13. Implications and applications

Research & Concept

My final project explores how emotional memory, shaped by personal, social, and cultural history, can be translated into a wearable that maps these traces onto the body.

Installation Overview

My idea is to create a bodysuit using biomaterials, biochromes and embedded with skin electronics. The design of the suite will be inspired by emotional mapping and body mapping. There could be a parallel between the characteristics of biomaterials and memories/emotions, as they both can be fragile, reactive, layered, composite, and change over time. These ideas will be reflected in the design of the suite, using different consistency, transparency, porosity, composite and colours.

I also intend to expand into the space with tokens. These objects will represent a memory-feeling, expanding the narrative space of the installation. For example, I could give the memories that my hands retain of my father. My mum always says that my sister and I have his same hands (and feet). I don’t remember him, but my body keeps this memory. How can I represent the empty space left by my father’s hands? Which traces would they leave on my hands?

I’m also interested in working with skin electronics. I’m planning to explore different kinds of reactions (heat, vibration, sound?) and see how these could be used, maybe as an activation tool or a reminder of where and how we feel

Embodied Experience as a design method

Emotional mapping, body mapping (which are intertwined), as well as my embodied experience, as the informative tools that will help me design the bodysuit (and tokens). Emotional mapping helps capture the associations between emotional states and bodily regions. Body mapping refers to the process of creation, through the use of graphic tools such as drawing, painting, collage, etc, and reflection of one's complex embodied experience.

Artistic References

The artistic projects presented here exhibit the use of a bodysuit to show an inner sensation, “resonance” as in An Inner Act, as a collection tool for outside pollution in The Myth of the CiucciaNebbia, or as a performative tool in Jasper Venus’ work, Then I also have the work of Francis Horter, which showcases through a textile installation her neurodivergent experience. Bandari’s work is also really interesting for me for her way to blend electronics, wearable and her background. Memory as a methodology for filmmaking is an interesting artistic methodology in which recalling memories becomes an action of association and materialisation.

Bibliography

I’m reading a few papers about emotions and body mapping, which have been really inspiring. Two days ago, I found “ Applying Body Mapping in Research An Arts-Based Method, “ which I’m really excited to read. I’m also reading a few books about Italian traditions, folk rituals and magic. Maybe it will be inspiring regarding the biomaterial fabrication.

Timeline

I made a simple timeline of how I’d like to organise the next months. In December, I plan to trace on myself sensations and emotions as a daily act. I’ll buy a shirt and leggings where I can mark any type of change, thought, or emotion. During January, I want to start experimenting with biomaterials and define what characteristics it should have in different parts of the body. In the meantime, I’ll also explore electronics that could be interesting for this project and define the direction to take. In February, I’d like to start working on the prototype: stitching the bodysuit together, embedding electronics and testing.

Question I have at this stage

Can I perform with this bodysuit? Will the viewer be able to wear it? (Probably not) Will the viewer be able to create their own body maps? What tools can I provide? (an online tool? a booklet?) Is there going to be an interaction with the tokens? Which electronic interactions are important for the installation and which could be left behind if needed?

Why, What, Who, When, Where?

What will you explore? why? for who? with whom? how and when?

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