Dec 082014
 

By Amanda Sparling

A panic attack is a sudden surge of overwhelming anxiety and fear. Your heart pounds and you can’t breathe.

Relaxation techniques such as meditation, controlled breathing, and grounding can reduce anxiety and increase feelings of relaxation and emotional well-being. However, it is not always easy for a victim of a panic attack to be aware of what is physically happening to them at the onset of the attack and therefore they are unable to treat and calm themselves in the moment.

Additionally, panic attacks rarely happen in a controlled or private environment. Being exposed during a panic attack can heighten the overwhelming feelings of anxiety and fear and lead to complications if an attack occurs in an inopportune time such as during work or in a social setting.

Using sensors that measure specific physiological functions such as heart rate, biofeedback teaches an individual who suffers from Panic Attacks or Panic Disorder to recognize the body’s anxiety response and learn how to control them using relaxation and grounding techniques.

This project attempts to address the needs of a person who suffers from frequent panic attacks or panic disorder by allowing them to be aware of their physiological state in order to reduce the symptoms of a panic attack and aid in reducing the duration of a panic attack. Panic attacks are distinguished from other forms of anxiety by their intensity and their sudden, episodic nature. Through the Anxiety Cuff device a victim can take control of an attack and return to normal functionality as quickly as possible.

A person who is using the anxiety cuff will wear the Polar Heart Rate Transmitter which will measure their heart rate every second.

They will put the cuff on their arm, as pictured below, and go about their usual daily activities.

Screen Shot 2014-12-08 at 6.22.47 PM

While an individual’s heart rate remains constant, there will be no change in the device and some light to moderate movement and exercise will have no effect on the device as well. However, as the wearer begins to experience the symptoms of a panic attack their heart rate will begin to dramatically increase.

Once the Heart rate increases to an exceptionally high level, the Arduino triggers the vibe board to apply vibration to the pressure point at the underside of the wearer’s wrist.

This notifies the wearer that they are experiencing the physiological symptoms of a panic attack and allows them to begin integrating relaxation and grounding techniques to halt the attack at it’s onset.

Screen Shot 2014-12-08 at 6.22.26 PM

If the attack is acute, and continues to progress the vibrating motor will continue to apply pressure to the wearer’s wrist while the heart rate is elevated. What this continued pressure will do is to allow the wearer to focus on the vibration and the physical environment – grounding themselves and allowing them to begin the process of re-associating their internal and physical states to help the attack subside.

Once the heart rate had reduced the lilypad vibe board will turn off, and the wearer can resume their normal activites.

Screen Shot 2014-12-08 at 6.22.58 PM Continue reading »

Dec 082014
 

My project is a gamer shirt purchased in the boy’s section of a clothing store (since there were none in the girl’s section) in which I was to place an LED matrix that would display feminine images and print the word girl. That was the plan, at least. Then reality hit.I went through a process of researching, purchasing, assembling, and coding several LED matrixes, all with unsatisfactory results.  Finally, I switched to an LED cord on the outside of the shirt, rather than the inside, and I have had to use a 12-volt plug-in to make it work.

In her work, “Fashion and Sexual Identity”, Samantha Brennan states, “heterosexuality is a position that is so unremarkable among heterosexuals that it becomes invisible as a structure”. The same holds true in gamer fashion. Masculinity is the norm and femininity is the other, rendering the feminine invisible. Thus, bright flashing LED seems like a good way to become visible.

The amount of knowledge I have gained from the process is incredible. I began this semester with no experience in sewing, coding, or soldering. Now I feel like I have a beginner’s level skill in all three. I honestly enjoy making and maker culture. There is such a wide variety of ideas out there and so many things that can be done and created. I’m sure that I will continue to develop the skills that I have learned in this class and apply them to future endeavors.  It was the experience of making that taught me the most about maker culture and how to develop wearable technology. I was able to watch videos on soldering and apply those skills quickly. Ultimately, for my actual finished project, the sewing skills proved to be the most valuable, as hand stitching the LED wire into the shirt was required.

2014-12-08 17.26.48 2014-12-08 17.27.24

Dec 082014
 
Ariana Berdy's circuits project. A felt strawberry cake

Photo by Ariana Berdy

As a busy college student I often forget or don’t have time to eat. Often times I have observed that society in general gets so wrapped up in the things that they are doing or need to get done that they place a minimal importance on eating. This food-comes-second lifestyle is unhealthy. Making a habit of skipping meals can lead to negative consequences such as physical fatigue; mental exhaustion; and , when you finally do eat, overeating and calorie loading (Skipping meals can have negative consequences).

In response to the “food comes second” way of life I have created a project that directly deals with a person’s relationship to their meals. My project idea is to create a “health bar” or “fuel indicator” for a person to wear. This indicator acts as a timer. The timer measures the time from their last meal or snack and counts down to when the wearer’s next meal should be. The health bar then visually represents the drain of energy as time passes between meals. Continue reading »

Dec 082014
 
Final hoodie image

Final hoodie image

By Amanda Swan

The Game Over Hoodie is based on the idea that people who play video often waste time playing when they could be doing other things. I’m personally guilty of this, and I know many of my friends who play games also fall prey to the distractions a good game presents, so I decided to make something that would us keep track of time easier than the disruptive use of checking the time on a cell phone or something similar. Games are, after all, usually meant to be immersive. Finding a way to communicate information without distracting
from gameplay was paramount, so I decided to use Adafruit’s Neopixel 12 LED ring and model it after a health bar. Usually, a health bar is an actual bar, like
Bioshock 2’s health bar, but they have also been round, like in Kingdom Hearts. Using a ring instead of a bar would make it easier to adjust the sleeves
to the length the wearer wants; it would be difficult to push up the sleeves away from your hands if there was a big bar in the way.

Health bar images

Kingdom Hearts health bar (top) and Bioshock 2 health bar.

Continue reading »

Dec 082014
 

By: Thomas Hall

The objective of my project, The Money Shirt, is to draw attention to the extreme disproportion of wealth across the world. Because of geographic and socioeconomic boundaries, it is difficult to conceptualize the vast disparity in spending power in other nations. The Money Shirt is designed to create a wearable, visual aid that does exactly that. Designed and ordered through Uberprints, the front text reads, “Today alone, I’ve spent more than the monthly minimum wage of:” and is followed by 6 countries in order of the average wage of unskilled laborers, bottommost being Uganda, and topmost being Mexico. Indonesia recently voted to raise its minimum wage to $206 dollars a month, besting Mexico’s $126, so the order will have to be viewed as more of a perception of the countries’ worth, instead of concrete order of incomes. Researching the minimum wages was a challenge in itself, as countries like Haiti fluctuate rapidly, and others like Uganda have such massive inflation rates that one US dollar is almost 3,000 Ugandan shillings. Beside each country is an LED connected to an Arduino Lilypad and a button. With each press of the button, the next LED lights up in order from bottom to top. While it would be impractical to manually activate the LEDs every time the wearer actually met the subsequent minimum wage, the existing design is effective at starting conversation about wealth inequality.

The finished Money Shirt, front.

The finished Money Shirt, front.

After receiving the shirt, I laid out the Arduino Lilypad, button, and LEDs, and drew prospective lines on the interfacing with pencil where the conductive thread would run. My first issue arose when I realized that the interfacing I had bought, which was labeled “non-fusible” was actually very fusible indeed. It was also far too thin not to tear. I bought some thicker material, and it has worked well. Next, I discovered that one of my LEDs was failing to light. I switched LEDs, and still had the same problem. After venting on Twitter and testing two separate “pedals” on the Arduino, I looked closer at my code and discovered that while doing preliminary testing, I had deleted the 6th LEDs “int” setup indicator. Replacing this line of code fixed the issue immediately, and I was able to light all LEDs using alligator clips.

The working circuit. Battery to the right, button at the top.

The working circuit. Battery to the right, button at the top.

The code functions to turn each LED on in sequence, using each numbered press up to 6, then turns them all off on the 7th press. I used the lithium-ion battery included in the Lilypad kit. It provides plenty of power for the 6 LEDs. After successfully testing the LEDs, I hand-sewed them through the interfacing using conductive thread. The Arduino and LEDs are sandwiched between the interfacing and the shirt, so that they do not come in contact with skin. Contact had the possibility of causing a short. When using a sewing machine to stitch the interfacing to the shirt, I made sure to leave a section of the interfacing free so that I may reach in and turn the Arduino on and off, as well as swap out the battery. Overall, the hand-stitching was time consuming, and the conductive thread was prone to tangles and breaks, but I found it effective when secured evenly and tightly to the nodes of the LEDs and Arduino. My previous project had the issue of crossed threads, due to the confined spaces, but my drawn paths ensured that each connection led away from any others.

Almost done

The interfacing about to be sewn into the shirt.

Of all the pieces that we studied this semester, Sindelokë’s blog post, “Of Dogs and Lizards: A Parable of Privilege,” was one of the most relevant to my project. The post states that “Having privilege isn’t something you can usually change, but that’s okay, because it’s not something you should be ashamed of, or feel bad about” (Sindelokë). The Money Shirt isn’t meant to shame the wearer or those around her or him, but instead to bring as much attention as possible to the hardships and differences of groups that we may not typically consider. There is already something ironic about having a shirt custom designed and printed, ordering electronics, and using sewing machinery and a laptop to make a product based on exposing monetary privilege. This irony was not lost on me, but in a way it serves to further accentuate the mission statement of the Money Shirt. The piece “Sweatshops and Cynicism” acknowledges that “clothes can express one’s position of social power, and that ability is one driver behind the desire for new trends” (Pierlott). This drive can be seen in the evolution of athletic wear from performance-based garments to everyday attire, often with predominant logos indicating high price tags. The Money Shirt can hopefully symbolize a similar drive centered around mindfulness of financial independence.

Another article that we reviewed in class, “SXSW Where High-Tech Meets High-Fashion,” asserts that for wearables to succeed, they have to be as much about fashion as about functionality. The driving quote that made me create an aesthetically pleasing shirt states, “if we are going to be making these wearable devices and gadgets and we’re asking people to wear them, they need to look good” (Silverman). While the project is about bringing monetary privilege to light, it is also an experiment in wearable technology, and therefore should, in my opinion, push the boundaries of subtlety while still incorporating technological aspects.

 

Below is monetary information, as well as sources:

Uganda

Less Than $1 (http://goo.gl/3RwRfj)

Cuba

$8.49 (http://goo.gl/dMneB9)

DR Congo

$65 (http://goo.gl/KBf4Om)

Indonesia

$206 (Last year saw minimum wage gains of 44 percent in Jakarta, leading employers to cut 200,000 jobs) (http://goo.gl/tezsv1)

Haiti

$90 (http://goo.gl/K0QrCP)

Mexico

$126 (After a 2015 increase of 23%) (http://goo.gl/tqc6BL)

 

 

Silverman, Lauren. “SXSW Where High-Tech Meets High-Fashion.” Art + Seek. March 13, 2013. http://goo.gl/q4qsPe

Sindelókë. “Of Dogs and Lizards: A Parable of Privilege.” January 13, 2010. http://goo.gl/uV7TMn

Pierlott, Matthew F. “Sweatshops and Cynicism.” Fashion – Philosophy for Everyone: Thinking with Style. Ch. 11. 1st ed. Blackwell Publishing Ltd. 2011. http://goo.gl/uvXwBr

Dec 082014
 

IMG_0406My project in essence was to make a wearable fashion technology that addressed the issue of gender identity by attempting to break gender roles. I believe the project was successful in doing this and raised a number of issues

Barnard says that fashion is not fashion until it can be placed within the context of a social structure [Barnard 19]. Ultimately, this allows people to attach value to what becomes fashion.

Barnard says that fashion is a means for a cultural group to shape its identity. Furthermore, fashion can function at the level of the individual or the level of society [Barnard 21]. Throughout some of the readings there arises the white male identity. There comes the question of if I am one of these that suffer from the tunnel vision associated with white male privilege. The most important issue this raises is that fashion results in assumptions or generalizations that are attributed to people.

Russell describes a social needIMG_0411 to conform to a group mentality where society is broken down based on social status. It goes on to describe fashion as a means of fulfilling this need. It follows then that fashion must be understood as cultural artifacts [Russell 38]. I think it would not be possible to approach the topic of gender isolated from other issues such as social status. However, the idea of a group mentality or collective is interesting to my wearable. I think it is important to think of ourselves in terms of group psychology. My project addresses this issue as well as the idea of being othered, the antithesis of conforming to a prescribed gender role. Carrying on with this idea, I think it also has the effect of thinking about rejecting gender binarism. It questions the standard of being heterosexual and masculine.

Barnard describes a social need present in people to individualize themselves and set themselves apart from society. Thus, fashion is dependent on the conditions set by society [Barnard 12]. I think that there is no singular logic then that defines cultures and therefore this wearable project could be repeated in the context of a different culture.

This implies that fashion is therefore an inescapable part of any given culture. Fashion is therefore relativized by a given culture so that fashion cannot be understood without this social context [Russell 38]. This was the single most significant factor during the experience of my project. If we take the assumption that I am privileged in the sense of being a white male, this would help describe any anxiety that came about during the project. This is because I perceive that I am committing a taboo and there is a response.

Barnard describes how society seeks to de-individualize people and in response to this people promote the expression of the individual [Barnard 13]. I think that this somehow plays into the group mentality phenomenon that I have described. In this way the anxiety that I have described about the process can be borne out of a fear to individualize myself to an excessive degree.

Barnard would describe it as being tied to the inclusion of an individual into specific societal subgroups and at the same time being individualized [Barnard 12]. This might have something to do with the term ‘cool’ that is used by Russell that relates to a person being easy in both dimensions of people identifying with groups and the individual.

Barnard describes clothing and fashion as the means to which social relations between peoples occur [Barnard 9]. As a consequence of this I think that the social relations that might exist between different peoples or cultures can be applied here. The anxiety I felt towards the project could be borne out of a fear for consequences stemming from breaking gender roles. This reveals something about the social structure to which I am a part of. It begs the question of what the consequences are in the case of this wearable.

Another question that is raised by Barnard is why would there be reluctance by a male in Western societies to wear an item of clothing that is labeled feminine. Barnard adequately describes a fear of being branded as being effeminate or a homosexual [Barnard 25]. I think there is the idea of taboo that might be used to describe this phenomenon. This is of course the essential issue of my wearable project involving the idea of breaking gender roles.

When Entwistle describes the way in which people identify gender as being arbitrary this again goes back to the idea that fashion is a relative term and there is no objective standard on the term [Entwistle 141]. When an individual challenges these gender associations, they are then challenging the culture to which the gender associations are attributed to.

Entwistle describes how self-consciousness in appearance can be caused by not fitting in with prescribed cultural forms which are the cause for preconceptions and limitations in society [Entwistle 150]. A question arises of how my wearable relates to existing preconceptions and if it lies outside of these. I mentioned before the anxiety I felt which I attribute to fear of committing social taboo.

In my project, I seemed to have the self-consciousness about labels, and I think in the process was able to confront my privilege as a white male. I confronted the reality of the actual world and the preconceptions. Identity in the actual world is heavily scrutinized by society. This is to be expected and it can be related to the topic in class of online environments and the absence of these limitations that society has built for itself.

Entwistle says that androgyny in fashion is not to be confused with an absence of gender differentiation but merely tests the boundaries [Entwistle 171]. I would agree with the position that androgyny is in short supply, at least in the culture I live in. I suspect that in this culture there is a significant polarizing effect that in general seeks to clearly define gender. This can be a difficult endeavor as the relativistic nature of gender would imply.

One of my concerns in my project was that it would be considered androgynous. I think ultimately that there is a very fine line that encompasses androgyny. Merely labeling something as a women’s clothing has the potential to push it over that line.

Ultimately, I think fashion is dependent on existing social conditions and these existing conditions are necessary when considering gender in relation to fashion.

 

References:

Barnard, Malcolm. “Etymologies and Definitions of Fashion and Clothing” in Fashion as Communication 8 – 26 (17 pps)

Entwistle, Joanne. “Fashion and Gender” in The Fashioned Body 140 – 180 (41 pps)

Russell, Luke. “Tryhards, Fashion Victims, and Effortless Cool” in Fashion: Philosophy for Everyone 37 – 50 (14 pps)

 

 

Dec 072014
 

Tyranny of the Arbitrary

Hardware

This project aims to recreate a simplistic version of a fitness tracker. Instead of being made for humans, however, this device is designed to be worn by a dog. The garment is a collar made from fabric and garment interfacing. The collar is constructed in such a way that two the two pieces of fabric are sewn along one of the long edges and can open like a book. The LilyPad and accelerometer are sewn to the inside of the “book” and are connected via conductive thread. When worn, the top flap is folded over the electronics, and snaps to the other piece of fabric to provide protection. In order to record the data collected from the accelerometer, a Sparkfun OpenLog with a micro SD card attach to the FTDI connector. Data is stored on the SD card as a text file. At least this is how the hardware setup is supposed to work. There were some problems recording data to the OpenLog. Sparkfun customer support was not able to help me resolve the issue. Sparkfun was kind enough to test another OpenLog and sent it to me. However, I was unable to record data with this hardware as well. As such, the LilyPad was connected to a computer via the USB cable. Data in the serial monitor was copied to a text file.

Continue reading »

Dec 072014
 

20141201_190658

It is acknowledgeable that throughout human history, people have always recognized and maintained a sense of privacy. Nestled betwixt a plethora of issues facing this realization is the idea that there does not exist a single and precise definition of what exactly privacy constitutes. Dated research (circa 1881) presented an oversimplified yet often quoted idea that privacy was the “right to be let alone” (Craven Jr, 1979). It wasn’t until a few years later that the idea that privacy deserved legal protection began to circulate, spawning mass intellectual debates on the issue. Samuel Warren and Louis Brandeis produced a highly influential essay in Harvard Law Review in 1890 that introduced the fundamental principle that “the individual shall have full protection in person and in property… it is our purpose to consider whether the existing law affords a principle which can properly be invoked to protect the privacy of the individual; and, if it does, what the nature and extent of such protection is” (p. 37). In American society, as well as other western cultures, one of the most clear cut and expected notions of privacy involves the ability to control exposure of one’s body (Konvitz, 1966). The author discusses how culturally we are made to believe that being naked is something to be seen as shameful (as passages from the bible give way to this), and we have a right to not be exposed without or consent. While this project doesn’t focus on the distribution of anything pertaining to a violation of someone’s right to maintain privacy of their naked body, it does touch on having a right to not be publicly displayed to others, whether it be in concern to their body, clothing, etc., within certain public or private spheres without their consent. In discussing video voyeurism, Lance Rothenberg said, “The failure of criminal law to recognize a legitimate expectation of privacy in the public space tacitly grants the video voyeur a license to act with impunity, and leaves victims with little or no recourse” (2011, p. 1146). Voyeurism in this case is the action of spying on persons engaged in intimate behavior, such as undressing or other sexual activity considered to be private nature.

Continue reading »

Dec 072014
 

musichoodie_completeThe original idea behind the Theme Music Hoodie was to be able to have a quick way to a.) share your favorite music with others and b.) carry your own soundtrack with you wherever you go. The hoodie has an LilyPad MP3 and two speakers sewn into a piece on lining on the inside of the front pocket. Five buttons are located on the left side of the pockets, and each button triggers a different piece of music loaded from a micro SD card.

Music is closely tied with one’s identity, emotions, and culture. It can play a significant role in not only shaping who we are, but also how (we want) others to see us. Many romantic couples have a song they call their own, and most people have a favorite artist or band, even if it changes frequently. People wait in long lines for the doors to happen before a concert. People scream and cry during performances. Religious music has long been a mainstay, with many of the West’s greatest composers wrote songs of worship. Break-up songs and movie soundtracks have a unique ability to draw out the emotions of an audience.

What you wear signifies something to those around you. While Elizabeth Wilson was expressly writing about dreadlocks in “Oppositional Dress”, the sentiment remains the same for any style – it “is an open and deliberate sign of affiliation and both friends and foes recognize it as such” (Wilson, 255). One’s style categorizes him into a specific cultural group of like-minded individuals (Barnard, 20). In this way, fashion goes hand-in-hand with music. Many people connected to a particular music scene already “wear” their music on their sleeves in the form of band/music shirts and clothing, pins, buttons, accessories, and patches. The Theme Music Hoodie follows this kind of DIY aesthetic, complete with a few patches ripped from old t-shirts and some pins I had lying around and the added bonus of pushing the music/fashion idea a little further.

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