Titlebook: Digital Bodies; Creativity and Techn Susan Broadhurst,Sara Price Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Art.Design.

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主動(dòng)

adjacent

祖?zhèn)髫?cái)產(chǎn)

ineluctable

Nicola Wolf-Kühn,Matthias Morfeldmachine creativity. I describe how touch and the material sensation of physical objects are central to this process. A context in which digital and physical perceptions of the real are interwoven creates an embodied sense of hybrid reality, with touch as the interface that helps humans to acknowledg

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altruism

I. David Kaye MD,Peter G. Passias MD the production of clothes but rather sees fashion as a testing ground to understand our social bodies. Fashion is investigated through redirective and anti-disciplinary approaches and tested in particular through experimental digital and physical making strategies. Arguing that a critical fashion p

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https://doi.org/10.1007/978-3-319-41406-5r fitness monitoring to help users improve their health. However, the reality of this data harvesting highlights the need for critical questions to be raised about the directions, motives and ethics of corporate ownership of this data. This chapter highlights these issues within the context of Camil

整潔漂亮

Evaluation and Management of Chronic Painen digital fashion tools that lack sensory feedback and the critical role of designers’ embodied experience for their practice. In order to support this discussion, additional literature is brought in, which shows that in dance bodily engagement is crucial for supporting and enhancing the creative p

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Reibermüdung einbetonierter Spannkabelpter draws on the theoretical strand in the human-computer interaction (HCI) of?., a conceptual approach that is helpful for designing novel physical interactions and experiences. This chapter compares the design characteristics of tangible, mobile, wearable, gesture sensor-based, and laptop-based i