We have developed a garment equipped with integrated sensors that manipulate sound through pressure and movement. Unlike conventional wearable tech projects, which primarily focuses on the interaction between the body and clothing, our project explores the interaction of the garment itself.

Our journey began with in-depth research that led us to investigate orthopaedic tools known for their movement-enhancing and stabilising capabilities. We took inspiration from their structural construction and tried to apply these principles to an entire garment without sticking too closely to our aesthetic references.
By taking T-shirts apart and putting them back together, we have created a garment from a single pattern piece that wraps around the body. This method allows for precise overlapping of the fabric in specific areas, creating up to three overlapping layers. Sensors are integrated into each layer, triggered by both the overlap of the fabric and body movement.
The garment has a total of three sensors: two pressure sensors made of piezoresistive wool and one IMU sensor. Each sensor is strategically integrated into a specific fabric layer of the garment to ensure the most effective data collection.
Strategic placement was key for the two pressure sensors, covering regions where material overlaps and dynamic movements generate substantial fabric stress. Moreover, the IMU sensor, responsible for spatial tracking, found its place on the shoulder. 
By collecting the data and processing it in Max MSP we realized a way to shape and spatialise sound. Sound wise we wanted to de(construct) the special feeling you get when listening to hyperrealistic sounds in cinema. That's why we used a foley sound sample of a plastic bag. The pressure sensors manipulated this audio sample by operating effects of a Grain synthesis module and a Poly Delay module. These modules can be understood as the layers of sound. Adding or releasing one layer of the garment results in less pressure on the sensor which affects the sound quality. The IMU sensor manipulated the spatial position of the sound source in a way that it moved around and through the listener's head.
Another audio sample was used to build a scene which was made with an ambient-like surround sound which moves around the head of the listener. We programmed the patch for an Ambisonics system as well as binaural rendering which produced a strong spatial feeling.  
Concealing the technology in the textile was our absolute priority. That's why we seamlessly integrated the cables and sensors into the garment so that they remain invisible. To achieve this, we have carefully sewn the cables into the cuffs and discreetly embedded the sensors between the layers of fabric.
The design of the garment allows it to be worn in different ways. Depending on how the garment is worn, the performance of the sensors varies in response to the different pressure applied to them, which changes the result. The Max patch allows us to use different samples and to train the sensors in a different way which offers even more opportunities to change the audio outcome. The patch can be seen as a prototype for different projects working with textile, sensors and sound.

Team:

Aaron Alvin Keller and Juli Grönefeld