No full-text available
To read the full-text of this research,
you can request a copy directly from the authors.
LightingHair Slice: Situated Personal Wearable Fashion Interaction System
Abstract
LightingHair (LH) is a lighting interactive system towards personal fashion based on wearable technology. This paper mainly discuss how light media emerges in our daily fashion life and the new possibilities brought with interaction and intelligence. 3 scenarios of ambient awareness, arousal awareness and social interaction were explored how environment and interactions can provide aesthetic support in personal headwear.
... Other output expressions are limited to luminescence and robot arm-like movements. In the luminescence example, the optical fber is made to look like hair, which is unnatural for hair material [1] [5]. In addition, Young Suk Lee's wig is a work of art, leaving no room for the user to alter its shape. ...
Wearable devices that present the wearer’s information have been designed to stand out when worn, making it difficult to conceal their wear. Therefore, we have been working on developing and evaluating a dynamic expression of hair to realize the presentation of the wearer’s information in an inconspicuous wearable device. In the precedents of hair interaction, the hairstyles and expressions to which the technique can be applied are limited. In this paper, we focus on the output mechanism and present Extail, a hair extension type device with a control mechanism that moves bundled hair like a tail. The results of a questionnaire survey on the correspondence between the movement of hair bundles and emotional expression were generally consistent with the results of the evaluation of tail devices in related studies.
... Gupta et al. [6] found that participants would be more willing to wear the prototype if others had it on as well. Li et al. [7] suggested that their interactive head-mounted fashion wearable could 'amplif[y]' interactions between the wearer and their environment. Yet, in evaluating a high-visibility wearable, participants showed a preference for a low resolution, nonlight-emitting form of wearable that did not attract much attention in day-to-day wear [4]. ...
We developed a highly-visible head-mounted novelty wearable to be used in social settings. We tested our Interactive Social Novelty Wearable (iSNoW) prototype in a partner-based user study to see if perceptions of the experience would change if the information displayed on the wearable was contextually relevant. Thematic analyses revealed important considerations for the design of future devices, regarding distraction and pressure to understand the rules of the game. Participants wearing contextually relevant information were more likely to recommend the device to their friends. We highlight future opportunities for exploration in this relatively untouched space.
... In addition to communicating with the wearer, wearable devices often have a means to communicate with onlookers, frequently using visual changes to convey personal style [12,7], emotional state [17,10], and other types of information [25,11,41,34]. Such public information is well suited for the crown: a prominent and visible portion of the hat. ...
As our landscape of wearable technologies proliferates, we find more devices situated on our heads. However, many challenges hinder them from widespread adoption - from their awkward, bulky form factor (today's AR and VR goggles) to their socially stigmatized designs (Google Glass) and a lack of a well-developed head-based interaction design language. In this paper, we explore a socially acceptable, large, head-worn interactive wearable - a hat. We report results from a gesture elicitation study with 17 participants, extract a taxonomy of gestures, and define a set of design concerns for interactive hats. Through this lens, we detail the design and fabrication of three hat prototypes capable of sensing touch, head movements, and gestures, and including ambient displays of several types. Finally, we report an evaluation of our hat prototype and insights to inform the design of future hat technologies.
... Previous work has explored the potential for hair extensions and wigs as input devices [25,28], sites for embedded sensors [14,25], and low-fidelity displays [3,16]. Our work is most related to [3], where treated hair changes color in response to external temperatures, and Vega et. ...
Human hair is a cultural material, with a rich history displaying individuality, cultural expression and group identity. It is malleable in length, color and style, highly visible, and embedded in a range of personal and group interactions. As wearable technologies move ever closer to the body, and embodied interactions become more common and desirable, hair presents a unique and little-explored site for novel interactions. In this paper, we present an exploration and working prototype of hair as a site for novel interaction, leveraging its position as something both public and private, social and personal, malleable and permanent. We develop applications and interactions around this new material in HäirIÖ: a novel integration of hair-based technologies and braids that combine capacitive touch input and dynamic output through color and shape change. Finally, we evaluate this hair-based interactive technology with users, including the integration of HäirIÖ within the landscape of existing wearable and mobile technologies.
From Apple Watch to Nike HpyerAdapt, wearables and fashion are combining more and more tight. To meet the increasing demands of novel and useful interactive fashion wearables, we design and present VisHair, a head mounted fashion lighting interaction system based on wearable technology which is upgraded from LightingHair. The system mainly discuss how light media emerges in our daily fashion life and the new possibilities brought with interaction and visualization. We build the VisHair system with LED, optical fiber, Arduino with sensors, and mobile APP software. And tests were organized in 3 scenarios (according to 3 level of functions) of self-awareness, arousal awareness and social interaction to see how environment and interactions can provide aesthetic support in personal headwear. However, there’re limitations of the system, but the feedback from users are positive and many are willing to see VisHair in market.
There is a prosperity in wearable media in data monitoring. Since the apparel can show personal tastes, emotions and attitudes, what if our clothes could express affective information throughout different situations? This paper presents a system for enhancing the experience of situated-base affective communication by information visualization. The paper discusses the leading features in a variety of specific contexts such as the information monitoring, the remote communication and the customization.
Telemurals is an abstract audio-video installation that seeks to initiate and sustain interaction between and within two remote spaces. Our goal is to improve the social aspects of casual mediated communications by incorporating events into the design of the communication medium that encourage people to engage in interaction when they otherwise would not. We call these events social catalysts, for they encourage people to initiate and sustain interaction. In this paper we discuss the design process and goals of our first Telemurals link between two public spaces, the building of Telemurals, and an ethnographic study describing how the system affected interaction between and within these two spaces based on the theories discussed in this paper.
In this work, we create an audio-video link via an interactive sculpture to facilitate casual, sociable communication between two remote spaces. This communication installation was designed to blend the benefits of online interaction such as low risk interaction, lower barriers to entry, and minimized geographical constraints with the ease and the affordances of interacting and signalling in physical space. We describe the creation and the iterative design process for creating a social virtual-physical hybrid space-interface we call the Chit Chat Club. In describing our design decisions, we note the advantages and disadvantages of two Chit Chat Club installations and their effect on interaction.
Our aim is to use our own bodies as an interactive platform. We are trying to move away from traditional wearable devices worn on clothes and accessories where gestures are noticeable and remind cyborg looking. We follow Beauty Technology paradigm that uses the body's surface as an interactive platform by integrating technology into beauty products applied directly to one's skin, fingernails and hair. Thus, we propose Hairware, a Beauty Technology Prototype that connects chemically metalized hair extensions to a microcontroller turning it into an input device for triggering different objects. Hairware acts as a capacitive touch sensor that detects touch variations on hair and uses machine learning algorithms in order to recognize user's intention. In this way, we add a new functionality to hair extensions, becoming a seamless device that recognizes auto-contact behaviors that no observers would identify. This work presents the design of Hairware's hardware and software implementation. In this demo, we show Hairware acting as a controller for smartphones and computers.
"What if light behaves like water and flows as if it feels gravity?" This art project started with this imaginative question. 'Gravity of Light' is an interactive wearable art project made of 3D printed smart textile that displays the wearer's natural movements of her head into flowing patterns of light toward gravity. Through this experimental project, the artists try to explore a visual representation of the fundamental movement of body aided with the artistic imagination.
For more than forty years, the promise of electronic clothing has excited designers and consumers alike. The last ten years have seen a dramatic increase in academic and industry research, but few developments have made it to the consumer market. Commercial attempts have often met with lackluster sales. The obstacles to realizing the potential of electronic or “smart” clothing are complex and interrelated. Here, we explore areas of significant potential for the development of smart clothing, and identify the design barriers to achieving commercialization of these applications in four major areas: functionality, manufacture, developmental practice, and consumer acceptance.
How we design and evaluate for emotions depends crucially on what we take emotions to be. In affective computing, affect is often taken to be another kind of information - discrete units or states internal to an individual that can be transmitted in a loss-free manner from people to computational systems and back. While affective computing explicitly challenges the primacy of rationality in cognitivist accounts of human activity, at a deeper level it often relies on and reproduces the same information-processing model of cognition. Drawing on cultural, social, and interactional critiques of cognition which have arisen in HCI, as well as anthropological and historical accounts of emotion, we explore an alternative perspective on emotion as interaction: dynamic, culturally mediated, and socially constructed and experienced. We demonstrate how this model leads to new goals for affective systems - instead of sensing and transmitting emotion, systems should support human users in understanding, interpreting, and experiencing emotion in its full complexity and ambiguity. In developing from emotion as objective, externally measurable unit to emotion as experience, evaluation, too, alters focus from externally tracking the circulation of emotional information to co-interpreting emotions as they are made in interaction.
Hairware: Conductive Hair Extensions as a Capacitive Touch Input Device
- K Vega
- M Cunha
- H Fuks
Vega, K., M. Cunha, and H. Fuks, Hairware:
Conductive Hair Extensions as a Capacitive
Touch Input Device, in Proceedings of the 20th
International Conference on Intelligent User
Interfaces Companion. 2015, ACM: Atlanta,
Georgia, USA. p. 89-92.