and experiences. Bill Nye's show tackles these same challenges - how does an instructor get people excited and proactive in an educational demonstration space when he/she can't be there in person?
Relevant issues: Education, demonstration, participation
Posted by rosenblj at 10:35 AM | Comments (1)