 I'm your hero for this afternoon, and I have the pleasure and honor to do it this afternoon. Your name is Plusea, and Plusea is actually an e-textile tailor. She's willing to do skills and all kinds of handicaps and swearing that she actually, and time that she lost while doing her projects. We'll really bring us this news. Hello, and thank you to the CCC camp for this opportunity to speak about my work. Before I introduce myself, I think I'd actually like to introduce the materials that I work with. So what is e-textiles? Who here has heard the word before e-textiles? So e-textiles comes from electronics and the idea is to integrate electronic functionality into textiles. In order to do that, one of the first starting point is to start with some kind of structures that both conduct electricity, but can also be used to construct electricity. The characteristics of normal clothing or textiles are a conductive thread. While wires are equivalent to a cable, which is mostly made of copper, and conductive threads are often referred to as textiles, so them and weave them and knit them without breakings. And one layer of material can be sewn with a thin layer of metals, so a lot of conductive e-textile materials are metallic. And these coatings on the threads, they work better. So a lot of these are synthetic threads, but another way to do it is to almost spin the thread from a combination of metal, that's not so strong with metal. So again, sometimes synthetic fibers or images we just saw, steel fibers, that's made of wool, and then some of them are made of wool, and then some of them are worked into fabrics, and some of them are first produced woven or knit, and then coated, but sometimes woven or knit, sometimes it's woven or knit, sometimes it's stitched, sometimes it's fabric, sometimes it's fabric, you can actually sense changes, you can notice changes when you pull these things apart, when you hold these materials in your hand and pull them apart, and these materials then have clear electrical properties that we can use. And I just mentioned that the metallic coatings and high-legged materials, and there are also polymer structures that you can use that also have useful properties for us. And we see that this structure was polymerized when you pull it apart, then you can see this behavior of the material, and that's why this fabric stays white, and that's the material with which I work a lot, and often, even when I just started doing all of this, I thought it would be a new thing, and then I realized that everything here is not so new, that it wasn't really used for electronic clothing, but for decoration pieces that were often used in the past. For example, if you think of the combat bands, so the combat bands, the jackets were also changed, and there was a German company that took care of things like this. And I wanted to tell you two projects that I looked at at the time, the story of electronics and textiles. One project was called Stitching Walls, and it was about creating a computer that was always being used, and it was also about describing who worked with this material and what for. And another project was a book, The Little Old Ladies, and she had the core memory for the Apollo space mission, and so this was a project that was used by the Apollo space mission, and so if you wanted to program a program that was going to run on this space mission, it would be kind of a program, it would be kind of a program, and it is hard to integrate these structures, with the magnetic poles. So these ideas and techniques are not so new. So those were the materials and a bit about their past, some of them were kind of talking about themselves, my name is Hannah Pennavisson, kind of becoming an E-tech storyteller I've been working with Mika Satomi for the last 13 years. I've worked with her a lot of times. Together with her I'm working with Zeichenwerde, which is also a co-working project with her. So as a textile tailor, you spend a lot of your time working on circuits. This is a speaker coil that I'm using. And I think what got me into e-textiles was, I was not so much into e-textiles. It's not the technology. I studied course design and I had to do a course on sensor technology. And it was shown how we could build our own pressure sensors, for example, an aluminum foil with a little bit of data between building it. And then I first learned or understood what was happening there. I could understand what an interface element was and I could adjust these interface elements and I could do new things out of it. And I could know that I could use the e-textiles components in circuitry and as I was preparing this talk, I started to think about what it means to be an e-textile tailor. And I thought quite a bit about the properties of the material. What it means to be an e-textile tailor. I thought quite a bit about the properties of the material. That's what I'd like to say now. An e-textile tailor should have, if you want to work with e-textiles, you should also be conducted. You should also be conducted. You should also be conducted. have if you want to work with e-tech cells is that you should also be conductive. And I guess on the one hand I believe to be electrically conductive. Interesting actually, and I think we don't think about it enough, but our water and salt, the reason we can handle a lot of these things is because of the resistive skin. So these three to five volt circuit cell I work with, if I didn't have the skin to protect my innards, they would actually be quite dangerous. And I ask myself, is it productive to be active, and to be dangerous, if I don't have the skin to protect my innards. But it's also important that we can be conductive. So that's one thing. The other two things I do at night, you have to be a bit romantic when it comes to e-tech cells, if you want to be in a studio for some material you want to work too seriously. So to be romantic and conductive, and then also to be romantic, electrically conductive, and critical. Aware of why you're in. So for me, in the camp is to do what you're doing. For me, my experience in this field was creative expression, like, yeah, creative expression, power, but I have also seen that many of the things that I do in my work are made by people who are not so happy. The whole electronic industry is built up on this exploitation of work and other things. So what I would like to do now is to talk about some of these projects that I worked on in the last years. But before I do that, I want to see if I can get these to work. Let's see. Cool. Going on the time. So I was thinking maybe I would... Okay, I need to adjust these a bit, maybe. So I'm going to talk about these the last kind of last 10, 13 years of my project work. Not maybe not a romantic relationship, but a relationship. I met them through my first project, to work with them. And so maybe our first way drug to e-tech sales was massage. They might say, yes, because they feel obliged, but we were observing, though, that gamers, you know, for a few minutes, but not very long. But then we found out that video gamers have a lot of similar, no problem, very similar movements, hours of the same movement with their game controllers to play some games. We thought it would be a logical thing for both of us to combine the massage in the back of somebody else. And we built game controllers, which work with the back of somebody else. You can see the action. You can see that the video is a little bit small, but you can see how it works on the back of the person. So we also didn't have anything hard. Just the textiles to the game controller. So back of the people, we didn't want to have any textiles. And how we could solve the e-textiles to handle them, so we could get out of them. And it worked very well as a game controller. People were very motivated to play this game. But as the receiver of the massage, it wasn't the best massage. And here you can see some of the things we found out and produced. But in the end it was a relatively simple hack. We have the controller with the tissue and we didn't know anything about e-textiles yet. But in the process of making the game controller, we also found other material and possibilities. Here are some textiles that we developed for the project. And that was a phase of the relationship where you completely fell in love with the game controller. So we had a lot of fun with the game controller. We had a lot of fun with the game controller. We had a lot of fun with the game controller. This was a phase of the relationship where you totally fell in love and everything was exciting and you tried a variety of things. And here are some demonstrations of no, sensors with some capacitors and sensors and from all of these things that we have developed, we have looked at different projects, here I have developed a chain, with these stones that then send signals to contact and that is a relatively new project based on an idea, based on the idea that you have a pressure pad on your arm that you can use to control processes and that is when you control things and on the left we have a data glove with which you control the position of the hand system, that was the fun phase with where we have researched a lot, tried things and what you do when you are often, well, what you do when you have met someone and everything is wonderful and then you want to tell the whole thing to other people and that is why we have packed it on our website and the whole thing has grown over the years and whenever we have started a new project or something new, we have published it and we wanted that and in 2013 we organized the first e-text part summer camp that is not necessarily like the camp here but it is about people who have used e-text parts to exchange their experience and to meet together and everyone could submit to design of their own and you could reach more and then we tried to exchange the projects and everyone worked on the projects of other people and when you look at the materials and documentation online you can see that there is a lot of technology or methodology behind it and here on this website you can see a lot of examples of it and then kind of coming into this relationship at some point you need to stay together for longer and if you want to stay together for longer then you have to leave something else and this is a project that you have done at the time, it is an open source robot, a robot skin and we have tried to build the human skin and for the robot arms, we have the robot arms and then with the help of light and non-light materials we experimented and then there was a skin layer with the columns and then there was a skin layer with the columns between the rows and columns I am rubbing my leg so in these videos you see the robot arms and what is very difficult was to distinguish between the arm itself moving relatively difficult was to distinguish if the arm moves itself or if the arm moves from an external object on the left you see how the arm moves a little bit and on the right you see how the arm moves and on the cilinder you see a push of the arm itself which was a project that I did as a commission from someone else this was part of my training which I can do other things that don't make money money to work with other things so that I can finance these things without money working with e-textiles, it kind of came that we started thinking about what tools would make this working with materials, and we were able to do this rather than with these things, taking into account measuring the resistance, we could actually measure that resistance and continue in this case. So this is a hookwork somewhere, and here I had the experience, it's one electrode that the needle, the other, had, I can clip on with the ellipse, and then I had a two-fold switch and I could clip this little display on it, and then I can hook on with it, and at the same time measure the resistance of the fabric that I have. It's a little, small, with the resistance of the thumb potentiometer so that I can set the tension part so that I can get different experiences. That was one tool, another tool that we built, came because we were working quite a lot with optic fiber. Every time we made a project like this, we ended up doing it every time when we made a project like this, we found another strange solution to mount the LED directly and to mount the end of such a light leader, and then we thought, let's find a solution that we could use again and again. The best solution that we found were these somewhat hummel-like connections. We have the LED in, in, out, and we mounted the circuit from the LED around the tube that you can then also, like, couple of tubes. They were so elaborate to make, it took me a minute to make one of these. So I was thinking about how to build one of these. We could edit the design with something more mass-manufacturable. The first products that led to an idea that this is going to be the first prototype, but when we actually had a side, we kind of flipped the PCB back up again and we get used to it now. And so it took me a while to translate that idea, and then last year we had no mistakes when they worked. It's just a breakout board, but the tolerance is very small. So they work and I actually have some with them. Use some of them later. I think we'll do a bit of a workshop with the controller to control what we're going to make some light-up elements of your show and it's also nice for you to shine from either end. You can mix colors in the Okay, so coming back to this relationship analogy, we have to kind of sustain our practice and work on repeating aspects of the relationship. It should be a video. Oh well, there was a, then came a point where we got a bit disillusioned, the ride with the textiles. We started, because we were designing things as well as the young ones. We're actually starting to go into the world. We actually started to take our way into the world and wearable technology became something that was not so far away and futuristic anymore, but companies really tried to get a bigger thought going into when these materials were going into the world. We didn't really think about what's going to happen when this material goes into the world. What effects will it have on the environment? What kind of environment do we have to have with them? What's the economy with them? We produced a fictional commission set in the future and we called it the Crying Dress and we wanted to do this where we were going to do this future project, which we're going to practice in, but also the future of the craft, but also the future of the materials that could be in the world with these materials. At that time we didn't know that six years later, we didn't know that a tailor shop would actually open a real investment in what it could mean to make a custom-made and handcrafted product. So 2000, we had two big rooms, one was for the showroom and exhibition and what kind of equipment was there, what kind of material was there, and another room was the workshop where we worked to realize the things that the people from us ordered. So this is a bit of what it was like in the workshop. We had a price list that was not based on any realistic or maybe because we didn't want it to be compared to how we were going to have this. We was more than willing to tell anyone, can I do that? Can I do that? Or did you want to support our labor time in part in terms of our time in the project? And the price list was more symbolic about a exchange and a part of the material we used. In total, we were open all year. In the year, 14 people came to us, and they had ideas for things they wanted to have. We just put them together, and that's just a pair of them. And some of these 14 people wanted to have something, so that they can feel their body and that it becomes light. I would make a pair of these commissions a little more detailed, but here is Boris, who plays the Poesone in a street band. And in the band, they started to add LED lights to their instruments. And when our store was over, he made this connection, that he would like to have a costume for himself, that he would have to carry in his street band, so we started to make him into dice. What kind of challenges are there in terms of work? How wearable it has to be, how robust it has to be. And in the end, we have decided to make an asymmetrical vest. Based on the sketches, we start making a bow. We have used a prototype that we can use as a prototype in parallel. We have developed the electronic parts, which in this case are LED strips. We have basically made our own strips where the strips are kind of placed and then we have these strips in a kind of slanted pattern so that it doesn't go straight to the front, but seems to be coming out of your folds. At some point someone made up of this orange material to make as much of the vest as possible out of this. We have decided to make as much of the vest as possible out of this corset with a little knit strip. And then when he puts the best lights up in his sensor and when he breathes in the light, the vest gets brighter and when he breathes out to play the sound, the light gets darker. This was one of the last tests with Ben, who had it on Boris, and we tried it on Boris. And that was the first sound. But yeah, he's playing the trombone. And you can see the lights light up. If it's possible to get sound, it would be great if you could get it on. It's okay. Okay, yeah, it's okay. Okay, so now I presented quite a few. And now I have presented some projects. If almost like me, this E-Tech-style tailor, using these materials to have ideas, put them out into the world, become a bit more aware, though, of what is actually happening in this process. That's a bit of a different perspective. What is the relationship between me and the materials that I'm working with? This feeling started to turn more and more into an idea that maybe there is something more happening and it's so much of my ideas and translating them into objects in the world. But I think also the materials are trying to tell me something. I decided to break rule number eight in this year, so I'm trying to analyze and create some different processes. And I embarked on a month-long to come up with a new material for the movement that changes colors and temperature. And I just kind of explored it, and I wanted to combine it with other materials and combine it with other materials. And while I was doing this exploration, I was taking a lot of notes and making sounds. And then at the end I went back over everything and I made almost like a time-lapse of how these videos were made for me. And I think I recognized what I think but I didn't know really about that at all in all of my practice in the last years. And the first one was that I think I followed the materials much more of the time than I think with something that was going to be a good process. I think I need to be good at listening to what the material, what properties it had and that's maybe the second thing is that thinking and making were very much embedded and connected to the properties of these materials. And the third thing is that I'm really not very skilled at actually transitioning between the things that I wanted to be making them. I spent a lot of time thinking about the things that I wanted to be making them. I spent a lot of time thinking about the things that I wanted to be making them. I spent a lot of time just sitting around trying it and then I'm trying things. But I know I'm trying to... I'm coming up with ideas, but then how to actually do these things. Yeah. Oh, yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Oh, yeah. Yeah. So... First thing was that I'm following the materials a lot of the time. So I can go to the stories that I was becoming from the material that I'm also that from the material that I was making and the fourth one that I'm really skilled in any kind of making. So you go up by yourself coming up with the idea that it can be very alluring. I find that I can get very lost in that process and it can be very nice to get somewhere. But then at the end you can also feel very lost and even people or you want other people to tell you what you're doing is making sense. And other people to see what you're done. And what you're doing is having a connection back to this reality which you're embedded in. So I'm trying to really noticing these four things. I started to find out about these four things. And one project, so to speak, and that was... I got to do a big machine shop in San Francisco, Compure 9. And it's 24-hour access to all these kind of five-axis mills and like leather cutters and kind of an impressive space to be allowed to use the software. And so yeah, I spent time learning to 3D model from machines, cutters to cut off small slices and 3D printed speaker coils. I used the shop bot, which is a big scene, to mill out rings and the holes of the mill. I used the shop bot, which is a big scene, to mill out rings and the holes of the mill. But all this time that I was working with these machines, I really missing this more hands-on encounter with the little scissors. And in the sewing table, there's a nice sewing table. And on the sewing table, there's a box with just rings. And I used to be playing with these pins and I would poke them through. This is from the Encyclopedia. Adam Smith, who analyzed the labor, took the pins by the laborer, took the pins by the laborer, took the pins by the laborer, took the pins by the laborer, took the pins by the laborer, the minimalistic but also very wonderful representation of what a tool is. So a pin has like one end that is shock absorber, that's intended for the maker, all these other tools I was working with and all these other tools I was working on even if I sat on a computer and used complex software to use a CNC milling tool to mill a wooden milling tool. It's all tools, and this is one of these experiments to use the needle as a material and not only as a tool. OK. I have to hurry up a bit, too. My time is running a bit slow. I have to hurry up a bit. My time is running a bit slow. Now I have to click through all of them. I have to click through all of them. I even started thinking about, yeah, what happens if the pin flips around and puts it to the side? Then I started coming up with this idea for a dangerous thing that could be this 3D pin to the bone, a 3D printed structure with needles that all go into the body. But then something happened. I was in the studio one morning. I was early in the morning, and I was in a rough. I had this iron, and I had this needle kiss on my arm. And I just pulled out my sweater, and this needle kiss, and one of the needles went into my hand. OK. So it stayed in my hand for quite some time, because it took me a while to get an appointment to actually do the job, to take it out of your hand, because it took me a while to get the appointment, to be able to operate this needle out again, because this whole process brought me to think about what was actually happening. Or was it more that it was in the wrong direction, or was it more that it was me and the needle that replaced the place? And I'm just a material. For me, the whole time, the difference between material and make-up, maybe this works. Yeah, maybe it works like this. So they did manage to cut the pin out. I think go back and have more X-rays taken afterwards, and it looks like the pin is still in there, and it's still in there. So this last. So, this is the last one. Wow. Great, Hannah. Thank you for your time. Thank you, Hannah, for your fantastic lecture. Oh, yeah, it's still there. Yeah, I see. It's still there. It took me a while. We have a couple of minutes for questions. There are a few microphones here. Please, stand up. It's really still there, huh? I can see it. Yeah, I still see that the needle is still in there. Do you want to explain to us how they work? How does the needle work? I don't really fully have a clue unless it's meant to. I don't know how it works myself, so. OK, that was a nice question. So when I was putting on the leggings you saw in the background, there was a video playing that was actually the process of making it only two weeks ago. In the beginning, you saw a video where I did something. It was actually the process that I did these leggings. I worked with a few friends who were doing a process to polymerize our own fabric. Everything you see here, what's black, that is lead-like. And the more you press together, the more lead-like it becomes. And we're a little bit out of it. What's the reason? Is it because the polymerized layer is pressed together or because the polymerized fibers are pressed together? But what was really nice was that we put out that this polymerization process works to wrap it up, and I made little, and everywhere where the string is, it didn't match the top. And you can, for example, make here underneath these leggings and everywhere where you see something light, there was a thread around it where the color didn't come into the fabric. And when you're sitting here under these leggings, I'm wearing some very pretty fabric in these leggings in the light-fake, the terminals where I'm measuring the resistance changes. Someone else has a question. OK, next question. Thank you very much. That was really great, wasn't it? What are you planning to do? A workshop, you see? Do you have a workshop to offer? Together with Julian, actually... Yes, actually, together with Julian, I would like to... What's the name of the... ...the badge tent. To offer a workshop in the badge tent. We don't know yet, but we will announce it on Twitter. We won't be exactly sure, we'll put it on Twitter and post on the badge account. And then there will be at least one workshop that will offer light-fake threads in the arm-band of the badge tent, a net. No. OK. Another question. There, in the audience, out. Do you have any e-textile clothing that you're wearing in your everyday life? This is one of the first steps for an answer is no. It's not because I don't want it to be, it's more that I struggle to... It's more that I have problems with things that I actually need in my life, and that I can use it in my everyday life. What I did is that I did bicycle lights, but they just didn't last long enough. Electronics will always have to be made for one person. I definitely think it's scalable. But my interest in this handcrafted, handmade thing is, because I see that the industry is already taking care of how to do something, that a lot of people are using it, but nobody is taking care of the things that are handmade for individual users. We have an idea that we want to have, and we're not going to the media market to buy, but to implement our ideas. Okay, of course. Thank you. Oh, here's another question. One last question. Okay, last question. So you mentioned the future of the individual garments, and that gets me wondering, what's the future of the individual or individual muster? What can we do to make sure that nothing is wasted? I think it's bound up. It's a very good question. I think it's the whole fashion textile industry itself. The same question as the whole fashion and textile industry. And also we see people buying and leaving textiles, and also electronic scrap and e-waste. We have to make the producers more responsible for the things that they leave out in the world. We have to make things more repairable, and people are willing to repair them themselves. I think the solutions that I've heard go along these lines are just thinking of, okay, how can we make sure that we can separate and recycle, but also that the product itself has a longer lifespan, and that we're not going to get away from this idea of buying something and only using it for a short period of time. That you have something that you can use for a longer period of time and you can repair it yourself. Okay, now really the last question. Do you also have some clothes for surveying for the thing? I don't have it. No. It could be very interesting to... General masks are... general masks are for surveillance. I feel like a mask is wearable for the face. I've made some masks not for anti-surveying purposes, but... I'm also part of the program committee. There's a talk by Adam Harvey on Friday. There's a talk on Friday on exactly this topic. So if you're more interested in that, so face recognition, listen to the talk on Friday. Give a warm applause. Okay, cool. Thank you very much. A big applause for our speakers. Applause. Great. Okay, cool. Check out Macedon or Twitter. And please look at Twitter and Macedon in relation to the workshop. Thanks guys. Thank you very much.