玛格丽塔·贝尼斯是肯特州立大学服装学院的服装设计师和助理教授。 她在芝加哥艺术学院 获得奖学金,获得美术和技术专业硕士学位。 除了从事服装设计和电子织物外,当前,她正 致力于探索经过生产服装应用的成衣(及时可做)概念和开发多源电脑控制织布机,这是一种 多来源的线控织布机(由 Kickstarter 和法里斯奖学金资助)。 她的作品展于美国国内、及国 际多展会,并被众多博物馆和个人收藏。 最近,她在北京召开的北京服装学院和美国国际科 技协会座谈会上、第一百届学院艺术协会新媒体艺术核心艺术家展上和 2012 智能织品大会上 进行了作品展示。 她荣获 2012 美国教育协会艺术奖项,因其创造了展会身份转换范例:创造 性的工艺和服装;以及 2012 美国教育协会媒体艺术奖项:动感音乐增强现实技术应用,可佩 戴联觉表演装置。

动感音乐增强现实技术应用是一种用于探索使用移动设备作为独特和可佩戴音乐交互设备的应用程序。 动感音乐增强现实技术开始时为单机应用程序，将附近环境转换成移动装置（苹果操作系统和安卓操作系统）上的声音信号，创造数字化的通感增强经验。 经由移动装置上的摄相机抓拍到的意象被转化成了通感的声音信号。 动感音乐增强现实技术应用在发展初始阶段曾获得2012新媒体技术作品奖，由美国国家艺术基金会的支持。 为了展示能力，贝尼斯_沃格尔（玛格丽塔·贝尼斯和马库斯·沃格尔的合用艺术名）在2012年6月与金柏莉·卡帕迪及其滑稽舞蹈组进行合作，展示了多源装置的各项性能。 编舞要求四名舞者佩戴该应用程序，安装在便携设备上，并与小型投影仪相连。 该程序根据相机摄入的图像和舞者的移动生成视频和声音。 该程序研究了在表演时对可佩戴电脑技术的使用，同时也研究了试用于游戏程序和通感经验的技术途径，以使人能够从容的探索到周边环境。 表演者的角色重要性也被增大了，因为他们是信息传递者，决定着发出什么声音和画面，以及什么样的生动画面和角度最吸引人，值得转播。 表演者可以选择传达关于自己的画面，其他表演者的画面，或者场馆的建筑结构。 这种装置用可佩戴技术实现了彻底全新的交互——经过几个技术输入和输出机制，增强和传播他们的表演，同时在表演时仍能保留编舞和他们的自主选择。舞者间的人类电脑交互程序和增强身体伸展效果的技术，起到了改变、调节、缓和表演环境的作用，对于特定表演场馆非常重要。

Margarita Benitez is the Fashion Technologist and an Assistant Professor at The Fashion School at Kent State University. She received her MFA in Art + Technology Studies thru a Trustee Scholarship from the School of the Art Institute of Chicago. In addition to working with fashion technology and e-textiles, her current research explores the concept of prête à faire (ready-to-make) thru generative fashion applications and she is currently developing OSLOOM, an open source thread-controlled loom (funded thru Kickstarter and a Farris Family Fellowship Award). Her work has been exhibited nationally, internationally and is part of museum and private collections. Most recently she presented her work and research at BIFT/ITAA Symposium at Beijing, the New Media Art Caucus Artist showcase at the 100th Annual College Art Association Conference and at the 2012 Smart Fabrics Conference. She received a 2012 NEA Artworks Grant for co-curating the exhibition Shifting Paradigms of Identity: Creative Technology and Fashion and a 2012 NEA Media in Arts Grant for S.A.R.A.: Synesthetic Augmented Reality Application, a wearable synesthetic performance device. She was the Fulbright-Quartier21/Museums Quartier Artist-in-Residence for 2012-2013 in Vienna for the project open thread: wien.

S.A.R.A. – (synesthetic augmented reality application) is an App exploring the potential of using a mobile device as a unique and wearable musical interface. S.A.R.A. was originally developed as a standalone App to translate the surrounding environment into sounds on mobile devices (iPhone and Android) creating a digitally augmented synesthetic experience. The imagery captured via the mobile device’s onboard camera is translated into synesthetic-inspired sounds. In its original development S.A.R.A. has been graciously supported with a 2012 National Endowment for the Arts – New Media Artworks Grant. To demonstrate the capabilities //benitez_vogl (Margarita Benitez and Markus Vogl’s collaborative artistic name) entered into a collaboration with Kimberly Karpanty and her Travesty Dance Group in July 2012 to showcase the capabilities of the open source device. The choreography calls for 4 dancers wearing the App playing on a portable device in conjunction with a mini projector. The App produces the video and the sound based on the camera input and the movement of the dancers. It investigates the use of wearable computing technology during performance as well as bases its technological approach on ludological and synesthetic experiences to let the user explore its surrounding environments sonically. The role of performer is also augmented as they are now gatekeepers of what sounds are made as well as what images are projected by deciding what live imagery and angles look most appealing to rebroadcast. Performers can choose to project images on themselves, their co-performers or onto the architectural structures of the venue. This format allows for a completely new interaction with wearable technology – augmenting and mediating their performance via several technological input and output mechanisms while still maintaining choreography as well as allowing for subjective choices during the performance. The human-computer interaction between the dancers and the technology as an extension of their bodies creates an altered/mediated/mitigated performance environment that is always unique to the specific performance venue.