Online Symposium

Royal College of Art, UK.

Bio: Elif is material scientist interested in nanoengineered aerospace composites, smart wearables and 3D textile preforms. Her research focuses on developing cutting-edge textile based materials and manufacturing methods. Elif received a BSc degree in Textile Engineering from Istanbul Technical University and her PhD in Material Science and Engineering from Sabanci University with the thesis 'Designed-In Molecular Interactions and Cross-linking Interface for Superior Nanocomposites: A Multi-Scale Insight'. She has performed computational studies during her PhD at University of Cambridge with Prof. James Elliott. Elif has received a prestigious Individual Marie Skłodowska-Curie Fellowship (MSCA-IF) to perform research on adaptive smart textiles. She is also affiliated to Istanbul Technical University, Aerospace Research Centre as co-founder of Nanomaterials, Textiles, and Advanced Composites Research Group. She has authored numerous articles and other papers and presentations for national and international conference proceedings, and filed international patents.

University of Glasgow, UK.

Abstract: Advancement in nanotechnology has made it possible to manufacture sensors, circuits and devices measuring only nano-meters in size. This development is creating an extraordinary opportunity to observe, interact, and optimize physical systems from the very bottom. Wireless communication and networking at nanoscale, however, faces new challenges not encountered in conventional sensor networks. For example, nanoscale antenna call for wireless communication in the Terahertz band, which encounters new path loss and noise phenomena posing significant challenges for many target applications of such networking. Nanoscale computing and communication is a new and rapidly growing field of research promoting collaboration between wireless networking, nanotechnology, and other fundamental disciplines. However, the research is in its early stages to realize communication and networking at the nanoscale. The panel will present the opportunities, challenges, and recent advancements of this new and growing inter-disciplinary field explicitly in healthcare and agricultural technology domains.

Bio: Qammer H. Abbasi, received his BSc and MSc degree in electronics and telecommunication engineering from University of Engineering and Technology (UET), Lahore, Pakistan (with distinction). He received his Ph.D. degree in Electronic and Electrical engineering from Queen Mary University of London (QMUL), U.K., in Jan., 2012. From 2012 to June 2012, he was Post-Doctoral Research Assistant in Antenna and Electromagnetics group, QMUL, UK. From 2012 to 2013, he was international young scientist under National Science Foundation China (NSFC), and Assistant Professor in University of Engineering and Technology (UET), KSK, Lahore. From August, 2013 to April 2017 he was with the Center for Remote healthcare Technology and Wireless Research Group, Department of Electrical and Computer Engineering, Texas A &M University (TAMUQ) initially as an Assistant Research Scientist and later was promoted to an Associate Research Scientist and Visiting lecture where he was leading multiple Qatar national research foundation grants. Currently, Dr Abbasi is a Reader with the James Watt School of Engineering, University of Glasgow, U.K., deputy head for Communication Sensing and Imaging group, Program Director for Dual PhD Degree, deputy theme lead for Quantum & Nanotechnology in the University’s Advance Research Centre, Co-Manager for RF and terahertz laboratory, lead for healthcare and Internet of things use cases with 5G Center Urban testbed and Project Manager for EON XR Centre.

Loughborough University, UK.

Abstract: Design in the light of mediatic nature of nano-materials: In spite of the common perception that nano-materials and nano-technologies were born once with Richard Feynman’s claim that “there is plenty of room at the bottom” in his lecture from 1959, there are proofs that some molecular phenomena were controlled back in the Middle Ages and that the filamentary structure of graphite has been first described in XIX century even thou there were no tools to visualize the phenomena. These examples help us to understand that nano-technologies are not really a new field, but the articulation of “materials by design” age (Bernadette Bensaude-Vincent, 2011). The description of “molecules as machines” (Jean-Pierre Sauvage, Sir James Fraser Stoddart and Bernard (Ben) L. Feringa, 2016) legitimates a performative and functionalist description of materials and allows the materials scientists to claim their position as designers. Still, if we are about to take a closer look at the relationship between nano-technologies and design, one should not only ask what nano-technologies’ objects are, but also what kind of performances the scientists are designing and what is the aim and the meaning of their endeavour. Even more, one might also ask in which way the notion of design as set up by Bauhaus School at the beginning of XX century is challenged in the context of performative and functional defined materials. Based on some historical references related to the definition of the medium of expression and the position of the arts and design in the society, this presentation will look into the mediatic nature of nano-technologies and will speculate about possible “uncomfortable situations” that might reveal of the nature of nano-materials.

Bio: Tincuta Heinzel is Senior Lecturer in Textiles at Loughborough University in the UK, after being previously a Fulbright Senior Researcher at the Textiles Nano-technology Laboratory of Cornell University in the USA. With a background in visual arts, design, and cultural anthropology, she made contributions as an artist, curator, designer, and researcher. For now, she is investigating the aesthetic issues of nano-materiality and design’s new roles as operator between scales and the impact of cybernetics in the configuration of society and industry. She initiated, curated and/or coordinated several projects, such as “Artists in Industry” (Bucharest, 2011-2013), “Haptosonics” (Oslo, 2013), and “Utopian Cities, Programmed Societies” (Victoria, Timisoara, 2019-2020). Her research has been published in journals such as Design Issues (MIT Press), Journal of Textiles Design Research and Practice, IET Smart Grid, or Art Nodes. For her investigations, she was awarded a DAAD research fellowship at ZKM – Center for Media Arts Karlsruhe (Germany) and she was fellow of IMERA (the Institute of Advanced Studies of Aix-Marseille University (France) and of Academy of Media Arts Cologne (Germany). Recently, she was elected member in the International Board of Design Research Society.

Drexel University, US.

Abstract: Knitogami™: self folding knit textiles:
Complex folding of textiles to mimic origami and kirigami is often labor intensive and difficult to scale up for production. Weft knit textiles, however, can be designed to self-fold when they are produced by combining knit and purl stitches, also known as front and back stitches on a flat bed knitting machine. While this behavior is easy to create, it is not easy to anticipate or predict because what makes them “self-fold” is not well understood. Our work aims to minimize the trial and error required to design knits with self-folding behavior, Knitogami™. We demonstrate how edge deformation behaviors and loop topology lead to self-folding in weft knits. By understanding the mechanisms responsible for generating three-dimensional self-folding textiles we can better engineer their properties and leverage Knitogami™’s potential for novel applications.

Bio: Genevieve Dion is a Design Scientist with extensive background in bespoke clothing and industrial design. Her design work is in the permanent collections of the DeYoung Museum in San Francisco and the Victoria and Albert Museum in London. At the core of her work Dion explores novel processes that allow the metamorphosis of planar materials into unique three-dimensional forms. Within this focus her research team investigates modular production and mass customization of 3D knit fabrication for the development of seamlessly integrated fabric interfaces, "Textile and Garment Devices”.

In 2012, Dion launched The Shima Seiki Haute Tech Lab (HTL) to conduct transdisciplinary research on functional fabrics. Dion was named one of Fast Company's Top 100 Most Creative People in Business in 2014 for her creative approach toward the design and fabrication of functional fabrics. She now directs the Center for Functional Fabrics (CFF) at Drexel University and leads with the newly founded Pennsylvania Fabric Discovery Center (PA FDC). The PA FDC is a regional center affiliated with the Advanced Functional Fabrics of America Manufacturing Innovation Institute (AFFOA) located in Cambridge, MA, aimed at facilitating growth in the advanced fabric space. Her research group receives funding from NSF, NHI and Keck Futures and AFFOA.

Ars Electronica Futurelab, Austria.

Abstract: Oribotic instruments - a project by Matthew Gardiner, Anna Oelsch, Arno Deutschbauer. Oribotic instruments propose the reimagination of instruments as a programmable folding interface where fold adjacency, degree of fold and touch become data vectors for processing and amplification. We examine the oribotic instrument's material and immaterial qualities. Culturally, origami has a complex history; multiple cultural origins present divergent folding patterns, much like musical roots carry a cultural or place and personal signature. The globally predominant term origami, a Japanese word meaning "fold paper", has a deep-rooted history in Samurai and Shinto culture (Hatori, 2011). In parallel, folding patterns and techniques with a distinct aesthetic can be found in textiles in Europe pre-date artefacts from Japan (Sallas, 2010). Contemporary origami now informs design, art and engineering disciplines, with the latter making application of the unique mechanical and geometric properties of origami. The folding process is inherently mutable as an interface between artist, structure and geometry.

The defamiliarised instruments carry musical function implied by the form, generating data from the changing shape and human contact. The folded structures create new expressive gestures. The consideration of adjacency–panels that can touch each other when folded together–brings about questions for programmability and assignment of musical notes, prompting our attention towards the unfamiliar and micro-tonal musical space. Our research development stack includes software, hardware and fabrication methods for creating flexible circuits using a combination of 3D printed conductive materials, sewing patterns with conductive thread, custom circuit and sensor designs.

Bio: Dr Matthew Gardiner is an artist most well known for his work with origami and robotics. He coined the term Oribot 折りボト and then created Oribotics, a field of art/science research that thrives on the aesthetic, biomechanic, and morphological connections between nature, origami and robotics. Gardiner holds a position as an artist and key researcher at the Ars Electronica Futurelab in Linz, Austria, where the philosophy of art, society and technology intersect.
As an artist, Gardiner works with origami and robotics: Oribotics. The work arises from considering folded forms, their kinetic properties and electromechanical methods of actuation, sensing, interactions and luminous display. In 2003 Gardiner coined the terms Oribot and Oribotics, to define the emergent field of folding, robotics and technology, and has produced the following works with premieres: Oribotics 2004 at Next Wave Festival, Oribotics [laboratory] 2005 at Asialink Center, Oribotics [network] 2007 at the Melbourne International Arts Festival, Oribotics [de] 2008 at Künstlerdorf Schöppingen, Oribotics [house of dreaming] 2009 for Arena Theatre Company, Oribotics [the future unfolds] 2010 for Ars Electronica Festival and Tokyo Design Touch, 2020 Oribotics [clima] at Centro de Ciencias de Sinaloa (Science Center of Sinaloa).

University of the Arts London, UK.

Abstract: Bio Inspired Textiles (BIT): a design framework connecting knowledge from biology with textile practice:
The purpose of this research is to address the lack of access to specialist knowledge specifically from biology and material science to enable textile practitioners to distil relevant information regarding the function/structure relationship of biological materials and apply it to their practice. We draw on the established framework of Biological Structural Design Elements from material science (Naleway et al, 2015) to create an experimental process via an iterative process of practice-based research and evaluation. We collaborated with a working group of 38 textile master students and 14 professional textile designers/practitioners to review and evaluate the effectiveness of the resulting prototype as a guide for textile designers. Our findings suggest the BIT framework constitutes a viable bridge between STEM and design. We also observed that the practical design strategies promoted through the framework advanced the technical knowledge of each individual participant and provided a clear and comprehensive focus on specific sustainability objectives across the design process.

Bio: Dr Veronika Kapsali, is a Professor of Materials Technology and Design at the London College of Fashion at UAL (University of the Arts London) and AHRC (Arts and Humanities Research Council) Leadership Fellow in Bio-informed Textiles. Within this role Veronika has founded the Active Material Systems Research Lab and is Co-I on the Business of Fashion, Textiles and Technology (BFTT), Creative Industries Clusters Programme, funded by the Industrial Strategy and delivered by the AHRC on behalf of UKRI (UK Research and Innovation).
Veronika is the Chair of Smart Materials and Systems Committee, Institute of Materials, Minerals and Mining (IoM3). She is also a member of the AHRC, MRC, and EPSRC (Engineering and Physical Sciences Research Council) Peer Review College and an expert evaluator and project monitor for H2020 and Horizon Europe.

University of Art and Design Linz, Austria.

Bio: I’m a researcher and artist with a background in media and computer science. My work explores the integration of technological development into the fields of art and craft, and vice versa, and social, cultural, technical and aesthetic implications thereof. I am Professor of Design & Technology at the University of Art and Design Linz.
I previously worked with the Ars Electronica Futurelab designing and realizing interactive exhibits and exhibitions, and as a freelancer on design and technology research projects. I have been an artist in residence at the V2_Institute for the Unstable Media Rotterdam (NL), the Eyebeam Art + Technology Center New York (US), the Tactile and Tactical Design Lab, University of Washington (US), at Creative Technologies at Teachers College, Columbia University New York (US) and Ljudmila Art and Science Laboratory, Ljubljana (SI). I co-initiated and was the key researcher of the artistic research project ‘Stitching Worlds’ at the University of Applied Arts Vienna, within the Industrial Design department headed by Fiona Raby. I have been teaching at the University of Art and Design Linz, the department for New Media – Technology – Culture at the University of Klagenfurt and the New Design University in St. Pölten. I have been a researcher and lecturer at the Institute for Design and Assessment of Technology, TU Wien where I obtained a doctoral degree, advised by Geraldine Fitzpatrick (committee: Leah Buechley, Thecla Schiphorst).
My research and practice has been presented internationally at conferences and museums, among them the CHI, DIS, TEI, ISWC and IDC conferences, the ZKM Karlsruhe (DE), V&A London (UK), Ars Electronica Linz (AT), Loboratore Arte Alameda Mexico City (MX), Biennale International Design St. Etienne (FR), Works Gallery San Jose (US), Istanbul Design Biennial and the MAK Vienna (AT).

Loughborough University, UK.

Bio: James Flint is Reader in Wireless Systems Engineering. His research focuses on various aspects of wireless systems, especially in the area of electromagnetics and transducer design in electromagnetic and acoustics. He has a keen interest in biomimetics, ultrasound and on converting systems found in nature into workable engineering solutions.
Topics currently being studied include wearable antennas, the role of band gap structures in bioacoustics, broadband antennas, acoustic signal processing for leak detection in pipes, novel metamaterials and numerical modelling using the Transmission Line Matrix technique.
Dr Flint was previously employed in the automotive industry and maintains an interest in safety-critical systems, installed performance of antennas and electromagnetic compatibility. In recent years Dr Flint has had a particular interest in band gap structures (both electromagnetic and acoustic) and has several publications in the area. His current research interests also include novel computing for sensors, the Internet of Things, and Energy Harvesting.
Dr Flint has had a long history of supporting the IET, including being a past IET Council Member, and a member of various committees including the Professional Network on Antennas and Propagation. He is a current member of the IET Academic Accreditation Committee and represents the IET on the Engineering Accreditation Board (EAB).

University of Washington, US.

Abstract: Electromagnetism, Embodiment and Speculation: From Wearable Antennas to Ecological Thought - Electromagnetic fields are everywhere around us, and everything has a resonant frequency. From the macro of cosmic phenomena at the other side of the universe, to the micro of subatomic particles and quantum mechanics, the way we understand the world around us is through vibration and energy. In the past two centuries with the invention of electricity, radio and telecommunications, we have been harvesting some of these energetic phenomena to build the world as we know it today. One would argue that the Anthropocene era and its geophysical effects on the planet are closely knit with these inventions. But while the majority of people enjoy the fruits of such developments there is a major disconnect between ecological devastation, material exploitation, and technological consumption. Inspired by Haraway’s idea of SF (Speculative Fabulation, Science Fact, and Science Fiction) this talk will try to approach the idea of sensing energetic phenomena through embodied technologies (wearable electronics, e-textiles and soft-circuitry), by the use of wearable antennas, RF and EMF detectors. By speculating about the use of the body as an agent of power in a late-Capitalist world, I will try to demonstrate how the creation of technological artifacts through DIY and handcrafting techniques can raise awareness about the mass production of technology. How practiced-based Do-It-Together embodied experiments can contribute to a more egalitarian technological future. And how such speculation can foment the creation of networks of commons between local and international communities, while also engaging with more, and other-than-human entities as agents of multispecies communication and material exploration.

Bio: Afroditi Psarra is a multidisciplinary artist and an Associate Professor of Digital Arts and Experimental Media (DXARTS) at the University of Washington. Her practice builds on and extends the work of Cyber and Techno-Feminism(s) and the idea of female (and feminized) bodies as matrices of information. Her work has been presented at internationally renowned media art festivals such as Ars Electronica, Transmediale and CTM, Eyeo, Piksel, and WRO Biennale between others, venues like Bozar, Onassis Stegi, EMST (Greek Museum of Contemporary Art), Walker Art Center, and published at conferences like Siggraph, ISWC (International Symposium of Wearable Computers), DIS (Designing Interactive Systems), C&C (Creativity and Cognition), and EVA (Electronic Visualization and the Arts).