RaveNET connects people to music, enabling musicians to modulate sound using signals produced by their own bodies or the bodies of others. We present three wearable prototype nodes in an inaugural RaveNET performance: Bones, an anti-corset, uses capacitive sensing to detect stretch as the singer breathes. Tendons, a half-glove, measures galvanic skin response, pulse, and movement of the bass player’s hands. Veins, a cap with electrodes for surface electromyography, captures the facial expressions of the drum machine operator. These signals are filtered, normalized, and amplified to control voltage levels to modulate sound. Together, musicians and nodes form RaveNET and engage with shared liminal experiences. In designing these wearables and evaluating them in performance, we reflect on our creative processes, spaces between our different bodies, our presence and control within the network, and how this made us adapt our movements in order to be noticed and heard.

We present our musical performance exploration of liminal spaces, which focuses on the interconnected physicality of bodies in music, using biosignals and gestural, movement-based interaction to shape live performances in novel ways. Physical movement is important in structuring performance, providing cues across musical ensembles, and non-verbally informing other musicians of intention. This is especially true for improvised work. Our performance involves the use of our musicking bodies to modulate audio signals. Three bespoke wearable nodes modulate the performance through control voltages (CV) and interface with specific technical aspects of our instruments and techniques: 1) an “anti-corset” that measures the expansion and resistance of Reed’s abdomen while singing, 2) an augmented glove that assists Strohmeier’s bass/guitar signal routing across his pedal board and modular setup, and 3) a cap-like device that captures Martinez-Missir’s subtle facial expressions as he manipulates his modular synthesizer and drum machine setup. Through these performances we explore the notion of control in musical improvised performance, the interconnectedness and communications between our ensemble as we learn to collaborate and interpret each others’ bodies in this novel interaction.

Many existing explorations of wearables for HCI consider functionality first and wearability second. Typically, as the technologies, designs, and experiential understandings develop, attention can shift towards questions of deployment and wearability. To support this shift of focus we present a case study of the iterative design of electrode sleeves. We consider the design motivations and background that led to the existing, prototype EMS sleeves, and the resultant challenges around their wearability. Through our own design research practice, we seek to reveal design criteria towards the wearability of such a sleeve, and provide designs that optimise for those criteria. We contribute (1) new electrode sleeve designs, which begin to make it practicable to take EMS beyond the lab, (2) new fabrication processes that support rapid production and personalisation, and (3) reflections on criteria for wearability across new eTextile garments.

Motion capture technology is widely used in movement-related Human-Computer Interaction, especially in digital arts such as digital dance performance. This paper presents a knit stretch sensor-based dance leotard design to evaluate the locations where the sensors best capture the movement on the body. Two studies are undertaken: (1) interviews to determine user requirements of a dance movement sensing system; (2) evaluation of sensor placement on the body. Ten interviewees including dancers, choreographers, and technologists describe their requirements and expectations for a body movement sensing system. The centre of the body (the torso) is determined to be the area of primary interest for dancers and choreographers to sense movement, and technologists find the robustness of textile sensors the most challenging for textile sensing system design. A dance leotard toile is then designed with sensor groupings on the torso along the direction of major muscles, based on the interviewees’ preferred movements to be captured. Each group of the sensors are evaluated by comparing their signal output and a Vicon motion capture system. The evaluation shows sensors which are constantly under tension perform better. For example, sensors on the upper back have a higher success rate than the sensors on the lower back. The dance leotard design was found to capture the movements of standing lean back and standing waist twists the best.

Studies combining psychotherapy with psychedelic drugs (Ds) have demonstrated positive outcomes that are often associated with 'Ds' ability to induce 'mystical-type' experiences (MTEs) i.e., subjective experiences whose characteristics include a sense of connectedness, transcendence, and ineffability. We suggest that both PsiDs and virtual reality can be situated on a broader spectrum of psychedelic technologies. To test this hypothesis, we used concepts, methods, and analysis strategies from D research to design and evaluate 'Isness', a multi-person VR journey where participants experience the collective emergence, fluctuation, and dissipation of their bodies as energetic essences. A study (N=57) analyzing participant responses to a commonly used D experience questionnaire (MEQ30) indicates that Isness participants reported MTEs comparable to those reported in double-blind clinical studies after high doses of psilocybin and LSD. Within a supportive setting and conceptual framework, VR phenomenology can create the conditions for MTEs from which participants derive insight and meaning.

The Embodisuit allows its wearer to map signals onto different places on their body. Informed by embodied cognition, the suit receives signals from an IoT platform, and each signal controls a different haptic actuator on the body. Knowledge is experienced ambiently without necessitating the interpretation of symbols by the conscious mind. The suit empowers wearers to reconfigure the boundaries of their selves strengthening their connection to the people, places, and things that are meaningful to them. It both critiques and offers an alternative to current trends in wearable technology. Most wearables harvest data from their users to be sent and processed elsewhere. The Embodisuit flips this paradigm such that data is taken in through the body instead. Furthermore, we believe that by changing the way people live with data, it will change the type of data that people create.

The Embodisuit allows its wearer to map signals onto different places on their body. Informed by embodied cognition, the suit receives signals from an IoT platform, and each signal controls a different haptic actuator on the body. Knowledge is experienced ambiently without necessitating the interpretation of symbols by the conscious mind. The suit empowers wearers to reconfigure the boundaries of their selves strengthening their connection to the people, places, and things that are meaningful to them. It both critiques and offers an alternative to current trends in wearable technology. Most wearables harvest data from their users to be sent and processed elsewhere. The Embodisuit flips this paradigm such that data is taken in through the body instead. Furthermore, we believe that by changing the way people live with data, it will change the type of data that people create.

In this studio, we will improve our tailoring skills in order to better integrate technology into clothing. Leveraging the volumetric nature of clothing, we will create eTextile interfaces that fit the shape of the body and are designed around how bodies move. This studio will consist of a short masterclass led by an expert fashion designer followed by materials experimentation and working on individual projects. We will introduce and demo a variety of ways to design and implement 3-dimensional eTextiles as well as how to integrate them with interactive systems.

Second Skin is a stretch electronic textile (eTextile) garment that adapts to the shape of the body. It is designed as both a provocative outer shell and a functioning undergarment, or foundation garment. Using elastic materials and building on techniques from cutting edge sportswear manufacturing, it facilitates wearable electronics which can recede from the users attention. We consider Second Skin as a platform that other researchers can use to add functionality of their own. In our exhibit, people can interact with a prototype version of Second Skin as well as with material samples to gain a better understanding of its look, feel and material capabilities.