Design Dialogues
Last updated
Last updated
For Design Dialogues 2, I aimed to incorporate feedback from the initial session by eliminating unnecessary interactions such as QR codes and excessive informational posters, opting instead for a minimalist approach that prioritized conversation. To complement the presentation, I prepared a series of brochures () to provide context and introduce my project. One brochure focused on sweat: explaining its production, debunking myths, analyzing my personal sweat rate during various activities, mapping the pH of sweat across different body parts, and detailing my experience in collecting sweat. This personal insight highlighted my commitment to the project and piqued curiosity.
Additionally, I included a panel inviting attendees to share their initial thoughts on sweat and, after engaging with the project, to note any shifts in perception or impactful insights. Initially, responses included terms like stress, heat, sport, sex, and discomfort. Post-presentation, many were surprised to learn that sweat itself is odorless.
Attendees were curious about the practical applications of my work. To address this, another brochure titled "Experimenting with My Sweat" detailed my two main research avenues: pH-reactive materials and crystallization, with a focus on the former due to its current prominence. I displayed biomaterial and textile samples, which garnered significant interest.
An interactive panel encouraged visitors to brainstorm unconventional uses for sweat. Suggestions ranged from watering plants and generating electricity to culinary uses like boiling pasta. Engaging discussions emerged around perfumery and cosmetics, exploring ideas such as sweat-based jewelry, location-specific perfumes, and candles fueled by sweat. Conversations also delved into historical cosmetic practices, the film "Perfume," and contemporary hygiene habits that may strip protective layers affecting body odor. This olfactory and cultural perspective on sweat intrigued me and opened new avenues for exploration.
Some attendees inquired if I had tasted my sweat (I haven't but am considering it for immersive research) and whether I planned to study others' sweat or focus solely on my own. Comparative analysis could reveal variations influenced by diet and activity levels. The concept of "hacking" my body to enhance experimentation was also proposed; for instance, adopting a high-sodium diet to facilitate sweat crystallization.
New references emerged during the dialogues:
Danielle Wilde: Her work at the University of Southern Denmark includes designing a shirt that adjusts breathability based on body heat.
Thermochromatic textiles: The American Apparel Unisex Thermochromatic Sheer Jersey T-Shirt, which changes color with temperature variations.
La Cuarta Piel's "Skincare: Meditations for an Extremophile Future": An exhibition at Matadero Madrid exploring human extractivism, where human sweat nourishes halophilic bacteria to expedite salt production.
Feedback indicated significant project evolution, emphasizing the need to define my focus and the rationale behind my experiments. While I've explored diverse aspects of sweat, it's crucial to determine my primary objective, whether critiquing human extractivism, utilizing sweat as a resource akin to concepts in "Dune" and space exploration, or transforming sweat stains into vibrant patterns through pH-reactive garments. Concentrating on a specific direction could enhance the project's impact.
Discussions also touched on my post-master's trajectory. Continuing this research is a possibility, with suggestions to explore artistic and scientific research grants like S+T+ARTS, allowing further investigation beyond corporate confines. Regardless of the path chosen, my passion for experimentation remains steadfast: sweat matters.
