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Stasiulyte, Vidmina, Ph.D.ORCID iD iconorcid.org/0000-0002-3016-0879
Alternative names
Publications (10 of 28) Show all publications
Stasiulyte, V. (2024). Jukebox of Dissonance: Sound to Wear. New York City
Open this publication in new window or tab >>Jukebox of Dissonance: Sound to Wear
2024 (English)Artistic output (Refereed)
Place, publisher, year, pages
New York City: , 2024
National Category
Arts
Research subject
Textiles and Fashion (Design)
Identifiers
urn:nbn:se:hb:diva-32904 (URN)
Available from: 2024-12-09 Created: 2024-12-09 Last updated: 2024-12-30Bibliographically approved
Stasiulyte, V. (2024). SOUND TO WEAR: The Cabinet of Sonic Curiosities. VIS: Nordic Journal for Artistic Research, 11
Open this publication in new window or tab >>SOUND TO WEAR: The Cabinet of Sonic Curiosities
2024 (English)In: VIS: Nordic Journal for Artistic Research, E-ISSN 2003-024X, ISSN ISSN 2003-024X, Vol. 11Article in journal (Refereed) [Artistic work] Published
Abstract [en]

Can you listen to fashion?

Can you play fashion as music?

Fashion is primarily a visual ontology consisting of definitions, theories, and methods that are based on visual language. This exposition revises fashion by approaching it from a different perspective – the sonic – in which sound is considered a potential source for a new theory and facilitator of the evolution of new methods rather than a negative aspect. Sound is thus presented as the main idea-generator and not as a secondary quality of designed objects. The research opens new avenues for design thinking with the ears rather than the eyes, exploring fashion from the perspective of listening rather than seeing, sounding rather than showing. It is a way of rethinking and redefining fashion, departing from the statement that dress is sound.

Keywords
sonic fashion; inclusive fashion; alternative methods; experimental aesthetics
National Category
Humanities and the Arts
Research subject
Textiles and Fashion (Design)
Identifiers
urn:nbn:se:hb:diva-32902 (URN)
Funder
EU, Horizon 2020, 642328
Available from: 2024-12-09 Created: 2024-12-09 Last updated: 2024-12-30Bibliographically approved
Stasiulyte, V. & Bågander, L. (2023). Choreographic Sound (1ed.). In: Lingren C., Lotker S. (Ed.), Costume Agency: Artistic Research Project (pp. 132-135). Oslo: Oslo National Academy of the Arts
Open this publication in new window or tab >>Choreographic Sound
2023 (English)In: Costume Agency: Artistic Research Project / [ed] Lingren C., Lotker S., Oslo: Oslo National Academy of the Arts , 2023, 1, p. 132-135Chapter in book (Refereed)
Abstract [en]

This exploration aims to explore the sonic agencies of costume design and the way they both inform and add a level of expression to the movement and choreography of a performance. The work is a collaboration between Vidmina Stasiulyte and Linnea Bågander who aim to intersect their expertise in a sonic and performative conversation with a dancer. 

Place, publisher, year, edition, pages
Oslo: Oslo National Academy of the Arts, 2023 Edition: 1
Keywords
choreographic sound; moving body; inclusive dance performance
National Category
Performing Arts
Research subject
Textiles and Fashion (Design)
Identifiers
urn:nbn:se:hb:diva-32906 (URN)9788270384242 (ISBN)
Available from: 2024-12-09 Created: 2024-12-09 Last updated: 2024-12-30Bibliographically approved
Stasiulyte, V. (2023). Diasporic Bodies: Sonic Fashion Library. Canada
Open this publication in new window or tab >>Diasporic Bodies: Sonic Fashion Library
2023 (English)Artistic output (Refereed)
Place, publisher, year, pages
Canada: , 2023
Keywords
sonic fashion library, sound catalogue, alternative presentation methods
National Category
Design
Research subject
Textiles and Fashion (Design)
Identifiers
urn:nbn:se:hb:diva-32905 (URN)
Projects
DRAFTS 5
Funder
EU, Horizon 2020, 642328
Available from: 2024-12-09 Created: 2024-12-09 Last updated: 2024-12-30Bibliographically approved
Bågander, L. & Stasiulyte, V. (2023). Linnea Bågander, Vidmina Stasiulyte: Wearing Sound. In: Christina Lindgren, Sodja Lotker (Ed.), Costume Agency: Artistic Researsh Project (pp. 133-137). Oslo: Oslo National Academy of the Arts
Open this publication in new window or tab >>Linnea Bågander, Vidmina Stasiulyte: Wearing Sound
2023 (English)In: Costume Agency: Artistic Researsh Project / [ed] Christina Lindgren, Sodja Lotker, Oslo: Oslo National Academy of the Arts , 2023, p. 133-137Chapter in book (Refereed)
Place, publisher, year, edition, pages
Oslo: Oslo National Academy of the Arts, 2023
National Category
Performing Arts Design
Research subject
Textiles and Fashion (Design)
Identifiers
urn:nbn:se:hb:diva-30166 (URN)978-82-7038-424-2 (ISBN)
Available from: 2023-08-01 Created: 2023-08-01 Last updated: 2023-08-10Bibliographically approved
(2022). DRAFTS:3: Communicating knowledge through design research artefacts. designtransfer, Universität der Künste
Open this publication in new window or tab >>DRAFTS:3: Communicating knowledge through design research artefacts
2022 (English)Other, Exhibition catalogue (Refereed) [Artistic work]
Abstract [en]

DRAFTS:3 invited more than 80 researchers and designers to discuss the role of artefacts in research and design activities within disciplines such as fashion, textile, and interaction design. Specific to the third iteration of DRAFTS, researchers and designers contributed material and immaterial artefacts to the exhibition with the aim of framing discussions around the role of artefacts in communicating knowledge. The various schools of thought that the participating researchers and designers follow, allowed for a multifaceted dialogue to emerge, suggesting various approaches to communicating knowledge through design research artefacts.

This multifaceted dialogue was expressed through three events across two venues: A ten-day research exhibition was held at designtransfer in an international collaboration between the Berlin University of the Arts, Germany and the University of Borås, Sweden. 45 design researchers from various academic institutions across Canada, Germany, Iran, Lithuania, Netherlands, New Zealand, Pakistan, Romania Sweden, and the United Kingdom showcased their work together.

A symposium was held at designtransfer that invited all participating exhibitors to present and discuss their perspective on the role of artefacts in communicating knowledge in relation to their exhibited projects. The dialogue that emerged was further deepened by two keynote presentations, which were held by Sarah Kettley, Professor of Material and Design Innovation at University of Edinburgh, Scotland and Daniëlle Bruggeman, Professor of Fashion at ArtEZ - University of the Arts in Arnhem, the Netherlands.

A one-day pop-up exhibition was held at the Berlin Open Lab that featured the work of 36 students enrolled at various academic institutions in MA Fashion Design, MA Textile Design, MA Costume Design, MA Product Design, MA Design & Computation, MA Spiel & Objekt, MS Physics, and BA Fashion Design to exhibit their projects in the context of the DRAFTS:3 theme.

Together, these events suggested various perspectives on questions relevant to DRAFTS:3: What is an artefact? What roles do artefacts play in design practices and research? How do design practitioners and researchers communicate ideas and knowledge through artefacts? What are the possibilities and challenges of artefacts when communicating ideas and knowledge? What do design practitioners and researchers need to mind for framing the role of the artefact in this context?

All contributors to the three events suggest varying perspectives to these questions on the following pages. These perspectives may show similarities to one another, or challenge each other. Together, they are a time stamp of evolving perspectives on the role of artefacts in practicing and communicating design and design research.

Place, publisher, year, pages
designtransfer, Universität der Künste, 2022. p. 131
National Category
Design
Research subject
Textiles and Fashion (Design)
Identifiers
urn:nbn:se:hb:diva-28932 (URN)9783894623821 (ISBN)
Available from: 2022-11-17 Created: 2022-11-17 Last updated: 2022-11-17
Stasiulyte, V. & Lewis, E. (2022). Introducing Sensory-Material Aesthetics in Textile Design Education. Diseña, 20
Open this publication in new window or tab >>Introducing Sensory-Material Aesthetics in Textile Design Education
2022 (English)In: Diseña, ISSN 2452-4298, Vol. 20Article in journal (Refereed) [Artistic work] Published
Abstract [en]

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.

Place, publisher, year, edition, pages
Chile: , 2022
Keywords
textile design, textile thinking, material aesthetics, somatic engagement, sensitizing the body
National Category
Humanities and the Arts
Research subject
Textiles and Fashion (Design)
Identifiers
urn:nbn:se:hb:diva-27509 (URN)10.7764/disena.20.Article.7 (DOI)2-s2.0-85133473831 (Scopus ID)
Available from: 2022-02-23 Created: 2022-02-23 Last updated: 2024-02-01Bibliographically approved
Stasiulyte, V. (2022). Listening to clothing: from sonic fashion archive to sonic fashion library. The Senses & Society, 1-11
Open this publication in new window or tab >>Listening to clothing: from sonic fashion archive to sonic fashion library
2022 (English)In: The Senses & Society, ISSN 1745-8927, E-ISSN 1745-8935, p. 1-11Article in journal (Refereed) Published
Abstract [en]

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.

Keywords
sonic fashion, sonic expression, archive, library
National Category
Humanities and the Arts
Research subject
Textiles and Fashion (Design)
Identifiers
urn:nbn:se:hb:diva-27902 (URN)10.1080/17458927.2022.2073675 (DOI)000796451100001 ()2-s2.0-85130518851 (Scopus ID)
Projects
ArcInTexETN
Funder
EU, Horizon 2020, 642328
Available from: 2022-05-23 Created: 2022-05-23 Last updated: 2023-02-06Bibliographically approved
Stasiulyte, V. (2022). Sound to Wear. Berlin
Open this publication in new window or tab >>Sound to Wear
2022 (English)Artistic output (Refereed)
Abstract [en]

Fashion is primarily a visual ontology consisting of definitions, theory, and methods that are based on visual language. My 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 method. Sound is presented not as a secondary quality of designed objects, but as the main idea-generator. 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. The research addressed a gap in knowledgethrough the Sonic Fashion Ontology, which constitutes new, foundational knowledge of sonicexpression. 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. 

Experimental artefacts are central to my research as they are intended to generateideas and design methods, which were developed within embodied sound practices. In myresearch, the artefact suggests the direction of a proposed programme and methods for de-signing sonic expressions. The knowledge of sonic form and expression is explored and developed through the research artefacts. The research artefacts inspired thought processes and resulted in an alternative theoretical approach. The artefacts are considered not as design products themselves, but as ‘research archetypes’ (Wensveen and Matthews, 2015, p. 8) and ‘evocative objects’ (Su and Liang, 2013, p. 612; Turkle, 2007, p. 71). The research artefacts, such as the sound-tools (Sound to Wear) are the intermediary knowledge, the ‘bridging concepts’ (Dalsgaard and Dindler, 2014, p. 1635) that connect the embodied sound practices and theory. They exist ‘midway’ between instances and theories, intermediate knowledge that captures and materializes thinking. 

Place, publisher, year, pages
Berlin: , 2022
Keywords
sound, fashion, body-objects, alternative design
National Category
Humanities and the Arts Design
Research subject
Textiles and Fashion (Design)
Identifiers
urn:nbn:se:hb:diva-29839 (URN)
Available from: 2023-05-26 Created: 2023-05-26 Last updated: 2023-05-26Bibliographically approved
Stasiulyte, V. (2021). Sound to Wear. Pakistan
Open this publication in new window or tab >>Sound to Wear
2021 (English)Artistic output (Refereed)
Abstract [en]

Fashion is primarily a visual ontology consisting of definitions, theory, and methods that are based on visual language. My 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 method. Sound is presented not as a secondary quality of designed objects, but as the main idea-generator. 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. The research addressed a gap in knowledgethrough the Sonic Fashion Ontology, which constitutes new, foundational knowledge of sonicexpression. 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. 

Experimental artefacts are central to my research as they are intended to generateideas and design methods, which were developed within embodied sound practices. In myresearch, the artefact suggests the direction of a proposed programme and methods for de-signing sonic expressions. The knowledge of sonic form and expression is explored and developed through the research artefacts. The research artefacts inspired thought processes and resulted in an alternative theoretical approach. The artefacts are considered not as design products themselves, but as ‘research archetypes’ (Wensveen and Matthews, 2015, p. 8) and ‘evocative objects’ (Su and Liang, 2013, p. 612; Turkle, 2007, p. 71). The research artefacts, such as the sound-tools (Sound to Wear) are the intermediary knowledge, the ‘bridging concepts’ (Dalsgaard and Dindler, 2014, p. 1635) that connect the embodied sound practices and theory. They exist ‘midway’ between instances and theories, intermediate knowledge that captures and materializes thinking. 

Place, publisher, year, pages
Pakistan: , 2021
Keywords
sound, fashion, body-objects, sound-tools, experimental design, alternative design methods
National Category
Design Humanities and the Arts
Identifiers
urn:nbn:se:hb:diva-29840 (URN)
Available from: 2023-05-26 Created: 2023-05-26 Last updated: 2023-05-26Bibliographically approved
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Identifiers
ORCID iD: ORCID iD iconorcid.org/0000-0002-3016-0879

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