Liquid metal-based flexible and stretchable electronics have the ability to sense, power, and communicate, making them suitable for non-intrusive wearable devices for monitoring of and augmenting human activities in everyday life. However, incorporating these functionalities into body sensor networks is challenging due to limitations in fabrication methods that are both high throughput and accessible, as well as the durability of the materials used, which need to withstand repeated mechanical stresses in daily use. In this study, we present a novel approach to patterning liquid metal using laser-induced graphene residue as a non-wetting barrier. The proposed method can resolve liquid metal traces up to 200 μm wide. The electrical and mechanical properties of the liquid metal traces enable these electronic devices to stretch up to 40% and bend with radii as small as 5mm, ensuring reliable connectivity for wearable human-machine interfaces. Furthermore, by transferring optimized liquid metal patterns onto a PDMS substrate, we successfully demonstrate a range of soft electronic devices that enable accessible and conformal interface with the human body without mechanical limitations.

We present a novel intercorporeal experience – an intersubjective haptic voice. Through an autobiographical design inquiry, based on singing techniques from the classical opera tradition, we created Corsetto, a kinesthetic garment for transferring somatic reminiscents of vocal experience from an expert singer to a listener. We then composed haptic gestures enacted in the Corsetto, emulating upper-body movements of the live singer performing a piece by Morton Feldman named Three Voices. The gestures in the Corsetto added a haptics-based ‘fourth voice’ to the immersive opera performance. Finally, we invited audiences who were asked to wear Corsetto during live performances. Afterwards they engaged in micro-phenomenological interviews. The analysis revealed how the Corsetto managed to bridge inner and outer bodily sensations, creating a feeling of a shared intercorporeal experience, dissolving boundaries between listener, singer and performance. We propose that ‘intersubjective haptics’ can be a generative medium not only for singing performances, but other possible intersubjective experiences.

We present FibeRobo, a thermally-actuated liquid crystal elastomer (LCE) fiber that can be embedded or structured into textiles and enable silent and responsive interactions with shape-changing, fiber-based interfaces. Three definitive properties distinguish FibeRobo from other actuating threads explored in HCI. First, they exhibit rapid thermal self-reversing actuation with large displacements (∼40%) without twisting. Second, we present a reproducible UV fiber drawing setup that produces hundreds of meters of fiber with a sub-millimeter diameter. Third, FibeRobo is fully compatible with existing textile manufacturing machinery such as weaving looms, embroidery, and industrial knitting machines. This paper contributes to developing temperature-responsive LCE fibers, a facile and scalable fabrication pipeline with optional heating element integration for digital control, mechanical characterization, and the establishment of higher hierarchical textile structures and design space. Finally, we introduce a set of demonstrations that illustrate the design space FibeRobo enables.

In this pictorial, we describe an auto-biographical design process that led to the fabrication of a soft robotic wearable for lower limb movement guidance that we designated Wearable Choreographer. We first explored the design from a first-person perspective and then shared it with four dancers. Our experiments illustrate how the wearable both constrains and inspires the dancers towards new ways of performing, challenging them to rethink their movements. Our design inquiry contributes with reflections on soft robotics that uncover the challenges and prospects designers and researchers in Human-Computer Interaction face when designing, prototyping and experimenting with such technologies for embodied interactions.

In this paper we present our late-breaking work in leveraging a soft robotic fiber-based wearable system for the transposition of somatic knowledge and experience within the context of singing. We examine how the transposition of the physical nuances of singing from one body to another, or multiple other bodies, is possible by engaging with a soma design process. We share our findings in the context of experience transposition, resulting in a preliminary prototype: a pneumatically controlled soft robotic garment—called ADA (short for air-driven actuator) for re-enacting felt experiences of singing onto the human body. We contribute with 1) our initial findings in transposing singing experiences between and across bodies, and 2) a preliminary wearable robotic garment to mediate intersomatic experiences of singing.

Fiber – a primitive yet ubiquitous form of material – intertwines with our bodies and surroundings, from constructing our fibrous muscles that enable our movement, to forming fabrics that intimately interface with our skin. In soft robotics and advanced materials science research, actuated fibers are gaining interest as thin, flexible materials that can morph in response to external stimuli. In this paper, we build on fluidic artificial muscles research to develop OmniFiber - a soft, line-based material system for designing movement-based interactions. We devised actuated thin (øouter < 1.8 mm) fluidic fibers with integrated soft sensors that exhibit perceivably strong forces, up to 19 N at 0.5 MPa, and a high speed of linear actuation peaking at 150mm/s. These allow to flexibly weave them into everyday tangible interactions; including on-body haptic devices for embodied learning, synchronized tangible interfaces for remote communication, and robotic crafting for expressivity. The design of such interactive capabilities is supported by OmniFiber’s design space, accessible fabrication pipeline, and a fluidic I/O control system to bring omni-functional fluidic fibers to the HCI toolbox of interactive morphing materials.

Menarche is the first occurrence of menstrual bleeding and it usually begins between the ages of 9-15. This makes menarche a crucial transition among other social, physiological and behavioural changes during puberty. In this soma-based research-through-design project we design an open-ended prototyping kit: Menarche Bits. The aim of Menarche Bits is to open a design space for young adolescents to create body-worn technologies that support them in making space for their experiences of menarche and trusting their menstruating bodies. Menarche Bits consists of heat elements and shape-changing actuators that can be worn directly on the body by adhering to the skin or being inserted into pockets in a stretchable fabric as part of a garment. We describe the soma design process behind Menarche Bits as an example of how body-worn technologies can intimately interact with the body and its movement, temporality and material changes.