The Tie uses a combination of conductive thread and wrapping wire ... The LEDs are in series
Three LEDs light
Then four
THE SWITCH
MEANWHILE...
The binder is cut and fit onto the form
The back of the shirt is left in place
In which the difference between the pattern and the actual thing is investigated
and it is discovered that Mandy has stealth sewing skills and can cut very straight lines.
I began this but forgot to continue.
The difference between an alkaline battery and a NiMH is learned in the field. Forward and reverse current as well as amperage are also re/discovered.
Early Breadboard Mock-up... refresher on parallel and series set-ups
S-FLuXes up and running but they need a lot of power... Is there a planet where 36V is comfortably wearable? Maybe the Jolly Green Giant is available for fitting purposes.
The S-Fluxes match the tie. Do I have to let go of my careful tie shopping for the sake of wearability?
New Power Scheme... individual batteries attached to tie's interfacing. Seperate power but ground is connected
Meanwhile... the binder is pinned—albeit crookedly—but I have been assured that my mini sewing lesson will take care of all of that...
The T-shirt itself is too thin and has been replaced by a *cotton stretch* fabric.
I thought there might be some way to spin this device so that it could compress instead of inflate... This did not work but did provide a potential solution for men who might want to temporarily suggest a bust... A altogether different project...
•Fiber Optic cables were played with and briefly reconsidered and acquired just in case for a more a non intermittent light source...
•Iron-on reflective tape was also purchased for a non-electronic illumination approach
•A user to test the binder was identified!!
•After a few ties that had patterns and lives of their own,
a tie was purchased whose pattern looks very similar to the S-FLUX LEDs themselves. Goin
•Wrapping wire was purchased after too many attempts to get the four pronged LEDS to light using conductive thread. I think the thread will be used to hold the wrapping wire in place.
•Pinned and did preliminary sewing for binder...sewing with a machine should be next
•Armed with wrapping wire LEDs were put in place and tested
A still from von Sternberg's 1941 noir The Shanghai Gesture
Often the use of the word gesture is used in the positive. "It was a nice gesture," for example, is used to describe a courtesy or an act of friendship. Of course a gesture can be negative, a menacing gesture etc, but part of the very definition of the word—albeit rather far down on the list—is this idea of a nicety, a common courtesy.
I thought about this again this week because I was trying to figure out where and how to switch off the LEDs for the "signaling" part of the binder. A momentary switch is like a flash: a flash of light a flash of a smile. In a city of millions these are the encounters that stand out. A genuine moment shared with a stranger.
I have a tiny momentary switch that might fit nicely on the front of the tie or on the cuff of the shirt. I would like it to fit in seamlessly with a "normal" gesture--straightening a tie, pulling on one's cuffs, adjusting one's collar?
Above: Handa an old form of currency used in the Congo made of copper...
I’ve always been interested in the spatialization of ideas or ways in which an idea could literally take up space. As a kid I remember finding out that a sculptural piece that had been stationed on the shelf in the living room was actually an ancient form of African currency. Somehow the idea that a metal object with dimension and heft could be used for trade and exchange was baffling to me. When I think about this piece I think specifically about an object representing its value by way of its materials—copper—and shape/form—two crossed vectors.
String as sculpture
String as writing...
After reading Talking Knots I immediately tried to find an image of the knotted strings. Although I read that the use of color was an important element of the knotting system I was disappointed that I couldn't find more images of colored khipu.
The monochromatic palettte easily reminded me of Eva Hesse. But when I really looked and thought about the comparison the installation of Hesse's work in space as sculpture seemed to be a major distinction. Khipu it seems was read by hand (like braille) and by eye. They seem decidely 2D.
"Binary oppositions were a hallmark of the region's peoples..."
Aesthetic aside, I was also intrigued by the dimensionality and complexity of the Khipu writing system. Comprehension literally seems to enforce a completely different orientation on the part of the reader. I think this very simple idea that context/history/culture changes how you read and understand things was also apparent. The article suggests that it was not until the myriad codes suggested by the textiles themselves were read and historicized did that the myriad meanings of the Khipu were revealed. Or perhaps the significant detail of the reinterpretation of the system lies in the particular orientation of the readers themselves. It seemed striking —and yet not at all surprising —that the updated database of Khipu meanings is a collaboration between the anthropologist Urton and the software developer/weaver/mathematician, Brazine. Apparently It is an interdisciplinary code...
Sheila Pepe's work...
Often crocheted and a web-like organic approach to taking up space. A different secret language of knots...
Here is the more processed version. This uses two layers... The outermost layer is a dress shirt and tie—the most obvious signifier of masculinity||power||privilege —that I can think of right now. The second layer is the wrapped binder. The binder is attached to an undershirt that is secured underneath the outer layer. It can be wrapped around the chest area and then fastened underneath the armpit. I think the front of the t-shirt will be cut away but the back will remain. This material will be something smooth/comfortable.
I haven't decided exactly what the back might look like. It could be the back of the oxford cloth shirt or provide a cutaway view...
The S-Flux LEDs arrived on tuesday so finally it is possible to begin to incorporate thoughts of these into the picture.
Although this is not the material I do imagine a combination of soft, textured materials and hard/electronic ones for the signaling mechanism. 
Not fuzz per se but something that looks and suggets touch/feel. I also just ordered this reflective tape. It is iron-on and washable and specifically made for fabrics.
I've been modifying old t-shirts in an effort to pin down the design of the binder. Although I've found someone to user test for me at this point it's faster to try it on and modify it myself.
I've been experimenting with the compression model. Literally taking in the T-shirt to see what the limits of compression and comfort might be. The shirt does have to be incredibly tight though to begin to bind so pulling it on has become increasingly uncomfortable. I remembered these... which have snaps along the shoulder. Snaps underneath the arms perhaps?
I'm leaning towards a design that combines the two techniques: compression and binding. This is a modification of Shlomit's great idea to take the best of the wrapped binder (it's comfort and adjustability) and the compression shirt (its neat, undershirt-like appearance)...
This is the first sketch. Which basically entails attaching the binding material to a close-fitting tshirt.
After a really inspiring visit to Mood Fabrics last weekend I am back to thinking about what materials might be best to use. My instinct is to use something soft and stretchy so I looked at a selection of rayons and lycra blends. Everything seemed to be a bit too soft(?) to bind and hold any electronic components but it might make a nice lining for the inside?
Polly also gave me a range of samples from the Spandex House. Spandex seems like the cheaper cousin to the microfibers being used in these kind of products...
These are from the Flexees Instant Slimmer line of products. Yet another entry into the ever growing archive. Clearly it is time to stop collecting these images. These products— and their accompanying desires— are everywhere...
http://www.barenecessities.com/Flexees_product_FLEXEES6868_,size,.htm
This also has two layers= Body: 79% nylon, 21% lycra. Lining: 82% nylon, 18% lycra
...
I also did some research on fiber optic cables. The irreplacable Polly has of course located some. So I'll begin to experiment with it. It is incredibly thin and even when tied to together it should provide a better way to illuminate the garment. Lighter more compact. I look forward to experimenting with it. Hints from Kyveli: Will need to bunch them together tightly. Electrical tape should work. Brighter at the ends then in the center. Can be used in short lengths for colored accents...
...
The only other discovery of note is the revelation about how nice flat seams look. I found this shirt that uses velcro enclosures instead of buttons... not an enclosure that will work but the flat seam makes it sit very nicely indeed... If the ad copy is right these seams also prevent chafing
Project Description
My final project is an item of clothing called the Gender Neutralization Device (GND). The GND compresses the breasts and contours the chest area in an effort to make the wearer’s chest appear flatter and as a result more masculine and/or gender neutral. Additionally, the GND also includes a built-in visual component or signaling system —switch operated LEDs—that is intended to enhance the aesthetic experience of both the user and viewer. Although the common term for the practice of the non-surgical creation of a flat chest is “binding” I prefer the term GND because it abandons the larger allusions to compression/repression—specifically the reference to the practice of Japanese foot- binding —and instead describes the device’s goals and desires.
The GND has both practical and decorative qualities and as a result functions in the zone between product and aesthetic object. The GND’s intention is to enable the wearer to de-emphasize certain signifiers of their gender identity while calling attention to themselves (as signifiers?) through the voluntary illumination of their garments. Similar to the male peacock who fans his extravagant plumage as part of courtship, the GND encourages users to stand-out or fit-in at will.
The GND's ability to display or call attention to itself at will—its peacock factor—is what differentiates it from available binders or compression systems. Since many people bind to appear flat-chested in order to bring their physiognomy in line with their gender identity, a binder that "announces" itself in some way is an anomaly. But it is the seemingly cross-purposes of the GND that I am most interested in exploring. One of my goals with the project is to further investigate this relationship between passing, transitioning and being where you are.
from wikipedia: a corset is a garment worn to mold and shape the torso in a desired shape for medical or aesthetic purposes." http://en.wikipedia.org/wiki/Corset
Hourglass corsets circa 1890 (atleast the first one)
again wikipedia: " the busk was intended to keep the front of the corset straight and upright. It was made of wood, ivory, or bone slipped into a pocket and tied in place with a lace called the busk point. These busks were often carved and decorated, or inscribed with messages, and were popular gifts from men to their sweethearts." http://en.wikipedia.org/wiki/Busk
A few interesting things here. One is the rigidity that the boning gives to the corset. the corset is made of a flexible material and then given shape by placement of the 'bones" This is similar to the stays used in the back suppport products. Is this something that might be useful to adapt for the chest binder? Perhaps it would give a bit of a tin man look making the chest look too flat? Explore. Most corsets were worn with an under garment of some sort...cotton, linen "chemise" or "shift." It looks as if some contemporary models are lined with satin for better comfort.
Also the use of the hook and eye fastener. The boning and fastener are combined i think. Used in the front it is easier for the wearer to put on without assistance but potentially gives the front a bulky look?
Again Lovely...
Less frilly and fantasia like. A bit more straightforward. I love the palette here as well. Tan and brown. I've never been a big fan of the Victorian look so this appeals as a more practical approach more reminiscent of armor in its look/fit?
Ribbon Corset... or Waist cincher 
"The waist cincher was in fashion from 1860 to 1907, particularly 1900 to 1907 and was very rare from 1911 to 1947 and from 1960 to 1985." http://en.wikipedia.org/wiki/Waist_cincher Ow.
The corset and the unnaturally thin waist was brought back into fashion in the 40s with Dior's New Look. Although this image might incite immediate outcries regarding the sadistic demands that the fashion industry makes of women's bodies etc I also noticed that this context changed my reading of this engraving of Joan of Arc so that for a moment her armor seemed less masculine and more feminized and corset-like...
Compendium of Materials Notes...
Materials Currently in Use: DIY: Ace bandages, saran wrap, stockings, cycling shorts, gauze
Professional/Off the Shelf: Micro fibers, nylon, spandex (or elastene or Lycra), Nylon blends, wicking or "Quick Dry" materials
[
The wicking materials proved to be a fascinating research distraction... would solve the hot weather problem but prohibitively expensive for a prototype
Wicking Fabrics are lightweight Directional fabrics that move moisture horizontally over a large area to provide maximum evaporation and cooling at higher temperatures. Parameta® A (Active Travel) or Parameta® T Reversible (Cambia range) are two examples.
http://www.paramo.co.uk/UK/acatalog/Wicking-12.html
]
Construction Approaches: I've found quite a few cmpression binders that use a layered approach. With something like 50% cotton/50% lycra INSIDE with 100% lycra OUTSIDE...
An inventory of current products in the breast binding/chest compression arena...
T-SHIRT: ($36 - $80)
http://www.underworks.com
This involves two stretchy materials: 70% nylon + 30% spandex. Fits over the head and has no enclosure or fasteners. This is a redesign of a the nylon stocking + T-Shirt option. It boasts a"double front panel" and purports to ease back pain and improve posture.
COMPRESSION VESTS ($78-$88+ Overseas Shipping)
mangoproducts.net/FTMChestBinders.htm#vests1
This is a "professional" product manufactured by/for transmen sold online through Taiwan. These seem to be differnt from the T-Kingdom binders also from Taiwan. The vests are sold through Mango Products.
I am particularly curious about these because they have front enclosures: zippers and velcro. this is something that I am interested in but vetoed originally because it seemed as if it might be too bulky. But this is clearly a design worth trying. T-Kingdom does have a similar zip front but their garment is shorter and is described as "sports bra styled." This one has mesh air panelling plus "supportive Lycra"
it is made from a "lightweight, breathable but firm, stretchy material."
BRASSIERE ($25):
http://www.t-kingdom.com/shopping/english/page690_english.shtml
A tighter version of the classic sports bra. Another version is also made by Title 9 designs.
EUPHEMISMS ABOUND: There is a host of products for men that promise to "reshape" the "silhouettes" men who are out of shape or may desire to "enhance their rear or front view."
A descrption form the T-kingdom site
"•Feature: soft material, breath aire, comfortable, light, and can help to shape your body. the most Sophisticated binding underware."
CORSET InSPIRED ($18):
http://www.onehanesplace.com/product/19655.html?cgnbr=B120000000
I found the design of Barely There's SMOOTH-TONERS SHAPING TANK fascinating. The corset-like details—from what I can tell—seem more decorative than functional. Described as "retro-look" it features the lacing and boning of the original corsets minus the functionality. I do find the incredibly close/tight fit distressing. Again discomfort for the sake of fashion/appearance. Design that seems to inhibit or atleast limits its ability to be worn for any significant amount of time. It is made from a nylon/spandex "micro-fiber."
MASS MARKET BACK/AB SUPPORT PRODUCTS often called Binders...
DIYLovely:
Adventures of an American Trans Fag
This is actually really similar to the design I've been formulating... design will be determined by the add-ons...
Another home-grown variety:
A quick consult with Michael Chaldil supports my original thought which is that I am essentailly talking about live/real-time signal processing. A mic could be used to bring in the signal (an omni-directional) and then the signal could be processed—reverb, feedback, delay etc—and then output/amplified.
But how do you wear the equivalent of a rack-mounted signal processor? Michael suggests hacking a Wah-Wah pedal...
Identity theft
I was intrigued by the basic premise of this article, that individual garments are “imprinted” with a history and “signature” and as a result function as another skin. I found this to be a simple and intriguing concept. Our clothing functions as a covering, a form of protection, but also as a membrane that bears traces of all of your physical peculiarities: your gait, stance etc. The twenty-six wear- features” that Dr. Vorder Bruegge identifies provoked both my interest and my fear. Human fingers plant these traces —the maker—and once they are embedded, they grow and change along with you. Your clothing is alive: your clothing will betray you.
Other Membranes…
On page 164, Hauser states, “a commodity is labor crystallized in an object.” This concept —along with the idea of clothing having a “self-identity”—made me think of the enlivened, at times monstrous pods/game controllers in Cronenberg’s eXistenZ (99). In order to jog its memory and cure the controller's software virus they are forced to uncover its origins.
From Whence It Comes
Last week when looking for a place to eat, my friend suggested a restaurant where the food was “happy.” It was a strange moment of translation, but it ultimately I understood it. We arrived at an organic restaurant where everything was free-range, grain fed etc. It was this general sense of their “happy” lives — or at least happier than most in their positions—that enabled us to consume with less guilt and more ease. We knew where they came from and the conditions under which they lived...
Here are some early attempts in response to the question of what the binder might look like.
These drawings take the back support brace as a model... they usaully involve a metal spine that provides support. They are corset-like and very sturdy. But they might be too stiff and uncomfortable for this application.
You need to wrap the binder several times in order smooth out the look of the chest. The number of times that you wrap effect the location of the LEDs? I originally imagined the LEDs travelling along the center of the binder.
Obviously this is not for everyday use. In fact you would have to dress in a way to showcase the binder if you wanted to be able to see the illumination. Perhpas an ace bandage with some LEDs would be the best place to start.
•
When I used to make sound tracks for my films I would record “presence” tracks. I would set the recorder up and using an omni-directional microphone I would attempt to record the general feel or “presence” of a specific location or environment. I record for thirty or forty minutes sometimes. Often I would leave the recorder somewhere and comeback later. These presences would run the length of the film usually, mixed in at an almost inaudible level—city sounds, the sounds of a desolate area, the point of view of the area beneath a stick of furniture at a party.
•
When I started to shoot video I was amazed by the sound presences all around me. I could just leave the headphones on and listen through the camera microphone to whatever and it immediately sounded more interesting.
•
For PComp last semester I had to count all of the portable electronic devices around me on a given day. I was fascinated by the calculations. From cellphones, mp3 players, digital cameras and other handheld devices a twenty-minute subway ride to school netted many, many, many distracted people. But what if we were listening to the actual sounds around us? Not recording just listening?
•
One idea: a wearable device that affects the real world sounds that you hear—like a hearing aid except that its focus is augmentation/distortion as opposed to fidelity. A wearable transducer that does not record the incoming sound but simply amplifies. A contact microphone/piezo is an obvious choice because it listens to vibrations as opposed to airborne sound waves.
•
Antenna (radio), the component designed to send and receive radio waves;
Another idea in the same realm: an antennae inspired device that enables you to pick up sound waves and listen to them as you traverse the streets. Another attempt to feed into our need for distraction but this time what is holding your attention is the the world outside yourself.
•
Gender Boxing
“Binding. Urghh. But unless you're very lucky or you're prepared to walk around like a hunchback, the dread of someone spotting your female-shaped chest is a nightmare... Myself, I've managed to sprain my ribs several times in the past... Some people never leave the bedroom without binding, while others never bother at all. Each to his own.”
http://web.ukonline.co.uk/agitor/ftm/gender.html
"Bandages_Wind them round tightly (bearing in mind you still have to breathe), pushing the flesh up towards the armpits. Secure with safety pins and cover with a T-shirt. I find it is best to ensure the binding goes quite high to prevent it falling down, and sometimes use a round of sticky bandage (elastoplast) on top to ensure a safe hold."
http://web.ukonline.co.uk/agitor/ftm/bind.html
The Trans Binder...
Once I starting asking around the examples came pouring in, there are a lot of people who bind their breasts and for a wide range of reasons. Since many people risk the crushing of their ribcages in an effort to appear flat-chested—and/or male or simply not female or less so or neither/or etc etc—I thought that one simple solution might be to create some kind of binding system that not only affects the contours of the chest but also celebrates the very act of binding itself. Like armor. Like a peacock and its feathers. Like a warrior. Like the semiotics of the hanky code : as simple as a handkerchief in the pocket. A signal to the self and others if necessary that you are there. This could be a narrowcast of lights, sound bytes...
Of course further research proves that a range of people bind. Nursing mothers use binding to "Dry Up" the milk when they are weaning or nursing...
I've been trying to thaw out my ideation deep freeze by just roaming around in my brain a bit. I woke up this morning with the practical solution to my gender neutralization needs: the transition binder. A possible solution to the desire/necessity that some people feel to bind their breasts in order to appear more flat-chested. Often this is the most crucial step in the process of passing or transitioning or just being something other then what you were born to be...
Like many people in class I was interested in dealing with the idea of touch. I thought of soft, fuzzy things, I thought of fresh cut grass, something that is ice cold or red hot. I drew this sketch and then kind of froze and was unable to realize it. I returned to the idea this week. I ended up envisioning a ring or bracelet that would use a small vibrating motor to animate a fuzzy fabric... I continue to work on assembling the parts more specifically figuring out a way to attach the battery and create a usable switch so that the motor can be easily turned on/off.
Valery’s “Some Simple Reflections on the Body” overflows with evocations and fascinating suggestions. Can an external machine or force do what the body does more efficiently? In what way is the mind’s peculiar activity indispensable in the preservation of life? But I found his ideas regarding the existence of the multiple selves to be the most intriguing of all. I will readily admit that I am in no way confident that I understand his precise theses, but I am bolstered by the fact that Valery himself does not purport to either. In fact after reading the final pages several times I suspect that it is this very lack of understanding that the essay endorses. In his description of the multiple selves/bodies Valery is relentless in his attempts to strip away our sense of possession, knowledge and jurisdiction over “our” bodies. Valery’s notion that everything that is not in the now is “variable and subject to illusion” only serves to enhance his notion that knowing oneself—“the substance of our presence,” our changing reflection in the glass or the gray matter that really defines us—is an impossible dream.
And yet, before I waste away into the ether of a Valery-induced self-referential nonexistence, it seems imperative to return to this riddle, which is the definition of the fourth body. Described as equally “real “ and “imaginary” and as being the product of what the mind’s knowledge is not and the three other bodies characteristics and experiences of the other three bodies, I had the sudden revelation that Valery’s fourth body might not only be refer to the “meaning” of life but also to our very perception of our lives and how we relate to it. After deracinating our psyches from the comfortable home of our bodies, Valery seems to suggest that it all points back to the mind?
While I enjoyed the introductory pages from the Susan Watkins book assigned earlier in the semester, I was absolutely dazzled by her chapter The Design Process. Because it spoke so clearly to the ideation and realization issues that I have been contemplating and confronting in my own creative process, reading this article was a simple case of the right article, at the right place, at the right time. My excitement upon making this chapter's acqauntice was somewhere akin to having read Laura Mulvey's seminal "Visual Pleasure and Narrative Cinema" article as an undergrad in Semiotics 166. As I mentioned in class, there was something very satisfying and incredibly comforting about having the sometimes murky experience that is the creation process codified in such clear and concise terms.
I am increasingly interested in this relationship between art and design. While I know definitely that they are not the same thing, I am curious about commonalities and why the relevancy of an article about design would seem so unexpected.I have always been rather ambivalent about the way that art is described as an emotional and physical process. Even though we have left the era when making art is based on your “hand skills,” we still seem to use action verbs to describe the creative process— making, creating, doing. Conversely, design is seen as a practical, cognitive process that overtly engages the mind and as a result straddling the realms of both reality and ideas. (Design is more practical after all, and good design can literally be a matter of life or death…) Although the art/design distinction is a polarity that continues to blur and shift, I was still struck by the similarities between the design and art-making processes as they are described in the Watkins chapter. Convergent/divergent, cognitive/intuitive, analysis/synthesis , mind mapping and synectics were just some of the definitions/processes that seemed both relevant and applicable.
I met someone a few weeks back who described herself as an activist designer. I have thought about it several times since then, specifically contemplating what activist design might encompass and/or be... I understood the designation to be a meta tag of sorts—to aid in the accurate categorization of her goals and desires. What I like most about the term is the use of a adjective "activist," and its connotations of motion and activity,
The Susan Watkins chapter, THE DESIGN PROCESS was of immeasurable help this week while I was working on the hack a toy assignment. Ever since PComp called my attention to the electronics and construction supporting every electronic switch or component in proximity, I've been curious about the cheap electronic toys in my local $1 store—how are they made? how do they acheive portability, affordability and functionality in such a small, inexpensive package? My idea was to explore the $1 electronics world and to attempt to complete the assignment using these toys as my primary building blocks. Several $1 stores later the idea to create a wearable musical instrument from the wedding of a wristband digital watch and a Dora the Explorer "super" telephone crystallized...
Because it was made for a MUCH smaller wrist it was a bit uncomfortable to wear. Also because I had placed the keypad inside it was all the more bulkier. But it was fun to play with and it worked best when other people played the instrument. Although it is difficult to see here—sadly my camera does not possess a macro function—I liked that you could see the speaker courtesy of the former clock casing.
