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Martha’s Hat

or, how I came to Martha’s Hat

A report by Hannah Perner-Wilson

In January 2022, I received an email from the Women’s Officer of the University of Performing Arts Ernst Busch Berlin, describing an initial idea for the exhibition “Women with Names but Unknown”. Attached was a photo of Martha Koysela from 1918, with the invitation to produce a creative impulse for the exhibition.

I didn’t have to look at the photo for long to know that I wanted to find out more about Martha’s hat. I didn’t think I could really find her hat, but I thought I could try to find out as much as I could about it as a means to finding out more about Martha.

I don’t know anything about hats. A quick internet search for “ 920’s pot-shaped hat with fluffy stripes” yielded no results, so I didn’t try any further. Instead, I went to a few second-hand vintage clothing shops in Friedrichshain. On the one hand, I hoped I might find something similar that could offer me a clue via the hat’s brand/manufacturer. But I also had the photo of Martha with me to show the shop assistants, and ask them if they could tell me more about Martha’s hat. The only information I got, was that the hat was probably made of felt. This lead me to the traditional shop Kleemann Hüte in the Schönhauser Allee, which was founded in 1905 and has been run by the fashion designer Doreen Persche since 1998. Doreen was able to confirm from the photo that the basic hat was a pot shape, and probably made of brushed felt. The fluffy lines were heron feathers that were stitched down along their spine. As soon as she said this, I could recognise the fluff as a feather, but before that the thought had never occurred to me. Unfortunately Doreen could not tell me who might have made such a hat, how much it might have cost at the time. Nor who would have worn such a hat, and on which occasions…

After the visit to Kleemann Hüte I went to the University to select some props for a course from the theatre repository, when I noticed several old hat boxes on a shelf. Out of curiosity I opened one of them to see if there was anything inside. It was empty. The next box was also empty and the next one too, but maybe Martha’s hat would be in one of those boxes. My knees went weak. I would certainly have to sit down. If I were to find her hat, then I could then look at it up close, examine it. I put it on. I fits me!
I see that they are not heron feathers after all, but optic fibres! As someone who works with textiles and electronics, I am well aware that in Martha’s time, quirky glow-in-the-dark accessories were in fashion. Like this glow-in-the-dark hat.
The batteries have dried up, but I replace them and the fibres flicker. Who was Martha wat she would have worn such a hat for this photo, but did not turn it on? Maybe the batteries had run dry. Maybe she thought it was prettier without electricity. Maybe it was a message she wanted to send. That new achievements do not necessarily make life more beautiful. But maybe the hat was also just too bright for the photographic film back then. One new achievement drives another. On and on. I think Martha was a very elegant person with a critical sense of humour.

In February I caught Corona and was quarantined for 7 days. Stupidly, I had left Martha’s hat connected to the modern power bank. When I returned to university 7 days later, the battery was flat and the optic light fibres had grown! I can’t explain it, but I’m not even tempted to try, since I’ve long departed from reality.

original German text

Martha’s Hut

oder, wie ich zu Martha’s Hut kam

Ein Bericht von Hannah Perner-Wilson

Im Januar 2022 habe ich eine Email von der Frauenbeauftragen der HfS bekommen, mit einer ersten Idee für die Ausstellung “Frauen mit Namen aber Unbekannt”. Im Anhang war ein Photo von Martha Koysela aus 1918, mit der Einladung hierzu einen gestalterischen Impuls für die Ausstellung zu Verfassen.

Ich musste das Photo nicht lange anschauen um zu wissen, dass ich mehr über Martha’s Hut herausfinden wollte. Ich dachte nicht, dass ich ihren Hut wirklich finden könnte, aber ich dachte ich könnte versuchen so viel wie möglich darüber herauszufinden. Um auf Umwegen womöglich auch mehr über Martha zu erfahren.

Ich kenne mich mit Hüten gar nicht aus. Eine schnelle Internet Recherche nach “1920 Hut Topf-Form mit flauschigen Streifen” lieferte so gar keine Ergebnisse, dass ich es auch nicht weiter versucht habe. Stadt dessen hab ich mich auf den Weg gemacht in einige Secondhand Vintage Kleiderläden in Friedrichshain. Einerseits mit der Hoffnung ich könnte vielleicht irgendetwas ähnliches entdecken, und dann über Marke/Hersteller einen weiteren Anhaltspunkt finden. Aber auch hatte ich das Photo von Martha mit, um den VerkäuferInnen zu zeigen und sie zu befragen ob sie mir anhand dessen mehr über einen solchen Hut sagen könnten. Die einzige Information, die ich mehrfach bekam war, dass der Hut wahrscheinlich aus Filz sei. Zumindest führte mich diese Spur weiter zu dem Traditionsgeschäft Kleemann Hüte in der Schönhauser Allee, das 1905 gegründet wurde und seit 1998 von der Modistin Doreen Persche weitergeführt wird. Doreen konnte mir anhand des Photos bestätigen, dass der Basis Hut eine Topf-Form sei, und wahrscheinlich aus gebürstetem Filz gezogen. Die Flauschigen Linien wären aufgenähte Reiher-feder. Sobald sie das gesagt hat, konnte ich den Flausch auch als Feder erkennen, aber davor war mir der Gedanke nie gekommen. Aber leider konnte mir Doreen nicht sagen wer einen solchen Hut vielleicht hergestellt hätte, wie viel er zu der zeit vielleicht gekostet hätte. Wer einen solchen Hut, zu welchen Anlässen getragen hätte…

Nach dem Besuch bei Kleemann Hüte, war ich Nachmittags an der HfS um im Fundus Requisiten auszusuchen für einen Kurs, da fielen mir mehrere alte Hutboxen in einem Regal auf. Aus Neugierde machte ich eine davon auf um zu sehen ob was drinnen war. Sie war leer. Die nächste Box war auch leer und die nächste auch, aber vielleicht wäre Martha‘s Hut in einer dieser Boxen. Meine Knie wurden ganz weich. Ich müsste mich bestimmt hinsetzen. Ich könnte ihren Hut dann ganz aus der Nähe betrachten. Ich setze ihn auf. Er passt mir!
Ich sehe, dass es doch keine Reiher-feder sind, sondern Leuchtfaseren! Als jemand, die mit Textilien und Elektronik arbeitet, ist mir wohl bewusst, dass genau zu Martha‘s Zeit, skurrile leucht-Accessoires in Mode waren. Wie eben auch dieser leuchtender Hut.
Die Batterien sind schon ausgetrocknet, aber ich ersetze sie, und die Fasern flimmern. Wer war Martha, dass sie sich für dieses Photo einen Solchen Hut aufgesetzt hatte, aber diesen nicht eingeschaltet hatte? Vielleicht waren damals die Batterien schon alle. Vielleicht fand sie ihn schöner ohne Strom. Vielleicht war es eine Botschaft, die sie damit senden wollte. Das neue Errungenschaften das Leben nicht unbedingt schöner machen. Aber vielleicht war der Hut einfach auch zu hell für den Photofilm damals. Eine neue Errungenschaft, treibt die andere weiter. Immer weiter.Ich denke Martha war eine sehr elegante Person mit kritischem Humor.

Im Februar erwischt es mich mit Corona, und ich bin ganze 7 tage in Quarantäne. Blöderweise hatte ich Martha’s Hut eingeschaltet gelassen an die moderne Powerbank. Wie ich wieder auf die Uni kann, ist die Batterie leer, und die Leuchtfasern sind gewachsen! Ich kann es mir nicht erklären. Aber ich versuche es auch nicht, denn von der Wirklichkeit habe ich mich schon längst entfernt.

Making-of

Photos >> https://www.flickr.com/photos/plusea/albums/72177720297630698/with/51965530884/

Many thanks to:

Vanessa for sending me Martha’s photo and inviting me to create something for the exhibition “Frauen Mit Namen aber Unbekannt”, to Doreen at Kleeman Hüte für replicating the base felt hat shape from the photo, to Maurin Donneaud for sending me bundles of sandblasted optic fibres from our Lulu project!

mask option 1:


mask option 2:


mask option 3:


Initial sketches for the masks:

The pair of leggings are made conductive via a technique of polypyrrole polymerization. Using tie-dye technique to create areas of non-conductivity. This work was done in collaboration with Cedric and Paul at the University of Saarbrücken in August 2019. And would not have been possible without the recipe from Anna.

I made these leggings for the purpose of demonstrating the in-situ tie-die style polymerization of pyrrol. In their most basic setup, the leggings have force sensitive resistance areas at the knees. this information is sent over wifi to a computer running an application that translates knee bend into forward and backward arrow key presses.

Making-of

Making-of:

These functional leggings are actually made up of 4 layers:

+ under-leggings with sensor circuit traces and snap connections to skirt

+ over-leggings with sensor areas

+ skirt with snap connections from skirt to i/o board and pouch for battery

+ i/o board with snap connections to sensor circuit traces via skirt

KNEE BEND TEST

streight knee/relaxed sensor: 442 K Ohm

bent knee/strained sensor: 310 K Ohm

The decision to polymerzie leggings came for these reasons:

– on the size-scale of fabrics we were polymerizing, leggins represent a medium-to-large piece of fabric which provided us with an interesting challenge/test of scaling up our process.

– leggings are an iconic item of clothing associated with the tie-dye technique and hippie fashion, allowing us to make a visual reference to one of the (hi)stories behind what we are doing.

– for some time i’ve been thinking I need to make myself a piece of use(less) wearable technology to wear when i present my work to help me demonstrate my idea of “make your tech and wear it too” – and a pair of leggings that allow me to control my presentation by bending my knees seemed perfect.

The decisions I made of how to apply the tie resist technique to create separated polymerized regions on different parts of the leggings were made amid a myriad of influences (possibilities, requirements, constraints) that I have tried to organize into the following categories of influence:

– electrical functionality: capturing bend of the knees, touch to the thighs, stretch of the crotch

– aesthetics: appealing distribution of black and white, large and small surface areas, quality of lines. elegance of functional solution as all-in-one, robustness

– use of resources, elegance/efficiency of process: to save poly material by tying off any regions that would not be needed for sensing and combining this decision with the aesthetic decisions.

– opportunities (not constraints) of the technique: binding always has to take place around the material, lending itself to create lines and circular shapes.

From many possibilities to actual implementation
After a late-night attempt at trying to solve the entire circuitry within the polymerized leggings – accounting for traces from sensor regions to a central point where a connector could be mounted and integrating voltage dividing resistors as well – I decided to only solve for the sensing regions (squeeze, pressure, stretch) in the tie-poly leggings and to solve the traces and resistors separately. Thus the Tie-Poly Leggings are only the outer-layer of a two-legging layering system. The under-leggings [] solve for the conductive traces that lead to the sensor regions, and a break-out pouch [] connects these to the xOSC wireless i/o module or a wired TeensyLC. Metal snap connectors make for a removeable connection between the under-leggings and the pouch.

Techniques:
In-Situ Polymerization >> http://www.kobakant.at/DIY/?p=7826
Tie-Poly Resist Technique >> http://www.kobakant.at/DIY/?p=7825

4 LAYERS:

Polymerized Over-Leggings
These leggings were tie-polymerized in order to achieve both visually and electrically seperated areas of black polymerization and conductivity.
the original intention was the sense bending of the knees via stretch of a polymerized circle on knit4 fabric over the front of knee. initial tests showed this fabric to work well for the purpose, but in the final version the fact that the marble object inside the knee region used to achieve the polymerized circle interfered with the thorough polymerization of the fabric, rendering it sufficiently useless for this purpose, while in comparison the back region of the knee was well polymerized and could be used to sense bend of the knee via compression of the fabric behind the knee.

made of:
1- bamboo & elastan (Karstadt)
2- viscose & elastan (Karstadt)

materials were selected because:

– in the initial tests they showed to polymerize well (meaning the black polypyrrol appeared to adhere to the fibers since very little black rubbed off after only a single rinse (1min under cold running water with light mechanical rubbing of the material against itself).

– the resistance range (after 1hour polymerization) was ca. < 500K Ohm / sq. (to be bellow range of body/skin resistance).

– 1’s compression sensing characteristics yielded a range of 100 K Ohm (light press) – 20 K Ohm (hard press) with 5mm wide electrode strips spaced 2mm apart running parallel on same side of the material (see FIG).

– 2’s stretch sensing characteristics yielded a range of 100 K Ohm (relaxed state) – 20 K Ohm (stretched) when measured between 2cm long electrodes spaced 2cm apart (see FIG).

OVER LEGGINGS (front and back)

Electrode Under-Leggings
4 electrodes sewn as strips of stretch conductive fabric travel from along the front waistband in pairs to the backs of the knees. the spacing between the paired electrodes is smallest in two areas that i wanted to sense compression of the fabric from bend at the knee and hip. unfortunately, in my first tie-dye attempt i forgot to to leave the hip region free for polymerization and this the sensor function in this region is not working. But next time!

made of:
– cotton and elastan (pink) – selected for it’s 2-way stretch, thinness (not to produce extra bulk) and comfort (soft to touch and natural fiber blend).
– Shieldex® Technik-tex P130, silverized lycra, 78% Polyamide + 22% Elastomer, 99% pure Silver – selected for it’s 2-way stretch and high conductivity (< 2 Ohms/square).

UNDER LEGGINGS (front and back):

Mini-Circuit Skirt
sewn from a woven black cotton fabric. short so that the leggings remain as visible as possible. with pockets to contain the 5V power-bank and additional presentation props. and 4 pairs of metal snap connectors. Each pair of snaps is electrically connected with a short strip of Technik-tex P130, and one snap connects to the electrode terminals on the under-leggings, the other connects to a removable i/o board broken out into a soft circuit made by sewing copper thread (Karl-Grimm) into leather to make connections between an xOSC mounted via low-profile headers on a protoboard [see FIG].

SKIRT:

i/o Wireless Board
an xOSC mounted via low-profile headers on a protoboard. The xOSC streams the readings from the analog input pins connected to the two knee sensors via OSC to a nearby computer. The computer runs a Processing sketch that uses simple threshold detection to determine knee bend when the sensor reading passes the threshold (this can be solved much more reliably using absolute change as the sensor values drift over time!). The Robot library is used to trigger the RIGHT and LEFT_ARROW key presses so that the leggings control the the slides in a slide-show.

WIRELESS i/o (x-OSC, front and back):

connecting:

WIRED option

connecting:

CONNECTIONS BETWEEN UNDER- and OVER LEGGINS and SKIRT:

DOCUMENTATION:
Counter Chemists >> https://counterchemists.github.io/

PolySense: Augmenting Materials with Electrical Functionality (using In-Situ Polymerization).
>> https://counterchemists.github.io/files/PolySense.pdf

CCC Camp video
>> https://media.ccc.de/v/Camp2019-10375-make_your_tech_and_wear_it_too

Micro – Polymerization >> https://www.flickr.com/photos/plusea/albums/72157710884689521

Polymerization >> https://www.flickr.com/photos/plusea/albums/72157710354823622

Tie-Poly Leggings >> https://www.flickr.com/photos/plusea/albums/72157710685191162

Tie-Poly Datagloves >> https://www.flickr.com/photos/plusea/albums/72157710838047002/with/48731152298/

Links

Publication >> https://counterchemists.github.io/files/PolySense.pdf

Counter Chemists website >> https://counterchemists.github.io/

EXAMPLES
Tie-Poly Leggings: Hippie slide-control
>> https://www.kobakant.at/DIY/?p=7823

MATERIALS & TECHNIQUES
speculating about piezoresistance >> https://www.kobakant.at/DIY/?p=7832
In-Situ Polymerization >> http://www.kobakant.at/DIY/?p=7826
Etching >> https://www.kobakant.at/DIY/?p=7841
Resist Techniques >> http://www.kobakant.at/DIY/?p=7825

PHOTOS
polymerization (all) >> https://www.flickr.com/photos/plusea/albums/72157710354823622
leggings >> https://www.flickr.com/photos/plusea/albums/72157710685191162
datagloves >> https://www.flickr.com/photos/plusea/albums/72157710838047002

VIDEOS
>> https://www.youtube.com/playlist?list=PLxMxh4ORY0EXyDBY6Q_3t1LnaMRwgfYNi

>> https://www.kobakant.at/DIY/?p=7823
>> https://www.flickr.com/photos/plusea/albums/72157710685191162

CREDITS: The Counter Chemists, Ana C Baptista, Cedric @ datapaulette, Hannah Perner-Wilson, Paul Strohmeier

In March 2017 I spent one-month in residence at Amit’s Hybrid Craft Lab, where I explored blurring the aesthetics of materials collected from different contexts to create hybrid jewels.

Blurred Boundary #1: Carbon Nature
Carbon coated seed pods. Strung from copper threads. Hanging on a burnt branch. They clash in silence, but their contact is detected. What follows? Must every physical interaction have digital consequences?

This work was collected, painted and assembled during a one-month “residency” in the Hybrid Craft Lab at the Hebrew University in Jerusalem, Israel.

I collected these seed pods in the park on may way between home and the lab.
Painted them in Bare Conductive’s carbon paint.
Strung them from Karl-Grimm’s copper thread.
One day I broke off the branch from a burnt bush.
The consequences are still missing.

video: https://www.youtube.com/watch?v=qBcdrMTQXcI

Original version:

Blurred Boundary #2: Beaded Circuit Board
>> https://www.flickr.com/photos/plusea/sets/72157679469412322

Blurred Boundary #3: Primitive Continuity
>> https://www.flickr.com/photos/plusea/albums/72157679261138554

Version 1

Front and back:

Version 2

Front, back and side:

Flickr Album

>> https://www.flickr.com/photos/plusea/sets/72157677985033993

Stirring Queen mask for Purim

>> http://www.kobakant.at/DIY/?p=6532
>> https://www.flickr.com/photos/plusea/sets/72157681273298536

Hybrid Jewels Workshop

>> http://www.kobakant.at/DIY/?p=6539
>> https://www.flickr.com/photos/plusea/albums/72157679469354192

Field Notes

Inspiration

Jewelry from the Kalahari

Jacobs, Jennifer and Amit Zoran. 2015. “Hybrid Practice in the Kalahari: Design Collaboration Through Digital Tools and Hunter Gatherer Craft.” The 33th international conference on Human factors in computing systems (CHI ’15). ACM, New York, NY, USA
>> https://dl.dropboxusercontent.com/u/1772560/publications/CHI_Kalahari.pdf

Dots to Lines

>> http://www.dotstolines.com/

3D Sewing

Blurring boundaries by binding things together…
>> http://www.plusea.at/?p=5844
Instructable >> http://www.instructables.com/id/3D-Sewing-Rings-With-Strings/
Flickr sets:
>> https://www.flickr.com/photos/plusea/sets/72157664675662002
>> https://www.flickr.com/photos/plusea/sets/72157664675662002

“The concept of making holes or opening sin metal had its origin in prehistoric times when boring tools of bone or stone were used to make holes in softer materials.” (Oppi Untracht, Jewelry Concepts and and Technology, p88)

Wire jewelry work of Ann Lee Hu
>> http://www.facerejewelryart.com/artist.php?id=15

Leah’s beaded LED bracelet

Susanna Bauer
>> http://www.susannabauer.com/

>> https://www.instructables.com/id/Non-Functional-Circuit-Broach/
https://cdn.instructables.com/FTT/3YM1/FNI3VURU/FTT3YM1FNI3VURU.MEDIUM.jpg

Mandalas

Jewelry Concepts and Technology by Oppi Untracht (1982)

>> https://en.wikipedia.org/wiki/Oppi_Untracht

Design elements/concepts:
– contrast
– relative scale
– balance
– visual climax

Jewelry concerned with composition, form or pure design
Jewelry with dominating surface ornamentation
Jewelry associated with nature
Jewelry commenting on contemporary life
Jewelry using industrial techniques
Jewelry using new / non-traditional materials

THE MESSAGES OF JEWELRY
Why We Wear Ornaments

Origins:
Satisfying psychic and physical needs
Natural substances: products of hunt used first a body decoration/status symbol before use as material for tools
The bead: transforming natural materials

USES AND VALUES PLACED ON JEWELRY
The Amulet: protection against the unknown
The symbol: communication with the conscious and the subconscious

THE JEWEL AND THE JEWELER
The Jewel Mandala – mapping the jewel-motivation cosmos
remembrance
function (holding clothing together)
artistic/aesthetic
contemporary vs. traditional concepts
magical powers
self-image/public image

Circuits as material, in material

Wire-wrapping technique
>> http://www.nutsvolts.com/magazine/article/wire_wrap_is_alive_and_well

3D sewing, layering, combining materials from different disciplines
Barebones circuitry
Cardwoven USB cable
Irene’s beaded USB cable
Daniela Rosner’s knitting

3D print and circuitry Thingiverse
>> http://www.thingiverse.com/thing:21975

Lynn’s protoboard embroidery

Display…

Maurin’s fiber optics

>> http://maurin.donneaud.free.fr/
>> https://www.flickr.com/photos/maurin/albums/72057594109320583

Ebru and Irene’s flip dots

>> http://www.stitchingworlds.net/

Flip dot jacket

>> http://www.instructables.com/id/Flip-Dot-an-interactive-kinetic-wearable/

Tool functions

Measuring

Manipulating

– subtractive
– additive
– deformative

Storing

Woven memory

Reading…

Das Glasperlenspiel by Herman Hesse

Drawing…

Illustrating concepts and ideas

Mark Ngui’s Thousand Plateau illustrations >> http://www.bumblenut.com/drawing/art/plateaus/
Taeyoon’s handmade computer >> http://taeyoonchoi.com/projects/handmade-computer/

Weaving rugs from scrap fabrics has tradition in Austria and they are known as Fleckerlteppiche or Alpenperser. The Alpenperser 2000 is woven from blends of conductive and non-conductive scrap fabrics. So as not to waste the electrical capabilities of these high-tech scraps, the rug is constructed to recycle the electrical functionality of the original fabrics to create an array of textile sensors. The rag rugs of our future will be floor-bound computer interfaces.

Links:
>> 2015 E-Textile Summercamp Swatch Exchange
>> www.kobakant.at="" diy="" ?p="5519"">Fleckerlteppich Sensor

The Schmiedeperser is a full-size carpet version of the Alpenperser 2000 technique. It was woven during the 2015 Schmiede festival in Hallein/Austria with the help of Irene Posch and Costas Bisas, from the scrap fabrics contributions in the form of old cloths from all the Smiths. Thank you!

Fleckerlteppich Tradition

The book “Traditionelles Handwerk – Lebendige Volkskunst” writes about the tradition of Fleckerlteppiche in Austria:
“Neben verschiedensten Geweben und Mustern für Bekleidung (werden auch Bodenbeläge und Wandbehänge angefertigt. So wurden ähnlich den “Defreggerdecken” Osttirols noch vor einem Jahrzehnt im Flachgau Teppiche geschaffen mit einem Schußgarn das aus feinen Tierhaaren mit Mischwolle ersponnen wurde. Dagegen schneiden die Frauen zur Erzeugung von “Fleckerlteppichen” alte Textilien und Stoffreste, “Fleckel” eben, schräg zur Webrichtung in regelmäßige Streifen und nähten sie aneinander- Während für die Kette starke Garne Verwendung finden, wickelt der Weber jene schmalen Bänder als Schuß entweder wie normal auf die Spule im Schiffchen (153), oder er hat sie auf einem Flachholz mit ausgenommenen Enden (Filetnadel) aufgespannt (164). Wie volkstümlich diese Handarbeit ist, erkennt man daran, daß sich im Gegensatz zur allgemeinen Weberei bei dieser Tätigkeit nicht nur Männer, sondern gleichermaßen Frauen wie Kinder finden, die etwa das “Rosengang-Muster” (165 links) geschickt anfertigen; auch sind kleinformatige Tischwebstühle dafür geeignet (166). Bei der Fertigstellung dieses “Alpenpersers” werden noch das Kettgarn zu Fransenbüscheln geknüpft und die abstehenden Schußenden abgeschnitten (164). Muster ergeben sich durch verschiedenartige Verkettungen von Kette und Schuß. Je komplizierter dabei ein Motiv ist, desto mehr Schäfte benötigt man.”
(p93-95, Hanak, Elfriede/Martischnig, Michael. Salzburg. Traditionelles Handwerk. Lebendige Volkskunst. Wien, Schroll 1981., 1981.)

>> http://www.zvab.com/Salzburg-Traditionelles-Handwerk-lebendige-Volkskunst-Martischnig/215081315/buch

Alpenperser 2000 Flickr set >> https://www.flickr.com/photos/plusea/sets/72157654191467786

Schmiedeperser Flickr set >> https://www.flickr.com/photos/plusea/sets/72157656705013223

Fleckerlteppich Sensor Flickr set >> https://www.flickr.com/photos/plusea/sets/72157652016311535

Bitlace are needle lace motifs that incorporate digital electronics to carry meanings of their own.

for Richard (FOMO)

The name of the motif “for Richard” remains from the relationship within which it was first gifted. Richard’s girlfriend began decorating the hems of his shirt pocket with this Bitlace motif. Friends and family were fascinated by the needlework, and when pressed for her motivations, his girlfriend confessed to them her wish that Richard spend less time keeping up with the world through his devices.

Message: The motif, when applied to one’s own attire is interpreted as a desire to regain control over the technologies one relies on in everyday life. This person might be stressed, overworked or simply overwhelmed by the amount of unread emails in their inbox. When gifted to a close friend or relative, this motif can be read by the recipient as a subtle hint to look up from their smart phone, disengage from the network, and arrive at a style of communication that is more tangible and local.
Motif: a mountain with something hidden on the other side. the person who is scared of missing out can not resist to see what it is on the other side and touching it causes one bit of digital memory to flip state. the circuit of the motif represents one bit of digital memory, depicting the simplicity behind modern forms of communication, zero/one, on/off.
Circuit: The motif “for Richard” represents one bit of digital memory, depicting the simplicity behind modern forms of communication, zero/one, on/off.

>> Bitlace for Richard Swatch Page

Circuit and schematic:

Video

Flipside Flip-Dot

Message: Look on the bright side
Motif: Two sided coin
Circuit: Diode motor/flipdot

Circuit and schematic:

It Takes Two To Tango

Message: Suggests that it takes two willing people to commit an infidelity, not just one
Motifs: Rabbit ears, flower and bee, stick and hole, male/female….
Circuit: Tilt sensor contact switches with vibration motor feedback

Circuit and schematic:

for Andy (Digital Naturalism)

Message: Nature and digital culture don’t clash, they can live side by side in perfect harmony
Motifs: Something with both natural and digital materials/elements/parts
Circuit: Non-functional electronics

Don’t Resist (Change)

Message: Be open to things happening. don’t be so uptight. relax.
Motifs: Open vessels, windows, doors, stretches of grass that change colour…
Circuit: Resistor with thermochromic colour change, or high resistor that decreases in resistance when pressured (led becomes brighter…)

Reminders To Self

Message: Placeholders for messages one wants to remind oneself of every time one interacts with them. they are functional electronic elements that are not hooked up to a circuit. interacting with them does not have any electrical effect – the trigger happens in you.
Motifs: Contact switches and resistive sensors without functioning circuitry
Circuit:

Don’t Panic

Message: Don’t panic, relax
Motifs: Big red pushbutton that does nothing (or does something…)
Circuit: Could light up red LED or sound alarm

A parallel universe that separated from ours roughly 200 years ago, around 1800 when electricity was being discovered and the first electronic devices were being invented. In this universe communities made a point of developing local electronics that drew upon on regional resources and production methods. The design and function of these electronics were strongly influenced by cultural tradition and ritual. As cultural goods, these electronic devices have quaintness to their functionality, a property not existing our own universe.

During an artist-in-residency at Subnet in Salzburg/Austria I explore how regional materials, traditions and crafts could have affected and even now could still inspire regional electronics with quaint functionality. Building functional electronic artifacts of this nature to demonstrate an imaginary alternative that is regional instead of global, traditional instead of industrial. Not only to look at the integration of electronics and craft on a material and process level, but also explore the influences of locality on the design and functionality of the things we build.

What kinds of devices would have been conceived and handcrafted in Lungau? What materials would have been used to make electronics in Salzburg Stadt? What gadgets might have arisen from regions such as Pinzgau and Flachgau? What influence could regional, traditional and cultural heritage have on the development of electronic technology today?

This work was realized as part of a Subnet Artist-in-Residency in Salzburg, Austria

On:

Off:

Circuit:

LED light:

Switch:

Diamond resistors:

Video

A Kit-of-No-Parts is documented in different formats:
>> Download Thesis
>> Visit Website
>> A Wall of Examples (see bellow)
>> A Collection of Samples (see bellow)
>> Download Photobook
>> Order Photobook
>> Download Poster
>> Visit Flickr Photo Set

Close-ups:

Ideas:

Thesis

Thesis >> http://www.plusea.at/downloads/print/KoNP-thesis_sm.pdf

Website

The Kit-of-No-Parts website is aimed at demonstrating the results of this approach. By showing examples of electronic circuitry and components built from a diverse range of craft materials and techniques, I hope to illustrate the material diversity and unique results that it enables. By posting detailed information how these examples were made, I hope to provide relevant resources as well as to encourage others to explore new ways of building electronics.

Website >> http://konp.plusea.at/

Wall of Examples

The following physical examples can be displayed as wall hung panels as shown in the following image.

Carved Traces

Carved Pixels

Cast Traces

Etched Traces

Gilded Traces

Lasercut Circuit

Painted and Plated Circuit

Linocut and Printed Traces

Sculpted and Placed Circuit

Paper Speakers

Seashell Speakers

Screen-printed Traces

Vinylcut Traces

Sculpted Motor

Collection of Samples

Photo Book

>> Download Photobook
>> Order Photobook

Poster

>> Download Poster

Flickr Photo Set

This work was created during graduate studies in the High-Low Tech Research group.

The Tilt Sensing Quilt took roughly a year to complete. It is a great demonstration of how the process of crafting e-textile technology requires handwork, patience, and concentration. The work is repetitive and soothing, yet frustrating if you aim to complete too much in one go. It proved a much better decision to work on the quite a bit at a time and to enjoy the process, rather than seeing it as a means to an end.

Techniques for making the tilt sensors include: fusing, machine and hand embroidering, felting, etching and painting.

Applications

The quilt as a final artifact is a human-computer interface that can interact with a variety of custom applications. Current applications visualize the tilt of the quilt and convey a super rough height-map so that you could detect what kind of object the quilt is currently draped over or what state the quilt is in (hung, folded).

Video 1

Video 2
ignore the background conversation:-)

Construction

The quilt is made up of 3 layers (with an additional isolation layer between layers two and three):
1) Tilt sensors: 41 total
2) Rows: 9×6 rows connecting all 6 tilt sensor petals
3) Columns: 41 individual columns connecting all 41 tilt sensing beads via five 8-channel multiplexers

Along one edge all tilt sensor petals are interconnected. Along another edge all tilt sensing beads are connected via five 8-channel multiplexers. All traces finally connect to a LilyPad Arduino, which parses the array of 41 tilt sensors and sends the data via serial communication over Bluetooth (wireless) or via a USB connection (wired).

Tilt Sensors

Rows

Columns

Multiplexers

LilyPad

Bluetooth and battery

Installation

Very first prototype

This work was created during graduate studies in the High-Low Tech Research group.

Tilt Sensing Bracelet

A bracelet decorated with six conductive fabric petals and a row of beads with a metal bead on the end, makes for a simple six point tilt detection.

It is also designed so that the metal bead will make contact with two petals if it lies in between. and then of course it will make no contact when it is in the air due to throw or tipped upside-down.

>> Instructable

This video shows the Tilt Sensing Bracelet together with a feedback bracelet. They are directly connected and the electrical connection made by the bead tilt sensor closes the power circuit for the LEDs mounted on the feedback bracelet. Just a simple way of showing how it works without using a screen.

Video

Time Sensing Bracelet

The Time Sensing Bracelet is a fabric potentiometer. You select your desired time of day by making contact in the corresponding position on your wrist – where your watch would normally be.

>> Instructable

Video

Stretch Sensing Bracelet

Knit from conductive thread, resistive yarn and regular yarn. This bracelet is off when you wear it and does not light up until you stretch it.

Light and power

Stretched

Making of

Illustration

Video

Pictures on Flickr