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w e a r a b l e s

Wearables Week in Fabricademy is all about merging technology with personal expression in a way that is both innovative and practical. This week focuses on exploring how we can integrate sensors and digital fabrication into everyday objects, creating garments and accessories that not only enhance our experience but also offer new functionalities. The idea behind this week is to open up endless possibilities for creative expression while pushing the boundaries of fashion and technology.

Recent research in wearable technology has been pushing the limits of smart fabrics, flexible sensors, and energy-efficient power systems. Innovations like stretchable electronics and body-monitoring fabrics are making wearables more comfortable, responsive, and integrated into everyday life. These advancements are not only revolutionizing industries like health and fitness but also paving the way for wearable tech that blends seamlessly into fashion, enhancing both style and functionality.

i n s p i r a t i o n

ELECTRIC DRESS: FROM ATSUKO TANAKA TO PUPPIES PUPPIES

Atsuko Tanaka's Electric Dress has become an iconic example of early wearable electronics in art, blending technology, performance, and self-expression. Tanaka created the dress in 1956 as part of the Gutai Art Association, an avant-garde Japanese group that sought to push artistic boundaries with radical materials and forms. Composed of hundreds of light bulbs and electrical cables, the Electric Dress illuminates the wearer in a spectacle of pulsating lights and colors. The work resonates as a powerful representation of the tension between the human body and mechanization, with Tanaka herself wearing it to perform, transforming into a "living sculpture" that both captivated and challenged audiences. Her piece conveys a vulnerability masked by an intense visual energy, questioning the impact of modern technology on identity and self-perception.

Over time, Electric Dress has undergone careful restoration due to its fragility and the complexities of maintaining its electrical components. Today, it resides in the collection of the Centre Pompidou in Paris, where it has been displayed as a historical and cultural artifact, reminding viewers of the early intersections between art and technology.

In contrast, Puppies Puppies' reinterpretation of Electric Dress at the 2024 Venice Biennale explores how far wearable technology has come and reflects on contemporary themes of identity and digital culture. Inspired by Tanaka’s groundbreaking work, this version maintains the aura of transformation but reimagines it within today’s context of hyperconnectedness, surveillance, and self-augmentation.

Farahi’s project integrates technology and historical symbolism, presenting the mask as both an artifact and a modern communication tool. "Can the Subaltern Speak?" highlights how wearable electronics can serve as cultural bridges, reinterpreting historical objects to tell new stories in a digital era and providing innovative ways for wearables to engage with cultural identity and preservation.

DRESSING LIKE CHAMELEONS: COLOR-CHANGING FABRICS

Color-changing fabrics are reshaping the possibilities of wearable design, combining artistic expression with cutting-edge technology. Visionaries like Anrealage and ChroMorphous are leading this transformation. Anrealage has developed UV-sensitive garments inspired by natural phenomena, such as the chromatophores in zebrafish that alter appearance in response to stimuli. Their designs shift colors temporarily when exposed to specific wavelengths of UV light, creating wearable art that reacts to its surroundings. Meanwhile, ChroMorphous pushes the boundaries further with eTextiles interwoven with microwires, allowing wearers to control color changes through a smartphone. This innovation, powered by electrical currents, enables customization of patterns or full garment transformations, bringing a new layer of interaction and personalization to clothing.

These technologies offer more than novelty—they challenge the environmental toll of fast fashion by introducing adaptability and longevity into garments. While challenges like energy requirements and scalability remain, the potential for dynamic, responsive clothing aligns with sustainable design principles, offering alternatives to mass production and waste. This week in Fabricademy’s Wearables module, I’m inspired to explore how such advancements can merge creativity with purpose, transforming the way we think about clothing and its role in our lives.

EXPANDING THE WEARABLES: THE WORK OF LUCY MCRAE

Lucy McRae redefines the concept of wearables by blurring the lines between art, technology, and the human experience. As a multidisciplinary artist and researcher, her work goes beyond traditional textiles to encompass how environments, technologies, and the human body interact.

McRae’s projects imagine the future of human evolution, exploring the ethical implications of genetic engineering, health technologies, and intimacy. Her speculative creations—ranging from immersive installations to thought-provoking wearables—challenge us to rethink our relationship with technology and how it could reshape humanity.

One project that deeply inspires me is Solitary Survival Raft. It explores the intersection of technology, the human body, and emotional survival, presenting a machine-driven raft where an air pump inflates and deflates a membrane, creating a comforting barrier between the occupant and the world. This collaboration between human and machine aims to preserve the sensory experience of touch, questioning how we navigate fear and uncertainty in an increasingly disruptive world. McRae reflects on how technology can nurture emotional well-being, asking whether we move toward truth by confronting or letting go of fear. Her work challenges us to rethink our relationship with technology—not just as a tool for exploration, but as a way to understand and respond to our deepest vulnerabilities.

p r e v i o u s . e x p e r i e n c e

During my Fab Academy experience, I worked with various output devices that enhanced my understanding of digital fabrication and embedded systems. One of my main projects involved connecting an LCD 16x2 to my PCB, which required mastering I2C communication. I faced challenges such as incompatible libraries for the SAMD architecture and I2C address conflicts, but after experimenting with different approaches, I successfully programmed the LCD to display text. I also worked with a servo motor, DC motor for my final project, learning the differences between brushed and brushless motors, and how to control them through code without external libraries.

This week in Fabricademy, I integrated the output devices with flexible sensors as input devices, taking my project to the next level. The flexible sensors allowed me to create more interactive systems, responding to pressure or bending, which then influenced the behavior of the output devices. This integration deepened my understanding of how to combine input and output devices to build dynamic systems, emphasizing the importance of precise communication between hardware components and software in digital fabrication projects.

d i s c o v e r i n g . x i a o . r p 2 0 4 0

I asked my old friend chat GPT to give a short description about XIAO RP2040:

The Xiao RP2040 is a compact, powerful microcontroller board developed by Seeed Studio, featuring the RP2040 chip designed by Raspberry Pi. It's equipped with a dual-core ARM Cortex-M0+ processor, running at up to 133 MHz, making it suitable for a wide range of embedded projects. With 264KB of RAM and 2MB of flash memory, it offers ample processing power and storage for various applications. The board also features GPIO pins, I2C, SPI, and UART capabilities, allowing it to interface with numerous sensors, actuators, and peripherals. Its small form factor and compatibility with the Arduino IDE and MicroPython make it ideal for compact, low-power projects

This year, for the Fabricademy project, Fab Lab Armenia participants are using Xiao RP2040. It has many advantages compared to the ATtiny microcontroller.

The RP2040 is a more powerful and versatile microcontroller compared to the ATtiny. It features a dual-core ARM Cortex-M0+ processor running at 133 MHz, significantly outpacing the ATtiny's 8-bit architecture. With 264KB of RAM and 2MB of flash memory, the RP2040 has much more capacity for handling complex tasks and larger programs.

f a b r i x i a o

The FabriXiao is an innovative microcontroller platform designed to simplify e-textile projects, particularly for educational purposes like Fabricademy. It emerged as a response to the challenges of using earlier microcontrollers such as the ATtiny45 or the Lilypad, which required more complex programming and assembly. Developed by Adrián Torres, the FabriXiao leverages Seeed Studio Xiao RP2040 and Xiao ESP32-C3 microcontrollers to offer greater accessibility, versatility, and ease of use. Its compact design, compatibility with USB-C, multiple input/output options, and ability to connect to wireless networks make it ideal for wearable and small-scale interactive projects. The board also supports various programming environments like Arduino, MicroPython, and CircuitPython, making it beginner-friendly and powerful.

Launched in 2024, the FabriXiao was showcased at FAB 24 in Puebla, Mexico, and has since been used in workshops and projects worldwide. Its small size and features such as built-in LEDs and analog/digital pin options make it perfect for integrating inputs like pressure sensors and buttons or outputs like RGB LEDs. By bridging art and technology, the FabriXiao encourages creativity and experimentation in digital fabrication and e-textiles, fostering innovation in wearable technology and other applications.

To create the FabriXiao PCBs, I utilized the services of JLCPCB, a leading PCB manufacturer known for its affordable and reliable production. After exporting the Gerber files kindly provided by Adrian Torres, I uploaded them to JLCPCB’s platform. Their intuitive interface allowed me to preview the design and select additional options.

Once the specifications were confirmed, I proceeded to order the boards, taking advantage of JLCPCB’s competitive pricing. The manufacturing process was efficient, with real-time tracking available for updates. When the boards arrived, they were of excellent quality, ready to be assembled and tested. This streamlined ordering experience with JLCPCB ensured that I could bring the FabriXiao from concept to reality with precision and reliability.

t h e . s p e a k e r

In mattermost @sophia-matteo put an exemple to make the speaker play the music. I found this exemple interesting to check. This was the sound from the movie Game of Thrones. Here is the code and the result. 

#include "pitches.h"

#define BUZZER_PIN D9

int melody[] = {
  NOTE_G4, NOTE_C4, NOTE_DS4, NOTE_F4, NOTE_G4, NOTE_C4, NOTE_DS4, NOTE_F4,
  NOTE_G4, NOTE_C4, NOTE_DS4, NOTE_F4, NOTE_G4, NOTE_C4, NOTE_DS4, NOTE_F4,
  NOTE_G4, NOTE_C4, NOTE_E4, NOTE_F4, NOTE_G4, NOTE_C4, NOTE_E4, NOTE_F4,
  NOTE_G4, NOTE_C4, NOTE_E4, NOTE_F4, NOTE_G4, NOTE_C4, NOTE_E4, NOTE_F4,
  NOTE_G4, NOTE_C4,

  NOTE_DS4, NOTE_F4, NOTE_G4, NOTE_C4, NOTE_DS4, NOTE_F4,
  NOTE_D4,
  NOTE_F4, NOTE_AS3,
  NOTE_DS4, NOTE_D4, NOTE_F4, NOTE_AS3,
  NOTE_DS4, NOTE_D4, NOTE_C4,

  NOTE_G4, NOTE_C4,

  NOTE_DS4, NOTE_F4, NOTE_G4, NOTE_C4, NOTE_DS4, NOTE_F4,
  NOTE_D4,
  NOTE_F4, NOTE_AS3,
  NOTE_DS4, NOTE_D4, NOTE_F4, NOTE_AS3,
  NOTE_DS4, NOTE_D4, NOTE_C4,
  NOTE_G4, NOTE_C4,
  NOTE_DS4, NOTE_F4, NOTE_G4,  NOTE_C4, NOTE_DS4, NOTE_F4,

  NOTE_D4,
  NOTE_F4, NOTE_AS3,
  NOTE_D4, NOTE_DS4, NOTE_D4, NOTE_AS3,
  NOTE_C4,
  NOTE_C5,
  NOTE_AS4,
  NOTE_C4,
  NOTE_G4,
  NOTE_DS4,
  NOTE_DS4, NOTE_F4,
  NOTE_G4,

  NOTE_C5,
  NOTE_AS4,
  NOTE_C4,
  NOTE_G4,
  NOTE_DS4,
  NOTE_DS4, NOTE_D4,
  NOTE_C5, NOTE_G4, NOTE_GS4, NOTE_AS4, NOTE_C5, NOTE_G4, NOTE_GS4, NOTE_AS4,
  NOTE_C5, NOTE_G4, NOTE_GS4, NOTE_AS4, NOTE_C5, NOTE_G4, NOTE_GS4, NOTE_AS4,

  NOTE_GS5, NOTE_AS5, NOTE_C6, NOTE_G5, NOTE_GS5, NOTE_AS5,
  NOTE_C6, NOTE_G5, NOTE_GS5, NOTE_AS5, NOTE_C6, NOTE_G5, NOTE_GS5, NOTE_AS5
};

int durations[] = {
  8, 8, 16, 16, 8, 8, 16, 16,
  8, 8, 16, 16, 8, 8, 16, 16,
  8, 8, 16, 16, 8, 8, 16, 16,
  8, 8, 16, 16, 8, 8, 16, 16,
  4, 4,

  16, 16, 4, 4, 16, 16,
  1,
  4, 4,
  16, 16, 4, 4,
  16, 16, 1,

  4, 4,

  16, 16, 4, 4, 16, 16,
  1,
  4, 4,
  16, 16, 4, 4,
  16, 16, 1,
  4, 4,
  16, 16, 4, 4, 16, 16,

  2,
  4, 4,
  8, 8, 8, 8,
  1,
  2,
  2,
  2,
  2,
  2,
  4, 4,
  1,

  2,
  2,
  2,
  2,
  2,
  4, 4,
  8, 8, 16, 16, 8, 8, 16, 16,
  8, 8, 16, 16, 8, 8, 16, 16,

  4, 16, 16, 8, 8, 16, 16,
  8, 16, 16, 16, 8, 8, 16, 16
};

void setup()
{
  pinMode(BUZZER_PIN, OUTPUT);
}

void loop()
{
  int size = sizeof(durations) / sizeof(int);

  for (int note = 0; note < size; note++) {
    //to calculate the note duration, take one second divided by the note type.
    //e.g. quarter note = 1000 / 4, eighth note = 1000/8, etc.
    int duration = 1000 / durations[note];
    tone(BUZZER_PIN, melody[note], duration);

//to distinguish the notes, set a minimum time between them.
//the note's duration + 30% seems to work well:
int pauseBetweenNotes = duration * 1.30;
delay(pauseBetweenNotes);

//stop the tone playing:
noTone(BUZZER_PIN);
  }
}

t p u . p r e s s . s e n s o r

To create a DIY press sensor, I started with a 3D-printed sphere made from TPU, a flexible and durable material ideal for pressure-sensitive applications. Using a 4 cm diameter for the ball, I modified the settings in Cura slicer to remove the top button layers and the wall thickness to make the structure lighter and more responsive. I chose a 20% Gyroid infill pattern, which provided a consistent yet flexible lattice inside the ball, enabling it to deform under pressure while maintaining its shape. Once the sphere was printed, it served as the outer shell for the sensor.

The next step involved integrating conductive threads into the ball to act as the sensing elements. I carefully sewed these threads inside the TPU sphere, ensuring they crisscrossed the interior without being visible from the outside. This internal threading created a network of connections that would register changes in resistance when the sphere was pressed, as the conductive threads made varying contact. This concealed design not only protected the threads but also maintained the ball's clean and functional appearance.

Once the physical sensor was complete, I began testing its output by reading the analog values generated by the resistance changes. Using a microcontroller, I analyzed the range of values produced when pressing the sphere with different forces, identifying thresholds for interpreting the input.

After understanding the sensor's behavior, I connected its output to a servo motor, programming it to respond with two distinct movements based on the sensed pressure. A light press moved the servo to 30 degrees, while a firmer press rotated it to 90 degrees, demonstrating the sensor's responsiveness in controlling external devices.

#include <Servo.h>

// Pin connected to the stretch sensor
const int stretchSensorPin = A0; // Analog pin A0
// Pin connected to the servo motor
const int servoPin = A2;         // Digital pin for the servo

// Create a servo object
Servo myServo;

void setup() {
  // Attach the servo to the specified pin
  myServo.attach(servoPin);

  // Initialize serial communication for debugging
  Serial.begin(9600);
}

void loop() {
  // Read the analog value from the stretch sensor
  int sensorValue = analogRead(stretchSensorPin);

  // Determine the servo angle based on the sensor value
  int servoAngle = (sensorValue < 15) ? 30 : 90;

  // Move the servo to the calculated angle
  myServo.write(servoAngle);

  // Print the sensor value and the servo angle to the Serial Monitor
  Serial.print("Sensor Value: ");
  Serial.print(sensorValue);
  Serial.print(" -> Servo Angle: ");
  Serial.println(servoAngle);

  // Delay for stability
  delay(50);
}

<

This project combined digital fabrication, soft robotics, and electronics, resulting in a simple yet effective pressure sensor. The integration of conductive threads within the 3D-printed TPU structure provided a flexible and durable design, while the responsive servo output showcased its potential in interactive applications.

m a g i c . g l o v e

i d e a t i o n

In 2017, Yamaha redefined the boundaries of artistic expression by transforming dance into music through cutting-edge AI technology. The system seamlessly translated Kaiji Moriyama’s movements into piano melodies, creating a mesmerizing performance that bridged the physical and auditory realms. This groundbreaking project wasn’t merely about technology; it explored the profound possibilities of human motion as a medium for storytelling and creative expression.

Inspired by this interplay of movement and output, my work delves into similar themes of transformation and interaction. By integrating a stretch sensor into an embroidered glove, I explored how simple hand gestures could give rise to dynamic, creative responses. This ideation became the foundation for a project that reimagines how human gestures can connect with technology to unlock new forms of expression and motion.

p r o c e s s

The Magic Glove project explores the exciting intersection of wearable technology, textiles, and interactive art. The idea was to create a stretch sensor by embroidering conductive threads with resistance under 100 ohms onto a lace glove. This sensor, responsive to hand movements, could control outputs like sound or motion, demonstrating how textiles can become functional components of a creative system. Using the Adafruit Flora board—a compact, wearable microcontroller designed for e-textiles and wearable projects—I was able to integrate this sensor into a working prototype.

The glove’s embroidered stretch sensor, created on one part of the lace glove, was designed to detect changes in resistance when stretched. For its first test, I connected the sensor to a speaker, imagining that the hand’s movements could modulate sound. However, the sound output was too low, which led me to rethink its application. Drawing inspiration from my earlier work with stretch sensors during the e-textile week assignment—where I successfully used a piezo sensor—I pivoted toward a more visually dynamic outcome.

I decided to craft an origami bird as the output and integrated a servo motor inside to give it lifelike motion. Connecting the stretch sensor on the glove to the servo motor via the Flora board, I mapped the sensor’s readings to control the bird’s movements. As I moved my hand, the bird responded with motions. This setup highlighted the potential of combining wearable technology with creative projects to produce engaging and responsive outcomes.

#include <Servo.h>

const int stretchSensorPin = A9;
const int servoPin = A7;          

// Create a servo object
Servo myServo;

void setup() {
  // Attach the servo to the specified pin
  myServo.attach(servoPin);
  // Initialize serial communication for debugging
  Serial.begin(9600);
}

void loop() {
  // Read the analog value from the stretch sensor
  int sensorValue = analogRead(stretchSensorPin);

  // Map the sensor value from the range 0-20 to 0-180 degrees
  int servoAngle = map(sensorValue, 0, 100, 0, 90);

  // Constrain the angle to the valid range of 0 to 180 degrees
  servoAngle = constrain(servoAngle, 0, 180);

  // Move the servo to the calculated angle
  myServo.write(servoAngle);

  // Print the sensor value and the mapped servo angle
  Serial.print("Sensor Value: ");
  Serial.print(sensorValue);
  Serial.print(" -> Servo Angle: ");
  Serial.println(servoAngle);

  // Delay for stability
  delay(50);
}

One challenge I encountered was the instability of the conductive thread connections. During hand movements, the thread connections would often lose contact, disrupting the output and limiting the project’s reliability.

Reflecting on this, I concluded that future iterations of the Magic Glove should incorporate wireless communication, such as Bluetooth or Wi-Fi, to enhance stability and expand functionality. This adjustment would eliminate the reliance on conductive threads for signal transmission, making the system more robust and versatile. The project’s outcome demonstrated the incredible potential of combining e-textiles with interactive design, opening doors for further exploration in wearable technology and creative applications.

p o s t . f a c t u m

During te weekly review with the remote instructor Anastasia Pistofidou I discovered the MiMU project.

The MiMU Gloves, created by Imogen Heap, are an innovative tool that transforms hand gestures into sound, revolutionizing live music performance. Designed for intuitive expression, the gloves integrate advanced technology with artistic practice, enabling performers to compose and interact with music in real-time. Used by artists like Ariana Grande and Lula.xyz, they showcase the potential of wearable electronics to redefine creative engagement and connect the artist directly to their medium.

In the context of interactive scenography, the MiMU Gloves can enhance performances by enabling the performer to shape sound and visuals simultaneously through movement. They offer a way to integrate music, light, and digital projections into a cohesive, responsive environment. This convergence transforms static elements of scenography into active participants in the narrative, creating immersive experiences where the boundaries between the performer and the stage dissolve.

Building on the principles of the MiMU Gloves could form the basis of my final project in Fabricademy. By exploring wearable electronics for interactive scenography, I could design a system that connects performers with their environments, creating a multisensory interaction between sound, visuals, and gestures. This approach aligns with Fabricademy’s ethos of innovation and sustainability, offering new directions for integrating technology with artistic expression.