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Wearing Sound: Foundations of Sonic Design

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Fashion is primarily a visual ontology consisting of definitions, theory and methods that are based on visual language. This research revises fashion by approaching it from a different—sonic—perspective wherein sound is considered not as a negative aspect but as a potential source of a new theory and facilitator of the evolution of new methods. Sound is thus presented not as a secondary quality of designed objects, but as the main idea-generator. The research opens new avenues for design thinking with ears rather than eyes. This thesis explores clothing and fashion from the perspective of listening rather than seeing, sounding rather than showing, and is a form of rethinking and redefining fashion by starting with the statement that dress is sound. An investigation into sonic expressions is seen as a disruptive fashion practice, and could be described as a process of ‘unlearning’—encouraging one to leave behind pre-existing knowledge of fashion expressions by focusing on something else when defining and designing processes. That something else is sonic expressions. By rethinking the dressed body as a matter of sound gestalt, this research goes beyond existing communication models in fashion design to examine sonic language, wherein foundational definitions play a central role and form the basis for the new practice. The research was designed to facilitate the exploration and design of sonic expressions. The research addresses an identified gap in knowledge through the Sonic Fashion Ontology, which constitutes new, foundational knowledge of sonic expression. The research findings challenge existing theory with new terms, definitions, methods, and tools, and show the importance of understanding fashion as a platform for new knowledge production and critical thinking, along with unlearning and rethinking preconceptions of what dress is and could be. Furthermore, the results have implications for ways of thinking in design in relation to e.g. diverse communities such as the visually impaired.
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... Sound design, however, can be used to explore new relations between the visual representation of the object and how it sounds. Physical artefacts can be explored from a different perspective through their sound qualities, opening new design opportunities as discussed by Stasiulyte through the analysis of sonic expressions in fashion design (Stasiulyte, 2020). Similarly, sound can be used to redefine tangible/ intangible relations for virtual objects. ...
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In this article we propose the perspective of relationship as a conceptual approach to the discipline of sound design. Based on literature reviews and case studies, we state that making sound design means designing relationships, even before sounds, and we propose to include this expression in the current definitions of the sound design discipline. Moreover, we observe that sound design practices can be inscribed in more than one relational perspective, thus widening the scope of sound design possibilities. This multi-perspective view of sound as the barycentre of a relationship system becomes a useful analysis and design tool: it allows sound designers to investigate the complex problems of contemporary projects, aiming toward fruitful and unexpected design directions.
... In addition, it is relevant to consider time-based form and expression in textile design education, which remains dominated by static, visual, and tactile dimensions. While design researchers have explored temporal and multisensory aesthetics of textiles, for example through sound (Stasiulyte, 2020), smell (Kapur, 2020), movement (Bågander, 2021), and electromagnetic fields (Lewis, 2021), such explorations remain predominantly within the realm of academic research, and only to a limited extent filter into textile design education. ...
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In textile design education, material expressions tend to be directed toward visual-tactile sensory domains. Yet, materials are perceived by all senses, as the body’s experience is mediated through multiple sensory modalities. This paper presents an experiential learning workshop designed to introduce textile design students to somaesthetics as a way to increase sensory competencies and enrich the exploration of sensory-material expressions in textile design. Teaching methods involved a sensitizing exercise, a reflective sense collage, a collaborative sense map task, and a final design task. An evaluative discussion is based on workshop feedback by the students and reflections by the researchers. The main contributions of the paper are guidelines as an inspirational source for introducing sensory-material aesthetics in textile design education.
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A presente investigação trata da abordagem metodológica introduzida por Christopher Frayling (1993) intitulada Research Through Design e aprofundada por Ilpo Koskinen et al. (2011), com o nome “Pesquisa em Design por meio da Prática”, que adapta e apresenta exemplos específicos advindos de estudos sobre têxteis e design de moda. Distinguem-se três campos: laboratório (lab), campo (field) e galeria (showroom), que ilustram diferentes perspectivas ao aliarem investigações teóricas e projeto prático. Esta pesquisa se deu por meio do levantamento de dados de fontes secundárias, análise qualitativa e descritiva. Como resultado, pode-se reconhecer que existem inúmeras possibilidades de desenvolvimento de pesquisas científicas que possuem a prática projetual como elemento central, além de apresentar procedimentos metodológicos que possam contribuir para o fortalecimento da fundamentação teórica em pesquisas emergentes no campo.
Article
Fashion is primarily a visual ontology consisting of definitions, theory and methods that are based on visual language. This research revises fashion by approaching it from a different – sonic – perspective wherein sound is considered as an intrinsic part of the wearer’s experience. This research opens new avenues for design thinking with ears rather than eyes. This article briefly introduces the research methods I have used to collect and reflect clothing and fashion from the perspective of listening rather than seeing, sounding rather than showing, and is a form of rethinking and redefining fashion by starting with the statement that dress is sound. The dressed body is considered to be a temporal form that is expressed within the sound. This article presents a study of collecting different sonic expressions of clothing, accessory and footwear; analyzing and grouping the sonic expressions – developing sonic fashion archive into a sonic fashion library.
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Everywhere around the world, people make daily decisions about what to wear or how to dress. The Visible Self, 4th Edition, presents a systematic approach to analyzing daily rituals that we all share not simply the act of putting on clothing, but also the method of cleansing the body and adorning it. Using Western and non-Western examples, the authors take a three-pronged approach to understanding dress across cultures, uncovering its relationship to human beings as biological, aesthetic, and social beings. Readings collected from classic books and academic journals enable students to appreciate the complexity of dress from a multidisciplinary perspective that includes anthropology, sociology, economics, fine arts, and the natural sciences. This new edition covers topics including social media, social responsibility, eco-fashion, plus subcultures and trends such as cosplay, making it a relevant resource for studying dress. New to this Edition: - Newly organized Part III uses John Bodley’s revised analysis of sociocultural systems to relate to dress and fashion across the world - New reading by John Vollmer in Part III on the Qing Dynasty of China - Revised and expanded art program, including 65 new photographs