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    Content by Mika Satomi and Hannah Perner-Wilson
    E-Textile Tailor Shop by KOBAKANT
    The following institutions have funded our research and supported our work:

    Since 2020, Hannah is guest professor of the Spiel&&Objekt Master's program at the University of Performing Arts Ernst Busch in Berlin

    From 2013-2015 Mika was a guest professor at the eLab at Kunsthochschule Berlin-Weissensee

    From July - December 2013 Hannah was a researcher at the UdK's Design Research Lab

    From 2010-2012 Mika was a guest researcher in the Smart Textiles Design Lab at The Swedish School of Textiles

    From 2009 - 2011 Hannah was a graduate student in the MIT Media Lab's High-Low Tech research group led by Leah Buechley

    In 2009 Hannah and Mika were both research fellows at the Distance Lab

    Between 2003 - 2009 Hannah and Mika were both students at Interface Cultures
    We support the Open Source Hardware movement. All our own designs published on this website are released under the Free Cultural Works definition

    Make Your Tech and Wear It Too

    Stories from an e-textile tailor

    Presentation at the CCC Camp 2019, 2019-08-21 16:00
    >> https://media.ccc.de/v/Camp2019-10375-make_your_tech_and_wear_it_too

    In this talk i’d like to give an introduction to the materials, tools, skills and energies involved in making electronic textiles and tailoring wearable technology, which has been my practice for the past 13 years.

    I spend my days crafting electronic textiles, imagining what this technology, worn on our bodies, will allow us to sense, to communicate, to become. As an explorer of new materials, I create soft circuits and textile sensors that I document and share on How To Get What You Want and A-Kit-Of-No-Parts hoping to inspire others to join me in this material practice.

    Starting points for my work vary from open-ended playful explorations of materials/tools/techniques in order to discover interesting narratives and diverse ways of doing things (such as hand-embroidering elaborate circuitry onto a funeral gown to speak about possible futures), to directed commissions looking to problem-solve and realize concrete ideas (such as developing robust hard-soft connections, insulation methods, sensor and actuator designs).

    Whether I’m exploring or solving, I find myself seeking direct, hands-on encounters with the materials of electronics – materials that due to their abilities to conduct, resist, isolate, store or generate electrical current are able to make up what we think of as electronics. I’m drawn to this more interactive style of dialogue because it allows me to engage more of my bodily sensors (sensations) and actuators in real-time debate-like conversation. There is this image of future technology being fully constructed by machine and a workmanship of certainty. I’m drawn to exploring the other end of the spectrum, towards what furniture designer and design theorist David Pye’s describes as the workmanship of risk. How uncertain, how intimate, how messy, how physically and collaboratively connected can we get with the materials of electronics?

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