soft circuits are hard…

i’ve been running test samples by hand and machine with different stitches and threads (silver coated and 2 weights of solid stainless steel), grounds (silk and cotton) and lighting components (standard leds, adafruit sequins, nepoixels and generic addressable leds).

the merging of the components and traces into the fabric of the piece really isn’t happening for me yet. if i can’t make a reliable connection for a sequence of 3 leds, what hope when i want 40 in a string on each of several panels? do i need to give up/compromise/rethink the *softness* of my circuits?

peter vogel | shadow orchestra iii | 1999

jon recommended i look at the work of peter vogel, an artist whose raw materials are electronic components, and the starkly beautiful sound sculptures he creates. while i’m incredibly taken with this work i recognise the amount of technical knowhow that underlies the ability to engineer such apparently simple structures.

my basic rationale for this element of the final show really hangs on aiming for *seamless* integration of tech into the fabric of the piece. if, for example, i were to separate out the electronics from the fabric panels i may be able to achieve more *reliable* tech but would that be at the expense of the underlying raison d’être?

i certainly need to look at the *tech* on one side and the *aesthetic* on the other and make sure i can stand behind both – as compromising on either runs the risk of the whole piece failing as a result…

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