Crafting interactive decoration

© 2017 ACM. everyday artefacts. This involves adorning them with decorative patterns that enhance their beauty while triggering digital interactions when scanned with cameras. These are realized using an existing augmented reality technique that embeds computer readable codes into the topological structures of hand-drawn patterns. We describe a research through design process that engaged artisans to craft a portfolio of interactive artefacts, including ceramic bowls, embroidered gift cards, fabric souvenirs, and an acoustic guitar. We annotate this portfolio with reflections on the crafting process, revealing how artisans addressed pattern, materials, form and function, and digital mappings throughout their craft process. Further reflection on our portfolio reveals how they bridged between human and system perceptions of visual patterns and engaged in a deep embedding of digital interactions into physical materials. Our findings demonstrate the potential for interactive decoration, distilling the craft knowledge involved in creating aesthetic and functional decoration, highlight the need for transparent computer vision technologies, and raise wider issues for HCI's growing engagement with craft

Comics, robots, fashion and programming: outlining the concept of actDresses

This paper concerns the design of physical languages for controlling and programming robotic consumer products. For this purpose we explore basic theories of semiotics represented in the two separate fields of comics and fashion, and how these could be used as resources in the development of new physical languages. Based on these theories, the design concept of actDresses is defined, and supplemented by three example scenarios of how the concept can be used for controlling, programming, and predicting the behaviour of robotic systems

Quality of Craft Made of Clothing Industrial Waste In Makassar, Indonesia

Abstract: The study aims at exploring the craft quality made of clothing industrial waste in Makassar. This type of research is quantitative approach with three variables: design, materials, and finishing. Samples are 50 craft products are evaluated by five craft experts. Craft quality score is calculated based on the average from expert respond and divided into four categories. Crafts quality for design and materials variables are very low and only a small number has high quality. The finishing quality of crafts generally has high category and only 12% of crafts with the very low category. The kinds of craft which a very low quality are pot holder and doormats

Augmenting a guitar with its digital footprint

We explore how to digitally augment musical instruments by connecting them to their social histories. We describe the use of Internet of Things technologies to connect an acoustic guitar to its digital footprint – a record of how it was designed, built and played. We introduce the approach of crafting interactive decorative inlay into the body of an instrument that can then be scanned using mobile devices to reveal its digital footprint. We describe the design and construction of an augmented acoustic guitar called Carolan alongside activities to build its digital footprint through documented encounters with twenty-seven players in a variety of settings. We reveal the design challenge of mapping the different surfaces of the instrument to various facets of its footprint so as to afford appropriate experiences to players, audiences and technicians. We articulate an agenda for further research on the topic of connecting instruments to their social histories, including capturing and performing digital footprints and creating personalized and legacy experiences

Augmenting a guitar with its digital footprint

We explore how to digitally augment musical instruments by connecting them to their social histories. We describe the use of Internet of Things technologies to connect an acoustic guitar to its digital footprint – a record of how it was designed, built and played. We introduce the approach of crafting interactive decorative inlay into the body of an instrument that can then be scanned using mobile devices to reveal its digital footprint. We describe the design and construction of an augmented acoustic guitar called Carolan alongside activities to build its digital footprint through documented encounters with twenty-seven players in a variety of settings. We reveal the design challenge of mapping the different surfaces of the instrument to various facets of its footprint so as to afford appropriate experiences to players, audiences and technicians. We articulate an agenda for further research on the topic of connecting instruments to their social histories, including capturing and performing digital footprints and creating personalized and legacy experiences

ReActive: Exploring Hybrid Interactive Materials in Craftsmanship

This paper presents ReActive, a design exploration aimed at embedding interactivity in traditional materials by artisanal processes. In the attempt to reconciling technology with human experience and tradition, we experimented with artisans to understand how craftsmanship can embrace technological innovations while at the same time maintaining its nature and value. We built samples of hybrid materials, where electronics and smart materials are embedded in traditional ones, in order to make them reactive and interactive. We discuss implications and new possibilities offered by these new hybrid materials both for artisans and users and new perspectives for interaction design

Reflections on a craft design protocol

For some years I have been working on a design protocol of craft, which aims to unearth the working principles of one cultural area (contemporary craft) of production for the benefit of another (interaction design). The methodology that led to its formulation comprised my research as a doctoral student in Interaction Design, and made up the bulk of my thesis [22]. The protocol has recently been more fully explored for the craft community, with each tenet explored in more depth [24]; however, several important publications and conferences in the field have emerged since its initial formulation and if it is to have any relevance, the protocol needs to be revisited in light of them. These include Sennett’s The Craftsman [36], Risatti’s Theory of Craft [34], and Adamson’s Thinking Through Craft [1]. In addition conferences such as Neocraft [3], and collections of writings such as Extra/Ordinary [5], which includes Mazanti’s SuperObjects model of craft [28], have developed the field immensely. This paper critically reflects on the protocol in this new expanded context

Customizing hybrid products

We explore how the convergence of the digital and physical into hybrid products leads to new possibilities for customization. We report on a technology probe, a hybrid advent calendar with both paper form and digital layers of content, both of which were designed to be customizable. We reveal how over two hundred active users adapted its physical and digital aspects in various ways, some anticipated and familiar, but others surprising. This leads us to contribute concepts to help understand and design for hybrid customization – the idea of broad customization spanning physical and digital; end-to-end customization by different stakeholders along the value chain for a product; and the combination of these into customization maps

Online matters : Future visions of digital making and materiality in hobby crafting

Over the past twenty years, hobby crafting has experienced a revival of interest, as people have started to seek new ways to engage with crafts as creative leisure in an increasingly digital world. Along the way, emerging, digital technologies have provided new tools and ways to engage in hobby crafting. Indeed, today's hobby crafts are frequently concerned with material mediated via the internet and accomplished with the aid of software, which also affects our understanding of maker identities in online communities. This article argues that digitalization has not only revolutionized hobbyist craft making with new tools and technologies, but has also paved new ways for practising creative skills, which has had a significant impact on makers' engagements with craft materials, objects and communities of practices. This is demonstrated through netnographic explorations on Facebook's leisure craft community where digital material practices are increasingly prevalent in hobbyists' everyday life. As a conclusion, the article speculates on visions of the future of hobby crafts and its relevance as a leisure pursuit.Peer reviewe