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AKitofNoPartsbyHannahPernerWilsonB.S.UniversityofArtandIndustrialDesignLinz,2007SubmittedtothePrograminMediaArtsandSciences,SchoolofArchitectureandPlanning,inpartialfulfillmentoftherequirementsforthedegreeofMastersofScienceinMediaArtsandSciencesattheMassachusettsInstituteofTechnology,June2011©MassachusettsInstituteofTechnology2011.Allrightsreserved.Author:
HannahPernerWilsonPrograminMediaArtsandSciences,MIT
May10,2011Certifiedby:
LeahBuechleyAT&TCareerDevelopmentProfessor
PrograminMediaArtsandSciences,MITAcceptedby:
MitchelResnickLEGOPapertProfessorofLearningResearch
AcademicHeadPrograminMediaArtsandSciences,MIT
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AKitofNoPartsbyHannahPernerWilsonB.S.UniversityofArtandIndustrialDesignLinz,2007SubmittedtothePrograminMediaArtsandSciences,SchoolofArchitectureandPlanning,inpartialfulfillmentoftherequirementsforthedegreeofMastersofScienceinMediaArtsandSciencesattheMassachusettsInstituteofTechnology,June2011©MassachusettsInstituteofTechnology2011.Allrightsreserved.ABSTRACTIdemonstrateanewapproachtobuildingelectronicsthatemphasizestheexpressivequalitiesofdiversematerialsaswellastheskillandcreativityofthebuilder.Ibelievethatamoreinsightfulandskilledprocessisalsocapableofproducingmoreintelligibleandpersonalresults.Conventionallyelectronicsthatarebuiltfromakit‐of‐partshavebeenoptimizedforspeed,efficiencyandrepeatabilityofassembly.Whilethisapproachdemonstratesthepowerofmodularsystemsthathavemademanyofthetechnologieswerelyonpossible,italsoconstrainsustoparticularstylesofbuilding,influencingwhatwebuildaswellasimpactinghowwecometothinkaboutelectronics.InordertopromoteadifferentapproachIhavedevelopedaseriesoftechniquesthatallowustobuildelectronicsusingavarietyofcraftmaterialsandtools.Acollectionofelectronicsamplesshowcasestheresultsandthepotentialofthesetechniques,andapublicwebsitedocumentsthesetechniquesintheformof“recipes”.Besidescontaininginstructionsonhowtobuildelectronicstheserecipesarealsodetailedaccountsofmydevelopmentprocessthataimtopromotefurtherexplorationandmaterialinvestigation,insteadofstraightforwardreplication.Afterdevelopingthiscollectionofnewtechniques,documentingandpublishingthem,Irantwoworkshopsinordertoobservehowmyapproachfaredinpractice.Workshopparticipantswereinvitedtobuildtheirownelectronicprojectsfromanewanddiversesetofmaterialsandtools.Observingparticipants’processledmetoreflectontheirdifferentstylesofbuildingandevaluatetowhatextentaKit‐of‐No‐Partsapproachsupportsabuildingstylethatismoreunderstandable,andallowsindividualstoworkmorefreelyandexpressivelywiththematerialsandtoolsinvolved.Currentlyourapproachtobuildingelectronicsisshapedbyindustrialstandardsanddiscretecomponents.TheKit‐of‐No‐Partscountersthisapproachbyintroducingthenotionofcraftandputtingemphasisonskilleduseoftools,intimateknowledgeofmaterials,withtheaimtoproducemorediverseandintelligibleresults.
Advisor: LeahBuechleyAT&TCareerDevelopmentProfessorPrograminMediaArtsandSciences,MIT
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AKitofNoPartsbyHannahPernerWilsonAdvisor:
LeahBuechleyAT&TCareerDevelopmentProfessor
PrograminMediaArtsandSciences,MITReader:
MitchelResnickLEGOPapertProfessorofLearningResearch
AcademicHeadPrograminMediaArtsandSciences,MIT
Reader:
NeriOxmanAssistantProfessor,MediatedMatter
PrograminMediaArtsandSciences,MIT
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TABLEOFCONTENTS
INTRODUCTION......................................................................................................................................6
BACKGROUND.........................................................................................................................................8Electronics.......................................................................................................................................................................................8IndustrialProduction...................................................................................................................................................... 8IndividualPrototypingandBuilding........................................................................................................................ 8ConstructionKits .............................................................................................................................................................. 9
LiberatedCircuits ..................................................................................................................................................................... 10ElectronicTextiles ......................................................................................................................................................... 10PaperCraftsandElectronics..................................................................................................................................... 10MakerCultures................................................................................................................................................................ 11
Craft ................................................................................................................................................................................................ 12CraftToday ....................................................................................................................................................................... 13
BUILDINGAKITOFNOPARTS...................................................................................................... 15MappingASpace....................................................................................................................................................................... 17SourcingSuppliesandInformation .................................................................................................................................. 20Sourcing:ConductivePaints ..................................................................................................................................... 22
ProducingSamples................................................................................................................................................................... 26Samples:Carving............................................................................................................................................................ 29
DocumentingRecipes.............................................................................................................................................................. 38Recipe:Electroplating.................................................................................................................................................. 40
TheWebsite ................................................................................................................................................................................. 52COLLECTIONOFEXAMPLES ............................................................................................................ 55CarvedPixels ............................................................................................................................................................................... 56CarvedTraces ............................................................................................................................................................................. 57CastTraces................................................................................................................................................................................... 58EtchedTraces ............................................................................................................................................................................. 59GildedTraces .............................................................................................................................................................................. 60LaserEngravedTraces(andPressFitComponents) ............................................................................................... 61LinocutandLinoPrintedTraces ....................................................................................................................................... 62PaintedTraces ........................................................................................................................................................................... 63PaperSpeakers .......................................................................................................................................................................... 64PlatedSeashellSpeaker ......................................................................................................................................................... 65PlatedTraces .............................................................................................................................................................................. 66ScreenPrintedTraces............................................................................................................................................................. 67SculptedMotor........................................................................................................................................................................... 68VinylcutTraces .......................................................................................................................................................................... 69
WORKSHOPS ........................................................................................................................................ 70FirstWorkshop .......................................................................................................................................................................... 73SecondWorkshop ..................................................................................................................................................................... 80
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REFLECTIONSONPROCESS ............................................................................................................. 88BalancingMethodandIntuition ........................................................................................................................................ 89BeingExplicitAboutTacitKnowledge ............................................................................................................................ 89DocumentinginRealTime................................................................................................................................................... 90StylesofApproach .................................................................................................................................................................... 90RehearsingandDebugging .................................................................................................................................................. 91ConcludingRemarks................................................................................................................................................................ 92
APPENDIX.............................................................................................................................................. 93
BIBLIOGRAPHY.................................................................................................................................... 95Websites ........................................................................................................................................................................................ 96
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INTRODUCTIONTheMITMediaLabisaplacetoimagine,prototypeandbuildtechnologies.Situatedwithinthisenvironment,theHigh‐LowTechresearchgrouplooksattheprocesses,audiencesandculturessurroundingtechnologiesandathowthesesurroundingelementsimpacttechnology.Wecareaboutthekindsofpeoplewhoaredrawntocreatingtechnology.Wepromotediverse,accessibleandcreativewaysofapproachingtechnology.Finally,weencourageandsupporttheformationofcommunitiesandculturesaroundthesenewaudiencesandprocesses.
Inmywork,Ilookathowwebuildelectronicsandatthematerialsandtoolswebuildwith.TheKit‐of‐No‐Partsisanewapproachtobuildingelectronicsthatemphasizestheexpressivequalitiesofdiversematerialsaswellastheskillandcreativityofthebuilder.Thisapproachisrepresentedthroughasetoftechniquesthatinclude,amongotherthings,waystosculptandplateelectricalconnections,cutpaperspeakers,carvewoodendialsandpaintcolor‐changingpixels.Ibelievethatthisnewapproachtobuildingwillleadtoagreaterdiversityofelectronicsthataremoreunderstandableandunique.
Inindustry,“kit‐of‐parts”describesanapproachtodesigningdiscretecomponentsthatfunctionasmodularpartswithinacoherentsystem.Thesepartshavebeenoptimizedforspeed,efficiency,andrepeatabilityofassembly.TheKit‐of‐No‐Partsapproachemphasizesbuildingoutsideofthesesystems.WhileIincorporateavarietyofpartsinmytechniques,Idonotconfinemyselftoworkingwithintheirconstraints.
Iamnotthefirstpersontoaddresssomeoftheseproblemssurroundingelectronics.Awholerangeofelectronicconstructionkits(picoCricket[picoCricket,w2011],Phidgets[GreenbergandFitchett,2001])havebeendesignedtomakeelectronicsmoreunderstandable,andaccessible,makingthemappealnotonlytochildrenbutalsotoartistsanddesigners(Arduino[Arduino,w2011]).TheLilyPadArduino,asewablemicrocontrollerplatform,isanexampleofhowanewandmoreexpressiveapproachtobuildingelectronicsengagesdiversecommunitiesandproducesnewkindsoftechnologies[BuechleyandHill,2010].ArangeofprototypesandprojectsfromwithinthefieldofInteractionDesigndemonstratesomeofthedifferentkindsoftechnologiesthatcouldexistifweweretoapproachtechnologywithafocusonmoresocial,culturalandethicalimplications[Dunne,2005].
WhatdifferentiatesmyapproachfromtoolkitsandcriticaldesignsisthatIamnotintroducinganewsetofmoreunderstandablepartsorexamplesofwhattechnologymightonedaybecome.InsteadIamdevelopingnewprocessesforcreatingtechnologybyre‐introducingthenotionofcraft.Takingacraftapproachtobuildingelectronicsintroducesaninsightfulandskilledprocessthatisalsocapableofproducingmoreintelligibleandmorepersonalresults.Thisprocessanditsresultsappealtoindividualsandcommunitieswhowerepreviouslynotdrawntobuildingelectronicsthemselves.
BeforetheKit‐of‐No‐Partsapproach,Ihadbeenworkingwithtextilecraftsandelectronicsforseveralyears.Mypreviousworkincludesanonlinelibraryoftextilesensors[HowToGetWhatYouWant,w2011],aseriesofhands‐onworkshops[Perner‐Wilsonetal.,2011]onthetopicofDoItYourself(DIY)textilesensorinterfacesaswellasaseriesofprojectsthatincludeawearablegameinterfaceandamotion‐capturecostume.
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Inapproachingmythesis,Iselectedandcategorizedelectroniccomponents,conductivematerialsandcraftprocessesandmappedthemintoacollectivespace.WithinthisspaceIsketchedconnectionsbetweendifferentcategoriesandusedtheseintersectionstogenerateideas.Iproceededtorealizetheseideasthroughmakingandtestingsamples.Makingsamplesmeantcombiningdifferentmaterialsandtoolingprocessesinasystematicwayinordertotestwhatworkedandwhatdidn’t.WhileIwassystematicaboutmysamplemaking,Ialsoreliedonmyintuition.Thisprocessofproducingsamplesforcedmetothinkexplicitlyaboutmystyleofworkingandhowtoconveyitasanapproach.ThroughmythesisdocumentIaminterestedincommunicatingnotonlytheresultsofmyexperimentation,butalsotheexperimentalapproachitself.
Theresultsofmythesisworkincludeacollectionofexamplesandawebsite.Thecollectionofexamplesdemonstrateswhatonecanbuildwhencraftskillsandexpressivematerialsbecomeaninherentpartofthebuildingprocess.TheyshowcasetheresultsofthevarietyoftechniquesIdevelopedsuchascopper‐platedseashellspeakersandornamentallygildedgoldcircuits.Thewebsitedocumentsthetechniquesusedtocreatetheseexamplesasrecipes,sothatthisapproachcanbeappliedbyothers.Theserecipesarenotjuststraightforwardstep‐by‐stepinstructionsonecanfollowtoachievetheresult;instead,theyaredetailedaccountsofmyprocess.Theyattempttopromptotherstobuilduponmywork,ratherthansimplyreplicateit.
Inordertogetanunderstandingofhowmyworkimpactshowwecurrentlybuildelectronics,Idiscusstowhatdegreeitsupportsabuildingstylethatismoreunderstandable,andtowhatdegreesuchtransparencyallowsindividualstoworkmorefreelyandexpressivelywiththematerialsandtoolsinvolved.ThroughtwoworkshopsIlookatothers’abilitytoapplythesetechniquessuccessfully,andathowtheuseofcraftmaterialsandtoolsinfluencestheirperceptionofelectronics.Iaminterestedtofindoutwhoisdrawntothisbuildingapproach,whatmotivatesthemtoengagewithit,howtheyexperiencetheprocessandwhattheywanttobuild.
Inthefollowingchapters,Idescriberelatedworkandbackgroundinformationrelevanttomythesis.IdetailmyexperimentalprocessofbuildingtheKit‐of‐No‐Partsanddocumentmytechniquesintheformofrecipes.IintroduceacollectionofexamplesthatshowcasewhatkindsofelectronicscanbebuiltwiththetechniquesI’vedeveloped.ThroughsummarizingandanalyzingtheworkshopsI’veconducted,Ireflectonmyprocessaswellasontheresultsofthatprocess.
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BACKGROUNDInthischapter,Iintroducebuildingprocessesastheyrelatetoelectronicsandcraft.Idescribehowelectronicsaredesignedandmanufacturedasdiscretecomponentsandhowweprototypeandbuildelectronicsatanindividuallevel.Whilethisfirstsectiononelectronicsisfocusedonhowwebuildwithinsystemsofparts.Inasecondsectiontitled“LiberatedCircuits”focusesonelectronicsoutsidetheirsystemsbyexploringotherformsofbuildingwithelectronicsthat,fordifferentreasons,buildelectronicsinmoreunconventionalandunintendedways.Inafinalsectiononcraft,Idescribewhatitmeanstocraftandtowhatextentscrafttodayincorporatestechnology.
Electronics
IndustrialProduction
Todaythemajorityofelectroniccomponentsaremass‐manufactured.Standardizationandakit‐of‐partsapproachtoproductionhavemadelarge‐scalemanufacturingfast,efficientandaffordable.Anelaboratesupplychaindeliversmaterialsthathavebeenmadeworkable,theirflawsremovedtorenderthemuniformandpredictable.Standardizedproductionor“workmanshipofcertainty”asDavidPyecallsit[Pye,1968],allowsustobuildtechnologiesthataremorecomplexthananyonehumancouldevermakehimselforherself.Theresultsofthisprocessdemonstratethepowerofblackboxing[Pugin,1853]anddivisionoflabor,withoutwhichmanyofthetechnologieswerelyontodaywouldnotexist.Buttheseresultsalsoillustratetheinfluencethatthisstandardizedapproachhasonhowtechnologylooks,feelsandfunctions.
“Inparticulartherehasbeenapronounceddevelopmentintheideaofabuildingasakitofpartswhoseindividualfunctionsaretestedandknown,whosecostandperformancehasbeensetandwhoseusecanbespecifiedinonecountryandusedinanotherandeveryoneconcernedknowswhattoexpect.“[CraftandtheTuringTestforpracticalthinking,PeterDormer,TheCultureofCraft,1997]
TheInternationalElectrotechnicalCommission(IEC),whichwasfoundedin1906andworkstowardsdevelopingindustrystandards,describesthegoalofstandardsasallowingfortheassemblyofelectronicsthat“perform,fitandworksafelytogether”[IEC,w2011].Someofthesebenefitsofstandardizationcanalsobecomelimitations.Infirst‐worldindustrialsocietieswehavealreadybeguntothinkofelectronicsintermsofstandardizedpartsanditishardtobreakwiththeseconventions.Whenwethinkofatransistor,wethinkofthespecificcomponentpackagesandnotoftheactualmaterialsandmaterialpropertiesusedtomakethetransistoritself.Thewaytransistorsaredesigned,theirpackageandform‐factor,havelittletodowithhowtheywork.Thiswayinwhichpartstendtoblackboxfunctionality,hidingmechanismsandfunctionalmaterials,makesthemlessintuitiveandunderstandableandharderforindividualstouseinunexpectedorexpressiveways.Ibelievethatpartslibrariesandstandardizedindustrialsystemsconstrainhowwebuild,whatwebuildaswellashowwethinkaboutelectronics.Figure2showsanassortmentofstandardizedelectronicscomponents.
IndividualPrototypingandBuilding
Thewaysinwhichwecurrentlysketch,prototypeandbuildelectronics,evenashobbyistswithinthevicinitiesofourownhomes,relyonstandardizedparts.Arangeoftoolsexistthatallowustoprototypeandeasilydisassembleourdesignsbuiltwiththeseparts.Thisstyleofworking,too,standsincontrasttotheapproachIamproposing.
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IwanttobrieflyintroducesomeofthewaysinwhichwecurrentlybuildelectronicstobettercontrastitwiththeapproachI’mproposing.Breadboardingisacommonelectronicstermusedtodescribetheprocessofprototypingcircuitsonabreadboard.Thename“breadboard”comesfromthewayearlyradioenthusiastsusedactualbreadboardsorpiecesofwoodasplatformstowhichtheyscrewedandattachedtheindividualpartsoftheirradiocircuits[Fig.1,left].Todaybreadboardsarerectangularplasticconstructionbaseswithagridofholesspacedtofittheleadsofmostthrough‐holecomponents[Fig.1,right].Jumperwiresareusedtocreateadditionalconnectionsonthebreadboard.
Figure1.Left:1922OnetubebreadboardradiobyA.CGilbertErector(imagetakenfromnwwone.org).Right:Modernbreadboardwithcomponentsandjumperwires.
Todesignmoredurableandpermanentprintedcircuitboards(PCBs),onecanusesoftwarethatallowsfortheselectionofcomponentsfromalibraryofstandardpartstobelaidoutinadesign.Thesoftwarehelpsoptimizethearrangementofindividualpartsandtheconnectionsbetweenthem.Thefinaldesigncanthenbeexportedtocreatefilesforindustrialorindividualproductionthroughchemicaletchingormillingthecircuitfromacopperfoillaminate.
ConstructionKits
Constructionkitsmakeelectronicsaccessible;theylowertheentrybartoscience,engineeringandtechnologydisciplinesandallowmoreofustobuildourownelectronics.Similartoindustrialproduction,thepartsofaconstructionkitfunctioninsidemodularsystems,yetwhereasinindustrypartsareoptimizedforengineerstobuildwithandmachinestomass‐produce,thepartsofaconstructionkitaredesignedwithattentiontohowanindividualusesthemtobuild,understand,andlearn.
Arangeofphysicalcomputingtoolkitsareaimedatbridgingthegapsbetweenprogrammingandbuildingelectronicsandtheirinteractionswiththephysicalworld.ToolkitssuchasPhidgets[GreenbergandFitchett,2001]andArduino[Arduino,w2011]havemadeprogrammingandbuildinginteractiveprojectssoaccessiblethatartists,designersandstudentsallovertheworldareintegratingelectronicsintheirwork.PicoCrickets[Fig.2]arephysicalcomputingmodulesforchildrendesignedtobeeasilyintegratedwiththephysicalworldtoemphasizeandpromoteartisticexpression.
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Figure2.Left:Electronicscomponents(imagetakenfromprintedcircuit1.com).Right:PicoCricketsbyPICOarebasedonresearchfromtheLifelongKindergartengroupattheMITMediaLab(photofromSmartDesign).
LiberatedCircuits
Besidesindustry,individualprototypingandconstructionkits,thereareotherapproachestobuildingelectronics.Buildingoutsideofindustrialproductionisoftenassociatedwithbuildingasaformofpersonalexpressionoraestheticcreation.Thefollowingparagraphssummarizesomecontemporarymovementsthatrepresentindependent,expressiveandmoremateriallydiversebuildingprocessesrelatedtoelectronicsandtechnology.
ElectronicTextiles
ThefieldofElectronicTextiles(E‐Textiles),theseamlessintegrationofelectronicsandtextiles,representsoneofthemoreintegrativematerialapproachestobuildingelectronicswithandfromfabricsaswellasothersoft,flexibleandmalleablematerials.Researchinthisarea[BuechleyandHill,2010]hasshownthatintroducinganewpaletteofmaterialsandtoolsforbuildingelectronicsattractsnewaudiencesandgeneratesanewdiversityofelectronicartifacts.Theseartifactsarenotonlyaestheticallyintriguingbutalsofunctionallynovelandoftentheresultofapersonalencounterwithtechnology.
AnewsetoftoolkitssuchastheLilyPadArduino[Buechleyetal.,2008][Fig.3],Fabrickit[Fabrickit,w2011]andtheSchemer[Schemer,w2011]aredesignedtofacilitatetheintegrationandcombinationofelectronicsandtextiles.WhilethesetoolkitssupportandenableanewcommunityofbuilderstorealizetheirownE‐Textileprojectstheyalsointroducenewprocessesandnewstylesofworkingthatlieinbetweentheplugandplayworldofelectronicsandtheworldoftextilehandicrafts.
PaperCraftsandElectronics
In2007and2009twoconferenceworkshopstitledTransitiveMaterials[TransitiveMaterials,w2011]focusedonintegratingmaterialtechnologyandcomputation.TheacademicpaperspresentedattheseworkshopsincludedtheworkonPulp‐BasedComputing[Coelhoetal.,2009]thatintroducedelectronicsintothepapermakingprocessesallowingforelectricalconnections,bendsensorsandLEDlightstobeembeddedwithinpaper.Pulpcomputingalsointroduceda
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screen‐printedflatspeakercoilthatinspiredthepaperandseashellspeakersIintroduceinmythesis.AnotherpaperonCo‐DesignedPaperDevices[Sauletal.,2010]includeddocumentationofagildedcircuitmadefromgoldleafthatwasusedtoactuateapaperrobot.
Figure3.Left:LilyPadArduinoembeddedinanETextilesproject.Right:ScreenprintedspeakercoilonhandmadepaperbyMarceloCoehlo(imagetakenfromeyemotive.com).
Combiningpaper,electronicsandcomputationhasalsobeenoneoftheresearchdirectionsoftheHigh‐LowTechresearchgroup.ElectronicPopables[QiandBuechley,2010]isaninteractivepop‐upbookthatshowcaseshowelectronicsandpop‐upmechanismscanbeintegratedtoproducenewresultsthatcombineartisticexpressionwithcraftandengineeringskills.TheLivingWall[Buechleyetal.,2010]isalarge‐scalepaintedinteractivecircuitthatappearsasadecorativefloralwallpaperpattern,integratingfunctionalcircuitlayoutandtheelectricalpropertiesofconductivepaintwithappearanceandaesthetics.
InmanywaystheKit‐of‐No‐PartsapproachsprungfromarealizationthatinattributingmanyofthenovelanddiverseresultsofE‐Textilesandpapercomputingsolelytothedifferentmaterialstheyweremadefrom,weareoverlookingtheimpactthattheshiftinprocesswashavingonelectronics‐namelyashiftfromtheestablishedpracticeofassemblingelectronicsfromakit‐of‐parts,toaprocessofcraftingelectronics.
MakerCultures
InthissubsectionIintroduceavarietyofdifferentbuildingcommunitiesthat,inmyopinion,representstylesofbuildingwithelectronicsthattakeplace“outsidethebox”.BythisImeanthattheymakeexpliciteffortstoworkwithelectronicsinunconventionalways,foravarietyofreasonsthatincluderesourcefulness,customizationandaesthetics.
Hackerspaces[Fig.4]haveestablishedthemselvesinmanyplacesasaphysicalspacetobuildandhackelectronicstogether.
Circuitbendingisastyleofmodifyingmostlycheaptoycircuitstoillicitinterestingelectronicsounds.Bentcircuitsareoftenhousedincustom‐builtcontainersfromre‐assembledpartsandscraps,bringingtogetherelectronicscomponentsandhouseholditems.
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Steampunk[AkahandBardzell,2010]isasubculturethat,amongotherthings,modifiesandbuildselectronicstolookliketheyoriginatedfromtheVictorianarea.WhilemanySteampunkelectronicsarereplicasofmoderntechnology,theyincorporatearangeofmaterialsandstylesthatarereminiscentofapasterainwhichsteampowerwaswidelyused.Theresultsaresometimeselectronicartifactsthatstandoutbecausetheylooknothingliketypicalconsumerelectronics[Fig.4].
Figure4.Left:Nosebridgehackerspace,SanFrancisco(phototakenfrommattleaf.com).Right:RhombusMaximusbyAlexNeretinasteampunkcomputermousemadeofcopper,brassandwalnutwood(imagefrombehance.net).
ThetermDoItYourself(DIY)hasexperiencedrecentpopularityandmediaattention.O’Reilly’sMakeMagazine[Makezine,w2011]andMakerFaires[MakerFaire,w2011]arebigsupportersofthisnewmakermovement.MakerculturehasalsoverysuccessfullyleveragedtheInternetasaninternationalplatformforcommunitiestomeetandexchangeprojectsandinformation.Ravelry[Ravelry,w2011]andInstructables[Instructables,2011]areexamplesofonlinecommunitiesbasedaroundsharinginformation,publishingprojectsandacknowledgingothers’work.
Culturesofmakingexistaroundmaterials,tools,andcommunityspacesaswellasaroundtheartifactsthatpeoplemakebutthemindsetoftheindividualmakerisjustasmuchanimportantpartofthesecultures.JaySilverdescribesaMakerMethodology[Silver,2009]thatpromotesmakingasamindset,wheretheworldisyourpaletteandyouandyourbodyplayaroleinthewayyoubuild,learncreateandinteractwithelectronics.
Craft
Craftmaterialsandcraftedartifactsareoftenpraisedfortheiraesthetic,decorativeandmaterialqualitiesandyetwehardlyconsiderthemintermsofinnovativenessorusefulness.Wegenerallyconsidercraftedartifactstobeshapedbytheskilled“workmanshipofrisk”[Pye,1968]andthepersonalknowledge[Dormer,1997]oftheindividualcraftspersonaswellasbythematerialsandtoolsinvolved.
“Acraftobjectoftenrevealsmuchabouttheskillandthetechnologyusedtomakeit.Therelationshipbetweencraftprocessandproductislikelytobe,ifnotquitetransparent,thenatleastrelativelyaccessibletomostofus.Thereispleasurefromwearingorusingsomethingwhosecreationwecan
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bothadmireandunderstand.Inaworldwherewehavelosttouchwiththebusinessofmakingthings,thecraftobjectrestoresforustheconnectionbetweenmakingandusing.Bycontrast,designconceals.Notonlydowenotunderstandhowdesignedobjectsaremade,wedonotunderstandhowtheywork.”[HelenRees,Patternsofmaking:thinkingandmakinginindustrialdesign,TheCultureofCraft,1997]
CraftToday
Lookingatcontemporarypracticesofcraft,thereseemstobeasplitbetweencontemporarycraftthatleveragestechnologiesinsupportoftraditionalpractices,suchastheonlineknittingcommunityRavelry[Ravelry,w2011],andcontemporarycraftthattakesamoreradicalstanceonestablishingnewformsofcraftexpressioninmodernsociety,suchasKnitta[Knitta,w2011]andHyperbolicCrochet[HyperbolicCrochetCoralReef,w2011].Knittaisacollectiveofknitterswhouseknittingasaformofgraffiti.HyperbolicCrochethasbecomeaworld‐widemovementthatcelebratesthecraftofcrochettoproducemathematicalstructuresthatrepresentcoralreefstructuresinanattempttodrawattentiontothethreatsthatglobalwarmingishavingonthisnaturalwonder.
Figure5.Left:Knittagrafitti(imagetakenfromhugznbitchez.com).Right:“CrochetCoralandAnemoneGarden"withseaslugbyMarianneMidelburg(photoscopyrightTheIFFbyAlyssaGorelick).
Craftemphasizesprocess,thematerialsandtoolsinvolvedaswellastheskillandjoyinmanuallabor.Crafthasbecomedefinedasothertoindustrialproductionandthiscomparisonhasemphasizedmoreofthesocialandeconomicalaspectsofcraft,craftsmanshipandartisanalproduction.Theresultisthattheseaspectstohaveanimpactonhowweviewcraftandcraftedartifacts.
Thecommonimageweconjureupofthecraftsperson’sworkspace,whilefullofmaterialsandtools,isoutdatedintermsoftechnologyandinnovation.Themoderncraftworkspaceexists.Itincludescomputersandotherhigh‐techelectronicsandyetwhenwethinkofcraftwepicturethenostalgicworkspacethatrepresentsthebirthplaceofthekindsofartifactswetypicallyviewascrafted.Whilecrafthascometoembracetechnologyforproduction[AnnSuttonquotedinDormer,1997,p145],communitybuildingandsocialnetworking[Torray,2009][Rosner,2010],therearefewapproachesthathavebroughtusaframeworkinwhichtocrafttechnologyitself.
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InthefollowingchaptersIdetailmythesisworkthatexplorestheprocessandpossibilitiesofbuildingelectronicsbycombiningtheskilled,materialandpersonalqualitiesofcraft,theexpressive,tinkeringandresourcefulqualitiesofmakerculturewithestablishedformsofbuildingelectronicsfromasetofdiscretecomponents.IdescribetheseriesoftechniquesthatIhavedevelopedinordertopromotewhatIbelieveisamoremateriallydiverse,functionallytransparentandexpressivestyleofbuildingelectronics.
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BUILDINGAKIT‐OF‐NO‐PARTS
Figure6.SnapshotofmyworkspacetakenduringtheprocessofbuildingaKitofNoParts.
TheintroductionexplainedmymotivationanddescribedmyapproachandinthebackgroundsectionIpaintedapictureofhowwebuildandcraftwithelectronicstoday.Inthischapter,IwilldetailthestagesIwentthroughincreatingmythesiswork.Figure6showsasnapshottakenofmyworkspacewhileIwasbuildingtheKit‐of‐No‐Parts.
ThroughoutthisdescriptionofmyprocessofdevelopingnewtechniquesItalkaboutsamples,examplesandrecipes,asshowninFigureX.Whileintimatelyrelated,thesearethreeseparatethings.SamplesaretheexperimentsIproducedtodevelopnewtechniques.ExamplesarethedemonstrationsImadetoshowcasethesetechniques.Finally,recipesaretheinstructionsIwroteinordertosharethesetechniqueswithothers.
FororganizationalpurposesIwilldescribethedifferentstagesofbuildingaKit‐of‐No‐Partsinalinearorder.ButinpracticetherewasmuchoverlapandbackandforthbetweenstagesthatisbetterillustratedasshowninFigure7.
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Figure7.IllustrationoftheprocessofbuildingaKitofNoParts.MappingSpace:Visualizingtheconceptualframeworkofmythesistogenerateideas.SourcingSuppliesandInstruction:Acquiringthenecessarymaterials,toolsandinformationtobeginwork.ProducingSamples:Testingnewtechniquesthroughasuccessionofsamples.MakingExamples:Designingacollectionofexamplesthatshowcasemyvarioustechniques.Workshops:Holdingtwoworkshopstosharetechniquesandgatherfeedbackonhowtheyarereceived.DocumentingRecipes:Writingupmysuccessesandfailuresforotherstofollow.Website:Launchingthewebsiteandfillingitwithinformation.
AsIcontinuetotalkaboutthetechniquesIdeveloped,IwanttobeclearthatI’mreferringtoaparticularstyleofbuildingthatcomesclosertocraftthanengineering,thatislimitedbyskillandnotbytoolsetandthatisdefinedbyriskandnotbycertainty.Ibeganmyexplorationlookingfortoolsthatwouldallowmetoworkexpressivelywithawiderangeofmaterials;fortechniquesthatrequireskillandemphasizematerialqualities.Iwaslookingtoachievediverseanduniqueresults.Thereisn’taclearlineIcandrawbetweentheexpressiveprocessI’mtryingtodescribeandthelessexpressiveprocessesI’mtryingtocounter.Themindsetandattitudeofthemakerplayalargepartinhowexpressivethebuildingprocessis.ThisiswhytheKit‐of‐No‐Partsisasmuchaboutattitudeasitisaboutconcretetechniquesandrecipes.
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MappingASpace
Figure8.Snapshotofcategorizationsmadeintheprocessofmappingspace.
ThefirststepItookinexploringtheintersectionsofcraftandelectronicswastolookseparatelyatthedomainsofelectronics,materialsandbuildingprocesses.Iwasinterestedinhoweachofthesethreedomainsdescribedandcategorizedthemselves.IlistedthedifferentkindsofcategorizationsIcouldfindforeachdomainandthenselectedtheonethatwasmostrelevantformyintentions.Sometimesthisinvolvedmixingcategorizationsandeveninventingmyown.Figure8showsadetailofsuchacategorization.
Electronicscanbecategorizedbyelectricalproperties(conductive,resistive,piezoresistive,piezoelectric,dielectric/isolating…)orbypackagenorms(surfacemount,through‐hole...),butconventionallytheyarecategorizedbydiscretecomponent(traces,resistors,capacitors,sensors,actuators,power,transistors,integratedcircuits…)aslistedinestablishedliteraturesuchasTheArtofElectronics[HorowitzandHill,1989].Whilethinkingofelectronicsintermsofelectricalpropertieshelpedmetothinkofindividualcomponentsfromanewperspective,Idecidedtogowiththecommoncategorization.Myreasoningforthiswasthatitwasnotmyimmediategoaltochangehowwecategorizeelectronics,butratherhowwebuildthem,whichincludesbuildingwiththem.
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Materialsareconventionallycategorizedbychemicalelementsandcompounds(metals,ceramics,wood,polymers...)butcanalsobecategorizedbyform‐factor(solid,liquid,powder,gas…)orbyconductivity(conductive,resistive,piezoresistive,piezoelectric,dielectric/isolating…)Ichosetopre‐selectconductivematerialsandthencategorizethembyform‐factor.Myreasoningforthiswasthatsuchamajorityofconductivematerialsfallintothemetalscategorythatthiscategorywoulddistinguishlessdifferencesandcategorizingmaterialsbyform‐factorallowedmetorelatethemmoreeasilytoprocessesandtools.
BuildingProcessesarecategorizeddifferently,dependingondomain.Industrialprocessesaresometimeslistedbyprocesstypesuchaschemicalprocess,heatprocessorphysicalprocessbutmorecommonlytheyarecategorizedbysimilarityoffunctionsuchascasting,molding,forming,machining,joiningandpolishing.Craftprocessesaretraditionallycategorizedbymaterial(metalwork,woodwork...)andbyprocess(carving,weaving...)butthisisnotsomuchacategorizationasawayofnamingcrafts.Idecidedtocategorizecraftsinmodernmanufacturingtermsandtolistthemasadditive,subtractiveanddeformingprocesses,anothercommoncategorizationusedinmanufacturinghandbookssuchasFundamentalsofModernManufacturing[Groover,2010].
Itisinterestingtonotethateachofthesethreecategoriesdescribesitselfdifferentlythroughitschoiceofnamingandcategorization.Electronicsareverymuchdiscretecomponentsthathavebeencategorizedbyindustryandtheirmanufacturingterms.Materialsfallnaturallyintoscientificcategorizations,butcouldjustaseasilybedescribedandcategorizedintomoretactileoremotionalcategoriessuchasrough,softandcold.Whilecraftsdescribethemselvesthroughmaterialsandtoolprocessessuchaswoodworkorcarving,industrialprocessesfocusonhowmaterialsareworkedintotheirfinalform,eitherthroughadding,removingorshapingthematerials.
Aftertryingoutvariouscombinationsoftheabovedomainsandcategorizations,Ifoundthefollowingcombinationmostsupportiveofgeneratingideasfornewtechniques.Ichosetolistconductivematerialsbysubstanceandthenbyform‐factorontheleftandprocessesbyadditive,subtractiveanddeformingontheright.Ichosenottoincludeelectroniccomponentsasacategoryandinsteadhavethemresultfromthevariousmaterial‐processintersections.ThismappingworkedoutverywellformeandinthefollowingIgiveamoredetailedlistingofwhatIincluded.
Conductivematerialswerelistedasmetal,metalizedandnon‐metallic.WithinthemetalandmetalizedcategoriesIlistedmetaltypessuchascopper,silver,gold,nickel.Withinthenon‐metalliccategoryIlistedcarbon,intrinsicallyconductingpolymers(ICPs),salt,plasma.Thenextsubcategorywasform‐factor.InmetalsIincludedthingslikefoil,sheet,rod,pipe,wire,mesh,leaf,bead,filing,powder,fiber,screw,nailandhinge.Metalizedformfactorsincludedfabric,tape,threadandyarn.Non‐metalform‐factorsincludedpowder,fiber,liquid,solution,coating,gel,fabric,paper,tape,pencilleadandgas.
Craftprocesseswerecategorizedasadditive,subtractiveanddeforming.Idividedadditiveintoapplyingandfusing.Applyingincludedprinting,painting,coating,platinganddrawing.Fusingincludedgluingandlaminating.Subtractiveprocessesweredividedintocuttingandremoving.Technically,cuttingisnotalwayssubtractiveandcanfallinthedeformingcategory.Cuttingincludedripping,tearingandseparating.Removingincludedcarving,engravingandetching.Andfinally,thedeformingcategorywassubdividedintomolding,casting,foldingandinterlocking.Moldingandcastingincludedthrowing,sculpting,shapingandcuring.Foldingincludedcreasing.
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Interlockingincludedweaving,knitting,crochetandknotting.ManyofthetechniquesintheinterlockingcategoryareprevalentintextilecraftsandtosomedegreeIexplicitlytriedtoavoidthesebecauseIwaslookingtocombinecrafttechniquesthathadnotalreadybeenexploredinE‐Textiles.
Figure9.Brainstormingsketchesontopofcategorizationmapthatleadmetodeveloptechniques.
ThesketchesinFigure9showmybrainstormingsketchesforselectcomponentsontopofthecompletedmapthathelpedmedrawintersectionsbetweenmaterialsandtechniques.ThesesketchesalsodepictconcreteideasfortechniquesthatIwentontodevelop.Thefirstsketchontheleftdescribesamethodforincorporatingnaturalmaterialssuchasleavesandshellsasbasestructuresforelectronics.Thisideaevolvedintoarecipeforelectroplatingseashellspeakers.Thesecondsketchontherightdescribesanapproachtosculptingandcarvingelectronicsfromconductivematerialsandthisideaevolvedintorecipesforcarvingelectricalconnectionsoutofwoodaswellasanattemptatsculptingpreciousmetalclaytomaketiltsensorsandmotors.
HavingusedmymaptogeneratetheseconcreteideasIbegantheprocessoforderingsupplies,findinginstructionsanddevelopingnewtechniques.
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SourcingSuppliesandInformation
Figure10.ImagetakenofthespatchulatooldisplayatthelocalartandcraftsupplystorewhereIpurchasedseveralofmysupplies.
HavinggeneratedideasfornewtechniquesIwasreadytobeginsourcingandacquiringthenecessarymaterialsandtools[Fig.10].InthischapterIdescribehowIuseddifferentinformationsourcestofindsuppliesandinstructions.ThroughselectexamplesIsharewhatIlearntaboutthesenewmaterials,toolsandtechniquesthroughtheprocessofobtainingthem.
ThetypesofmediaIfoundmostusefulincludedotherpeopleswrittenaccountsoftheirprocesses,especiallywhentheyincludeddetailsnotonlyregardingwhatbutalsowhytheychoseacertainmaterialortool.Photoswereextremelyvaluablebecausetheycapturedmoreinformationthanthepersonthoughttowriteabout.Sketcheshelpedillustratedetailsthatwereotherwisehardtodepictordescribe.Whilevideoswereoftentedioustowatchatlength,theyweregreatsourcesofallkindsofimplicitdetailsthatIhadahardtimefindinginexplicitdocumentation.
Ichoseonlinemediaoverotherformsofinstructionsuchasapprenticeships,classesandevenprintedliterature.MyreasoningforthiswasthatIintendedtousesimilarformsofdocumentation
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formyownworkanditseemedliketheperfectopportunitytoexperiencelearningfromthemfirsthand.
Idrewmostheavilyupontheinstructionalresourcesbothbeforeandafter,andlesssoduringmyprocessofmaking.Instructionsarenotonlyasourceofhow‐toinformationbutalsoagreatplacetolookforinformationpertainingtothematerialsandtoolsinvolvedinaprocess.Otherplacestolookforthiskindofinformationincludetheonlineandofflineshopsthatmanufactureanddistributetheseresources.Thesewebsitesoftenmakesuggestionsastowhatcollectionsofproductsbelongtogether,givingyouanideaofallthesuppliesinvolvedinaparticularcraftorprocess.
Approachinganewfieldofpracticecanbeanoverwhelmingexperienceintermsoftheamountsofnewinformationoneencounters.Thiscanmakeithardtofindthepreciseinstructionsordetailedinformationthatoneislookingfor.SometimesIgiveuponfindingwhatI’mlookingforrelativelyearlyinfavorofamorehands‐onlearningexperience.Ifindthatevenafterabriefhands‐onencounterwithsomeofthematerialsandtools,I’minamuchbetterpositiontooverseeandcomprehendthemassesofinformationavailableonline.Byfiguringthingsoutmyself,myvocabularygrows,allowingmetobetterdescribewhatI’mlookingforandIbecomebetteratjudgingrelevantfromirrelevantinformation.
InordertoillustratesomeofthedetailsofmysourcingprocessformaterialsIdescribemysearchforconductivepaintsthatIwaslookingtouseforpaintingandcastingconductors.
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Sourcing:ConductivePaints
Figure11.Collectionofconductivepaintsmixedatdifferentratios,withdifferentmediums,andstraybottleofgildingsize.
Conductivepaintsareproducedforvarietyofapplications.Historicallysomepaintswereconductivebecausetheycontainedmetalliccolorpigments,buttodaythereisawholeindustryaroundtheproductionofconductivepaintsforprintingcircuitsaswellaspaintingwallstoshieldentireroomsfromelectromagneticfrequencies(EMF).
Mygoalwastofindconductivepaintsthatcouldbeappliedtoavarietyofdifferentsurfacesandmaterials.Ialsowantedtocombinethemwithbasemediumssuchasscreen‐printingbase,block‐printingbaseandevenlatexsothatIcouldcaststretchyconductors[Fig.11].Iwaslookingtoachieveavarietyofconductiverangesthatincluded:“Veryconductive”,lessthan10Ohmresistanceacrossroughlyadistanceof10cmandnowiderthan1cm,“Resistive”,intheKOhmrangeacrossroughlythatsamelengthanddistance,and“Piezoresistive”,havingelectricalpropertiesthatchangeunderphysicalinfluencessuchaspressureandstretch.
Beingabletopaint,print,stampandcastelectronics,aswellashavethembestretchableandflexible,opensupmanyexcitingpossibilities.
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OneofthefirsttrailsofthoughtIfollowwhenlookingforanewmaterialiswhetherIcouldpossiblymakeitmyself.Intermsofconductivepaintthiscouldbesomethinglikegrindingpencilleadandmixingitwithabinder,andindeedifyousearchonlineyoufindavarietyofinstructionsformixingyourownconductivepaintsandglues.Mostofthemmixgraphitewithamediumsuchasliquidtapeortwo‐componentepoxy,amediumthatwillshrinkratherthanexpandduringdryingorcuringsothatthenon‐conductivemediumwillnotseparateorencapsulatetheconductivepowderparticlesbutinsteadtocompressthem.IhadexperimentedwiththisinthepastandwhileitwaspossibletomakemyownconductivepaintsIwaslookingforsomethingmoreconductivethanIhadbeenabletoachievepreviously.
Ioftenbeginmysearchforaspecificmaterial,notonline,butbythinkingifthematerialiscontainedinorapartofanycommercialproduct.Oftentimesfindingacommonlyavailablevariantofwhatoneislookingforcansavetimeaswellascost.Silverpaint,forexample,iscontainedinconductivepensthataresoldforfixingelectricalconnectionsoncircuits.Ihavehadlittleluckgettingthesepenstoworkwellanddispensetheirconductiveinkniceandsmoothly,buttheycaneasilybecutopenandthesilverpaintextractedtobeusedinotherways.Whilemetallicmarkersandmagneticwallpaintseemliketheymightbeconductive,neitherofthemare.Metallicmarkerseithercontainonlyminimalamountsofmetalparticles,notenoughtoconduct,andoftentheydon’tcontainanyconductivematerials.Ironfilingsinmagneticwallpaintaretoodispersedintheirmediumtoconductelectricity.
Anotherwaytofindmaterialsinoddplacesistoconsiderallthedifferentformsandformfactorsitmightbesoldas.Conductivepaintsarealsosoldinspraycansbothforshieldingyourhomeaswellasforshieldingboxesthatcontainsensitivecircuits.
Therearecountlessmanufacturersanddistributorsofconductivepaintsonlineandbecauseconductivepaintisusedinavarietyofapplicationsitissoldindifferentpackagingandamounts.ConductivepaintforEMFshieldingpurposes,wherecustomersmightbepaintingthewallsoftheirhouse,comesinbuckets,whilethesamepaintforjewelryplatingprocessescomesinsmalljars.
Whenmakingsamplesoneoftenonlywantssmallquantitiesofanymaterialtotestbeforeplacingalargeorder.Itisalwaysworthwhiletocontactthecompanydirectlyandaskforsamplesoftheirproduct(s).Oftentimesthesamplesamountsareextremelygenerousandfree.Othertimesyouwillpay.Beforepurchasingamountsofaspecificproductitisgreattohaveaccesstosmallerquantitiestomakesureitwillworkforyourpurposes.InlookingforconductivepaintsonlineIfoundnumerousmanufacturersandsuppliersandwassurprisedtofindquiteanumberofthemthatwere“local”,orratherbasedinNewEngland.WhileitcanbeconvenientandhelpfultoorderfromalocalsuppliersometimesIdidnotrestrictmyselfasIbeganbybrowsingwebsites.
Browsingsomeofthesewebsitescanbeoverwhelmingduetotheamountsofproductsanddatasheetsfilledwithnewkindsofinformation.IfindithelpstotakenotesandsketchchartsinwhichIcancomparethepropertiesandpricesoftheitemsIcomeacross.IthenbeginformulatingemailstothesuppliesofthecompaniesI’minterestedin.IntheemailsIoftenrequestmoreinformationonspecificproductsandinquireaboutsamples.IalsobrieflydescribedwhatIamworkingon.TheKit‐of‐No‐Partswebsitewasnotquitesetupatthatpointbutassoonasitwas,IlinkedtoitinordertoreferencemyworkandhelpexplainwhatIwasdoing.Iheardbackfromtwoorthreecompanies,oneofwhichaskedmetomorepreciselyspecifymypurpose.Itturnedoutthattheymixtheirpaintsforeachorderafterclientsspecifywhattheywant.AtthatpointIwaslooking
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foraconductivepaintthatwouldconductevenwhenstretched.Thecompanysentmeasampleofoneoftheirpaintsscreen‐printedonapieceoffabrictodemonstrateitsflexibilityandabilitytoworkonporousmaterials.WhilethepaintlookedinterestingIdidnotenduppurchasingitfortworeasons:itwasasolventbasedpaintthatrequiredthinninganditneededtobedriedandcuredforupto15minutesattemperaturesabove100°C.Whileunfortunate,ourlabspaceisnotsetupwithgoodventilationoracuringoven,makingworkwithsomematerialsmoretediousthanothers.ButthinkingthatIalsowantmytechniquestobeavailabletoawideaudience,choosingnottoworkwithhigher‐maintenancematerialssuchasthisone,oftenmakemyworkmoreaccessible.
TheconductivesilverpaintIdidenduppurchasingfromanothersupplierwaswater‐basedanddriesextremelyquicklyatroomtemperature,WB‐101fromconductivecompounds[ConductiveCompounds,w2011].Unfortunatelysilverpaintsarenotcheapandthisonecost$1.25pergram.Theydidnotoffersamples,buttheydidsellsampleamountsatthisprice.Somecompanieshaverelativelylargeminimumorders,whichmeantIcouldpurchase100gfor$125.ComparedtomanyoftheothermaterialsandtoolsIwasusinginmyprocess,thiswasdefinitelyamongthemostexpensivepurchases.100gofthepaintwaslessthan100mlandatfirstdidnotseemlikemuchatall,butitendeduplastingmethroughoutmyprocessaswellasthroughouttheworkshops.
OneofthemostvaluablethingsIhavelearnedthroughrequestingsampleamountsofmaterialsisthatthepeoplewhomanufacturetheproductsareoftenjustasinterestedinmyprojectasIamintheirproduct.TheywanttoknowwhatIamusingtheirproductforandevenifitisworkingwellornot.Thepeoplewhoengineerandmakethematerialsknowalotaboutthemandonejusthastogetincontactwiththerightpersonandnotbeafraidtoexplainwhatitisoneisworkingon.Ihavefoundsomepeopleextremelyunderstandingofunusualsoundingapplicationsandactivelyhelpingmefindgoodsolutions.
Smallercompaniesmayhaveasmallerproductrangebuttheymightalsobemoreflexibleandabletoproducesomethingforyouspecifically.Eventhefactthatyoucancontactthemandgetapersonalresponsefromthepersonintherightpositiongivesyoubetteraccesstotheirexpertise.Largecompaniesoftenproducelargeamountstomeetindustrialorders.Theytendtobelessinterestedinone‐offprojectsbecausetheirrevenuecomesfrombigsales.Evenifyourprojectissuccessful,theamountsyoumightenduppurchasingfromthemarenothingonthescaleoftheirreturns.Also,iftheirmachinesaresetuptorunlargeorders,thenitisnoteasyforthemtomakeanythinginsmallamounts.Itisnotthatlargecompaniesassuchdon’tcareaboutyourproject,itisjustthattheirbusinessmodeldoesnotalwaysscaletoyourproject.
TheInternetisavastandintriguinglandscapeofresources.Insteadofwalkingintoastoreyoubrowseanonlineshopanditishardtonotletawebsite’sdesigninfluencetheimpressionyouhaveoftheirproducts.Someindustrialwebsitesareespeciallyhardtonavigateandcanappeardodgy.Aftergettingusedtothesesitesyoubecomemoreadaptatlookingpastwhatisoftenjustpoordesign.Manycompaniesdon’thaveadesignerorsimplydon’tcareasmuchabouttheironlinepresencebecauseitisnottheirmaininterfacewiththeirclients.Insteadordersareplaceddirectlyoverthephone.
Itisinterestingtolookatthedifferentaudiencessomeindustriescatertheirproductsto,especiallywhenthesearenichemarketsonewouldn’timmediatelyconsiderhavinganythingincommonwithoneanother.ConductivefabricsareaniceexampleofhowtheElectroMagneticField(EMF)shieldingindustryproducesproductsthatarebeingsourcedbyindividualssewinginteractivelight‐
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upgarmentsandpeopleshieldingtheirhomesfromEMF.Oftentimesthesedifferentcommunitiesarenotevenawareofeachother.
Astheseobservationsaccumulate,theymakeupalargepartofthisprocess.Thesedetailsarewhatmakethisprocessmorediverse,transparentandindividualthanplacingyourorderforpre‐assembledpartswithacompanylikeDigiKey[DigiKey,w2011]andbeingabletoassembleeverythingthenextday.
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ProducingSamples
Figure12.Samplesofdifferentcolorthermochromicpaintsondifferentheatingelementsthatincludesteelthread,copperpaint,carbonpaint,silverpaintandcoppertape.
Thissectiondescribestheprocessofproducingsamples,oftryingthingsoutthroughsystematicmakingandtesting[Fig.12,13].Whileitisamethodologicalprocessitalsobenefitsfromintuition.Especiallyasyougainexperienceworkingwithmaterialsandtools,onedevelopsafeelingforwhatworksandwhatdoesn’t.I’vefoundthatbalancingmethodandintuitionworkswell,solongasIkeeptrackofeverythingIdo.
Whilesamplemakingthrivesonthefreedomtobranchoutandexplorenewpossibilities,onealsoneedstoknowwhatoneislookingfor.Ideallyonealreadyknewwhatonewaslookingforwhensourcingthematerialsandtools,asdescribedinthepreviouschapter.IntheprocessofbuildingaKit‐of‐No‐PartsIestablishedaroutineofmakingsamplesthatwentsomethinglikethis:
(1)Trytomakeaconductor,acontinuousandreliableelectricallyconductivesurfaceorsolidthatcanbecontrolledintermsofdimensionsandspread(theequivalentofawire).(2)Connectthisconductor,forexampletotheleadofanelectricalcomponent.(3)If1and2aresuccessful,thentrytoisolatetheconductorand“jump”overitwithanotherone,creatinganintersectionoftwo
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overlappingconductorsthatarenotelectricallyconnected.(4)Connectoneoftheconductorsyouhavemadetoanother,thiscanbeseenaspartofstep3aspartofjumpingatraceistoconnecttwoexistingtraces.(5)Basedonexperiencefromtheprevioussamples,thinkofpossibilitiesforresistors,capacitors,inputandoutput.Forexample:switches,pressuresensors,heatingelements,motion,andcolorchange.
Figure13.Left:Samplesofconductivepaintsandpowdersmixedwithlatexinanattempttomakeastretchyconductorthatcanbecast.Right:Samplesofconductivepaintsandrubbersmixedwithvariousmediumssuchasmatteacrylicmedium,fabricmedium,latexandpuffyfabricpaintinanattempttocreatepaintablesubstancewithpiezoresistiveproperties.
ForroughlytwomonthsIspenteverydaytryingtodemonstratehowtheselectionofmaterialsandtoolsIhadchosencouldbeworkedintofunctionalelectroniccircuits.Eachtime,Iroughlyfollowedthesuccessionofsampleslistedabove.Ofalltheworkthatwentintothisthesis,thisstagetookthelongest,wasthemostchallengingandfun,yetremainstheleastcomplete.Theprocessoftryingthingsoutneverreallyends,thereisalwayssomethinglefttotry.
WhateversamplesImade,IalwayskepttrackofwhatIdidandhowIdidit.InotedthematerialsIused,howIcombinedthem,sometimesevenwhenIcombinedthem–sothatIcouldcompareresultsovertime.Asexperimentsaccumulate,thesenotesbecomeinvaluable.Theyallowonetogobackandreferenceanypriorexperimentandpickupfromthere.SometimesexperimentsledfullcircleandIfoundmyselftryingsomethingIhaddonebefore.Well‐organizednotesallowedmetocheckbackandreferencemypreviousresults.Sometimesitpaidofftomakeextrasamplesthatcouldbeusedinfurtherexperiments.Whileworkingonaproject,neverthrowanythingaway.Especiallynotfailedexperimentsorexcesssamples,oneneverknowswhenonemightneedthem.
DuringtheactualprocessofproducingsamplesIfoundagoodbalancebetweenbrowsinginstructionsandfiguringthingsoutformyself.Thisalsohelpedmeconcentrateonthetangiblematerialsathandtonotgobackandforthbetweenreadingandmaking.Often,theconclusionsIreachedwereinlinewithexistingdocumentationbuthavingfigureditoutformyself,evenifittookmelongerthanfollowinginstructionswouldhave,gavemeaninsighttothematerialsandtoolsthatIwouldn’thavegottenotherwise.
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Tobetterillustratesomeofthedetailsofthesamplemakingprocess,Idescribehowthisplayedoutforcarvingwoodcircuits.
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Samples:Carving
Figure14.Samplesofcarvedwoodcircuitrythatincludeavarietyofconductivematerialssuchascopperandsilverpaintsandimitationgoldleaf.Inanattempttocreateelementssuchasconductiveconnections,dials,thermochromicheatingelementsandspeakercoils.
Theterm“carving”canmeanmanydifferentkindsofcarving,dependingonthematerialsinvolved.Evenwoodcarvingencompassesarangeofdifferenttechniques.InthischapterIdescribetheprocessofdevelopingtechniquesforcarvingwoodcircuitryandexplainmyseriesofsamples[Fig.14]thatImadetoexploreandexperimentwithwhatwouldworkandwhatdidn’t.
Whatappealedtomemostaboutcarvingwoodasatechniquewasthatitwouldallowmetoworksculpturallyinthreedimensionsaswellasincorporatesomeoftheaestheticandtactilequalitiesofwood.KnowingwhatIwantedtoachievewaskeyinfiguringoutwheretostartaswellashowtomoveforwardthroughthesamplemakingprocess.Mygoalwastodevelopaprocessthatallowedmetocarvecircuitsoutofwood,leveragingandexposingitsmaterialqualities.
OnedayatthecraftstoreIpickedupmyfirstcarvingtool.Ihaddonenoresearchoncarving,anyknowledgeIhadoncarvingcamefromglimpsingotherpeoplecarveandfromexaminingcarvedobjects.Itisinterestingtopayattentiontoalltheplacesoneencountersrelevantinformation.Evenatthecraftstore,justbylookingthroughthevarietyoftoolsforsale.Sometimestoolscome
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packagedwithelaborateinformation,andeveninstructions.Othertimesthereisnothing.Thesecarvinginstrumentshadverylittleinformationattachedtothembutstill,fromthevarietyofdifferentkindsoftoolsIcouldalreadygathersomeusefulinformation.Carvingtoolscomewithdifferentblades,shapedinvariationsofaVorUshapesandvariousflatnessofanglesfromasharpVtoaperfectlyflatline.AnotherformofinformationIwasabletoobtainthenandtherewasthroughcomparingdifferentqualitiesofthesametool.Icoulddistinguishthisbycomparingthequalityoftheblades,someofwhichalreadyhadnotchesinthem.Andthedesignofthehandles,someofwhichwerenotshapedergonomically.Icouldconfirmmyintuitionsbycomparingprices.ThatdayIpurchasedasingleverysmallV‐shapedcarvingtool.
Figure15.Left:Carvingsupplies.Conductivesilverpaint,paintbrush,wood,acrylicpaint,sandpaper,carvingtoolsandsuperglue.Right:Carvingcopperpaintedwoodusingaflatcarvingtool.
I’mnotsureiftheideacametomewhenIpickedupthetoolorifIhadalreadybeenthinkingofitpriortothat.Myplanforcarvingwoodcircuitswastocreateaconductivelayerontopofwoodthatcouldthenbeselectivelycarvedaway.LeavingconductiveareasbehindwhereIwantedthem.ThisconcreteideaofwhatIwantedtoachievedeterminedwhatsamplesIstartedmaking.Figure15showsaselectionofsomeofthecarvingsuppliesIworkedwithaswellasademonstrationofcarvingwithoneofthecarvingtools.
ThefirstsetofsamplesImadewasaimedatachievingahighlyconductivesurfaceonwood.ForthisImixedawater‐basedcopperpaintfromLessEMF[LessEMF,w2011]withdifferentmediumsatdifferentratios.ThemediumsIchosewereacrylicmediumandlatexandthemediumtocopperratiosIchosewere,1:1and1:2.Mychoiceofmediumsandratioswerebasedonintuitionandonpreviousexperienceworkingwiththepaintonpaper.FromthisIknewthatthepaintwasbrittleandIwantedtomixitwithsomethingthatwouldholdthecopperparticlestogetherbetterthanjustwater.Ialsomadesamplesusingcopperpaintwithsomewatertothinit,butwithoutanymedium.Iappliedsinglecoatsofallmymixturestoindividual4x4cmwoodsquaresusingasoftpaintbrushsoastominimizevisiblebrushstrokes.WhenthepaintwasdryImeasuredsurfaceconductivity.Alloftheacrylicandlatexmixesweregood,exceptthe1:2coppertolatexmixwhichwasseeminglynotconductive.Thesamplesofpurepaintthinnedtovariousdegreeswithwaterwerenotconsistentlycontinuouslyconductive,inotherwordsflakey.
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Sincethreeofthesefirstsamplesweresuccessful(andIhadmadeextra),Ibegancarvingtracesusingmynewtool.Icarvedtracesofvariousthicknessesbothwithandagainstthegrainofthewood.IdiscoveredthatifIcarvedatoonarrowtraceagainst(perpendicularto)thegrainofthewoodthenthiswouldnotconduct,whileatraceofthesamethicknessthatraninlinewiththegrainofthewoodwasconductive.
Figure16.Copperpaintmixedwithmediumandpaintedonwood.Tracescarvedtomatchthespacingbetweenleadsonthroughholemicrocontroller.
Myintuitionwasthatthegrainofthewoodwastooroughandthepaintwascrackingacrossthehillsandvalleyofthegrain.Also,thecarvingprocessofmovingthetoolperpendiculartothegraindamagedthesurfacealongtheedgeswherethetoolremovedmaterial.Whencuttingveryslimtracesthismeantthatthesedamagesmightdisruptthefulltrace.Onereactionwastothinkofacceptingthis,inwhichcaseallthintracessimplymustruninlinewiththegrainofthewood.Thereissomethingniceabouthowthepropertiesofamaterialcandictatehowyouworkwithitandwhatitiscapableof.Atthesametime,thereweresomanywaysofsolvingthisproblem.Icouldsandthesurfaceofthewoodmakingitsmoothandmoreuniformtoreducetheunevennessthatmighthavebeencausingtheconductivepainttocrack.InadditiontothisIcouldalsoapplyalayerofprimer,againsandingthisdowntocreateanevensmoothersurface.Bothoftheseoptionsworked,allowingmetocarvenarrowtracesanywhichwayIlikedacrossthesurfaceofthewoodwithouthavingtoworryaboutdisruptingconductiveconnections[Fig.16].
WhileIwashappywiththisresultbecauseIfeltgoodaboutovercomingahurdle,sandingdownthesurfaceandprimingitdisguisedthewood’ssurfacestructure,whichiswhathadinitiallyappealedtome.InafurtherattempttomaintainmoreofthewoodqualitiesofthistechniqueIwentandboughtanothertoolthatIhadseenwhenpurchasingthefirst.AflatversionoftheVshapedtoolIwasusing.WiththeflatversionIcouldeasilyremovealltheareasofpaintthatwerenolongervaluableasfunctionalconductivesurfacesinmycircuit.Thisexposedthewoodunderneaththepaint.Italsogaveasculpturalqualitytothesurface,asitwasnolongerflatwithridges,itnowshowedmorecontrast.DependingonhowdeepIcarvedIexposeddifferentlayersofwoodandbindingmaterialthatweredifferentlycolored.
AtthispointIhadalsoreceivedanewconductivesilverpaint,WB‐101fromConductiveCompounds[ConductiveCompounds,w2011],thatwasmuchmoreconductivethanthecopperIwasusing
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previously.Icouldapplyitwithoutmediumtoachieveaverysmoothandhighlyconductivesurfaceand,becausethesilverparticlesweresmaller,ithadalowerviscositylettingmoreofthewoodstructureshowthrough.Figure17showsimagesofaspeakercoilbeingcarvedfromalayerofsilverpaintonwood.TheimagealsoshowstheuseofthetwodifferentcarvingtoolsthatIhadacquired.
Figure17.Carvingspeakercoilsusingdifferenttools.
BeforeIgoontodescribethenextstepinthissampleprocess,I’dliketogobacktotheveryfirstsetofsamplesandnoteanobservationthatImade,thatrelatestowhytheonecopperpaintandlatexsampleonwooddidnotconduct.
WhenmixingconductivepaintsandpowderswithlatextobeabletocastaconductorItriedalotofdifferentratiosandmanyofthemwerenotconducting,butIdiscoveredsomeinterestingfacts.Theconductivematerialswereheavierthanthelatexandbecausethelatextooktimetocure,thesewouldsettletothebottomofthemixture,creatinganisolatinglatexlayerontopbutexposingconductivityonthebottom.Myprocedureformeasuringconductivitywastopoketheprobesofthemultimeterintothecuredlatexandcheckforcontinuity.Iwasn’tgettingareadingonsomeofmysamples,butatsomepointIrealizedwhatwashappening.Figure18showsanupside‐down(fromthewayitwascast)speakercoilthatthatisconductiveunderneathbutnotwhenmeasuringfromabove.Thelatexdoesanexcellentjobatisolating,evenagainstpointymillimeterprobes.
Whenasampledoesnotdowhatoneexpectsofit,itisimportantnottogiveuponittooeasily.SomeofthestepsItaketoinsurethisisfirsttodouble‐checkandmakesurethesampleiswhatIthinksitis,especiallyifIwascertainitwouldwork.Withoutgoingbackandre‐doingtheexperiment,IcheckthatIdidn’taccidentallyuseawrongingredientormiss‐measurearatio.Sometimesjustthinkingbackovertheprocessorlookingatphotosoftheprocesshelpsjumpmymemory.ThenIcheckthatmytestsetupisn’tfaultyandtrytothinkofanotherwaytotestthesampleaswellastestingitforotherinterestingproperties,sometimesnottheonesIwasoriginallylookingfor.Gettingtoknowthesample,developingatheoryofwhyitisn’tworking,describingwhatpropertiesitdoeshaveandspendsometimethinkingaboutwhatitmightbegoodforareallhelpfulthingstodoinordertogetthemostoutofthisprocess.
Anotherexampleofafailedattemptrelatedtomycastingsamplesisofmixinglatexwithcarbonpaint.Ifirstspreadoutathinlayeroflatexandthenwiththetipofatoothpickdrippedcarbon
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paint/latexmixtureintotheuncuredlayeroflatex.Theresultwasnotconductiveatall,notevenhighlyresistiveorstretchsensitive.Butwhathappenedasthepurelatexandcarbonpaintblendcuredwasthatattheedgesthecarbonexpandedintothelatexformingverygeometricalpatterns.Althoughelectricallyuninteresting,theywereextremelybeautiful[Fig.18].
Figure18.Left:Exampleofacastspeakercoilfromconductivecopperpaintandlatex.Thecopperparticleshavesunktothebottom(sideshown)ofthelatex,creatinganisolatinglayerontopandexposingthemonthebottom.Right:Carbonpaintmixedwithlatexandcastinuncuredlatex.Notconductivebuttheblackcarbonpainttrickledoutintothelatexattheedgescreatinganinterestingpattern.
Backtocarvingwood.Thenextstepinmakingsampleswastofindwaysofconnectingmycarvedtracestocomponentleads.Sincewoodisstiffandwillnotbendorflextooeasilyortoomuch,asimpleandimmediatewayofdoingthiswastosupergluethecomponentsdowntothewoodandthenpaintadditionalconductivepaintbetweentheleadandthecarvedtrace.Ifthewoodwereflexibleandwouldbendatthisjoint,thepaintwouldprobablycrackandtheconnectionwouldnotbereliable.Whengluingthecomponentdownbyitsleadsbecarefulnottocoattheleadentirelyinglueotherwisetheglueencapsulatestheminanisolatinglayer,interceptingtheconnectionyouaretryingtomake.TheimagesinFigure19weretakenwithaUSBmicroscopeoftheconnectionsIjustdescribed,theyalsoshowthesurfacemountLEDlightsinsetintothewood.ThiswasdonebycarvingoutasmallholethatcouldfittheLEDbeforegluingitdown.Thesepaintedconnectionswereveryreliable.
Anotherwayofmakingtheconnectionbetweenthecomponentleadandthecarvedtracewastopushtheleadsofathrough‐holecomponentintothewoodandagainapplyadditionalpaintaroundtheleadtoconnectittothepaintonthewood.Thisworkedwellifthewoodwassoftenough.
NowthatIwasabletocarveconnectionsandconnecttoconnections,Iwantedtobeabletojumpconnections.Iusedsomeofmyearliersamplestotestdifferentnon‐conductivematerialsasisolatorsforjumpingcarvedtraces.Itriedacrylicpaint,primerpaint,woodglue,acrylicsealerandnailvarnish.Twolayers,withdryinginbetweenlayers,ofallofthesesamplesworkedfine.Piecesofmaskingtapeortransparenttapealsoworked.Ifoundnailvarnishtobeoneofthemostconvenientbecauseitdriesfastandcomesinmanydifferentcolorsincludingtransparentwhichmakesitalmostinvisible,especiallyifyoucoattheentirecircuitinaprotectivesealantattheveryend.The
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leftimageinFigure20showsanexampleofthenailvarnishappliedtothetracesbeforejumpingoverthemwithanadditionallayerofconductivepaint.
Figure19.ImagestakenwithaUSBmicroscopeofthe(left)theleadsofamicrocontrollerand(right)asurfacemountLEDpaintedoverwithsilverpainttomakeelectricalconnectionstotherestofthecircuit.
InthenextstepofsamplemakingIranintoaproblem.Ihadsuccessfullyisolatedmytraceagainsttheprobesofmymultimeter,butwhenIpaintedacrosstheisolatedtracewithmoreconductivesilverpaint,mytwotraces,thatshouldhavebeenisolatedfromoneanother,wereelectricallyconnected.AsfarasIcouldtellitwasnotthatthenailvarnishwasaffectedbytheconductivepaintandletitseepthough,butratherattheveryedgesofthetracethenailvarnishhadnotproperlysealedit.Thesilverpaintwasextremelyviscousandveryconductive,itcouldgetintoeventhesmallestholeandeventhesmallestamountofpaintcouldmakeagoodelectricalconnection.Iwasabletosolvethisproblembyre‐doingmysampleandbeingextracarefulinapplyingthenailvarnishandpayingattentionthatitsealedovertheedgesofthecarvedtraceandintothevalley.
Figure20.Left:CarvedwoodcircuitcontainingamicrocontrollerandthreesurfacemountLEDlights.Right:Carvedwoodcircuittracescoatedintwolayersofnailvarnishtoisolatethem.
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BeforeIcontinuetodescribesomethenextsamplesinthisprocess,IwanttomentionthatIalsotriedoutdifferentwaysofcarvingtracesinwood.TheseincludedcarvingfirstandthensaturatingthecarvedtracewithpaintasseeninFigure21.InthiscaseIcouldsubmergethecomponentleadsintotheconductivepaintwhileitwasstillwettomaketheconnections.
Figure21.Left:Carvedtracesformicrocontrollerleads.Right:Carvedtracesfilledwithcopperpaint.
Avariationonthistechniqueusedthelasercuttertoengravethetracesinsteadofcarvingthembyhand.ImagesofthiscanbeseeninFigure22.
Figure22.Imagesoflaserengravedtracessaturatedwithcopperpaint.Throughholecomponentshavebeenpressedintothewoodforelectricalcontactandstability.Left:Closeupofmicrocontroller.Right:CloseupofLEDs,speakerandmicrocontroller.
Thenextstepintheprocesswastobeginthinkingofelementsthatcouldbeintegratedandusedinacircuitinmeaningfulandusefulways.Ibeganlasercuttingpress‐fitcoin‐cellholdersliketheoneshowninFigure23andthedialswitchthathasapress‐fitholeinitforatoothpicktofitasapegaroundwhichitcanrotate[Fig.23].
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Figure23.Left:Carveddialwithpressfitpegjoint.Right:Lasercutpressfitcoincellbatteryholderbeingcarvedtocreateaslopedsurface.
Aswellasanotherpress‐fitcoin‐cellholdermadebyscrewingtwosmallscrewsintotheconductivepaint[Fig.24].
Figure24.Imagesofthemetalscrewpressfitbatteryholderwithout(left)andwith(right)thecoincellbattery.
Ialsotriedcarvingpaintingandthenplatingwoodsuccessfully[Fig.25].Thefollowingimagesshowsomeclose‐upsofapairofheadphonesthatIworkedon.Thestructureoftheheadphoneswaslasercutoutofplywoodandtheelectricalconnectionswereexplicitlymadevisibleasanintegralpartofthedesign.
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Figure25.Carved,paintedandthenelectroplatedcoppertracesinwood.
IntheendIwasverypleasedwiththistechniqueIdevelopedforcarvingcircuitsandsomebasiccircuitelementsfromwood.But,asImentionedintheverybeginningofthischapter,theprocessofexperimentingandtryingthingsoutneverreallyends.Ifanything,itcontinuouslyspawnsnewideas.Evenwritingaboutthisprocessandrecallingthedetailsgeneratednewideasandthoughtsonimprovements.
Thenextchapterisaboutdocumentingrecipes.Recipesareanopportunityforreflectionaswellasforrefiningtechniques,throughchoosinghowtoconveythemandwhatinformationtoinclude.
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DocumentingRecipes
Figure26.Sketchesofthecrafttechniquesandelectronicscomponentsasusedonthewebsite.
IntheprevioustwochaptersIdescribedtheprocessesofsourcingsuppliesandmakingsamplestorefinegoodtechniquesandthroughouttheseprocessesIdocumentedeverythingIwasdoing.InthischapterInowdescribetheprocedureoftranslatingtheseprocessesandthedocumentationintorecipesandpublishingthemonthewebsite.Figure26showssketchesthatIdrewofthedifferentcrafttechniquesandelectroniccomponentsthatarefeaturedinthevarietyofrecipesonthewebsite.
WhenwritingupmyworkasrecipesItrytoconveytwothings.First,Itrytoincludethebreadthofdocumentationcoveringaspecifictechniqueandtoincludeeveryrelateddetail.HavingthoroughdocumentationmakesiteasierformetoinsurethatI’mnotforgettinganythingbecauseIcanusethedocumentationasareferenceandguidetojogmyownmemory.Second,Iwanttherecipesnotonlytodescribehowtodosomethingrightandgetthingstowork,Ialsowanttoconveymyexperimentalapproachofsamplemakingandmaterialinvestigation.ToachievethisItrytowriteveryhonestlyandstraightforwardaboutwhatIdid,howIdiditandwhyIdidit.Iwriteequallyaboutwhatworkedandwhatdidn’t.Tothisendsomerecipesmightfeaturemorefailuresthansuccesses.AndsomerecipesmightbejustaninitialideathatIhavenotyetsetouttorealize.Itis
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importantformetoemphasizethispointthatmyrecipesaredifferentfromwhatoneusuallyexpectsarecipetobe.Myrecipesarenotstraightforwardstep‐by‐stepinstructions,theyaredocumentationoftheknowledgeIacquiredduringmyprocessandameansformetoconveymyapproach.
InthinkingabouthowIformulatemyrecipesforotherstoreadIwasinspiredbyRichardSennett’sbookchapteron“ExpressiveInstructions”[Sennett,2009].Sennettdetailsthreerecipesonhowtoprepareaboned,stuffedchickenandpointsoutdifferencesintheinstructionsastheywerewrittenwiththecook,thefoodandgastronomyinmind.Wherethecookisthepersonfollowingtheinstructions,thefoodaretheingredientsorthematerialsandtoolsinvolvedintherecipe,andgastronomyisthebiggerpicture.WhenwritingmyrecipesItrytofocusonallthreepoints.Iconsiderthecookinmywritingbydescribingmyownexperiences,hopingtomakeitmoreaccessibleforotherstorelateto.IamthinkingofthefoodwhenIincludedetailsanduseanalogiestoexplainhowthingsfeelandbehave.GastronomyformeisthebiggerpictureofsamplemakingandIconsiderthisthroughouteachrecipebyconstantlypromotinganexperimentalapproachwhere“justtryit”isalwaysanoption.
ToshowthedetailsandscopeofmydocumentationIhaveincludedmyrecipeforsculptingandelectroplatingcopperconductors.Figure27bellowshowsscreen‐shotsofthisrecipeasitappearsontheKit‐of‐No‐partswebsite.
Figure27.Screenshotsoftheelectroplatingrecipeasitappearsonthewebsite.
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Recipe:Electroplating
Figure28.ElectroplatedFimosculptedcircuitwithmicrocontroller,LEDlightsandcoincellbattery.
Introduction
Electroplatingisatechniqueforcoatingaconductiveobjectinathinlayerofmetal.Ituseselectrodepositingtotransfermetalionsinasolutionfromoneelectrodetoanother,depositingathinlayerofmetalontheconductivematerialattachedtothenegativeelectrodeofyourdirectpowersupply.Thistechniqueisusedinjewelrymakingtoplatenaturalobjectssuchasleaves,flowersandseashells.Onceonegetsthehangofit,electroplatingisaverystraightforwardandrelativelysimpleprocess.Ittookmesometimetogetafeelingfortheprocessandallthematerialsinvolved,butnowitallowsmetosculptthree‐dimensionalcircuitsaswellasincludefoundobjectssuchasseashellsinmycircuitdesigns.
Thisrecipedescribestheprocessofsculptingacrylicclay,firingitandthenelectroplatingitwithcoppermetaltoformfullyfunctioningcircuitconnections,createamagneticbatteryholder,shapeaskinresistiveswitchandembedsomeelectroniccomponents;inmycaseanAtmegaATtiny85microcontrollerandsomeLEDlights[Fig.28].
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MaterialsandTools
Figure29.Left:Electroplatingsupplies:Rectifier,coppersulfate,replenishingbrightener,copperrods,silverpaint,paintbrush,glasscontainerandalligatorclips.Right:Snapshotofmyelectroplatingsetup.
Thematerialsandtoolsusedinthisprocesscanbesourcedfromacombinationoflocalcraft,hardwareandonlineshops.Tobeginelectroplatingandsculptingcircuitsyouwillneedthefollowingmaterialsandtools,someofwhicharedepictedinFigure29.
Arectifier:Adirectpowersupplythatallowsyoutocontroltheamountofvoltageandcurrentyousupply.Rectifierscostfrom$100upwards.SomemodelsaresoldspecificallyforplatingandincludeSherriHaab'sE3kit[SherriHaab,w2011].Coppersulfate:Commonlysoldasarootkillerandcanbepurchasedfromlocalhardwarestores.ItcanalsobepurchasedthroughavarietyofonlineelectroplatingsupplystoressuchasRioGrande.Replenishingbrightener:Midasalsosellsareplenishingbrightenersolutioncanbeaddedtotheplatingbathtomaintainthebath'sabilitytoproduceabrightfinish.Somecoppermetal:ThepositiveleadfromyourDCpowersupplyconnectstoapieceofcoppermetalthatissubmergedintheplatingbath,thiscanbeasolidpieceofsheetcopperorarodthatcanbebentinaspiraltofittheshapeofyourplatingcontainer.Acontainer:Dependingontheshapeandsizeoftheobjectsyouplantoplateyou'llwanttoselectacontainerforplatingin.Thiscontainershouldbeofamaterialthatwillnotcontaminatethesolution,norbeaffectedbythesolution'scorrosiveproperties.Transparentglasscontainersworkwellsincetheyalsoallowyoutobetterseetheobjectyouareplating.Alligatorclips:Youwillneedalligatorclipsorsimilartoconnectfromtheleadsofyourpowersupplytothecopperrodaswellastotheobjectyouareplating.Conductivepaint:someotherrecipesIreadsaidthattheywereplatingobjectscoatedincarbonpaintbutIcouldnotgetittoworkwellforme.Silverpaintisnotascheapascarbon,butthewater‐basedsilverpaintWB‐101fromConductiveCompoundsworkedbestforme.SomeFimo:oranotherkindofpolymerclay.Anoven:atoasterovenwillworktoo.Someelectronicscomponents:toincludeinyourcircuit.
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SculptingyourCircuit
Forsculptingyoucircuitryyoucanchoosefromavarietyofpolymerclaysandtheirfiringorhardeningmethods.ThefollowingstepsdescribeindetailtheprocessofmoldingFimo,anacrylicclaythatcanbefiredatalowtemperatureinanovenortoasterovenforhalfanhour.Benefitsofthelowfiringtemperaturearethatyoucanfireyoursculptedcircuitcontainingcertainelectronicscomponentswithoutdestroyingtheelectronics,andalsoitcoolsquicklyandyoucancontinuetoworkwithitassoonasithascooleddown.Afterfiring,theclayisfirm,yetflexibleandcanwithstandtheetchingpropertiesoftheplatingbath.Other,moreporousclaysneedtobesealedbeforeplatingthemiftheirsubstanceisaffectedeitherbyliquidortheacidoftheplatingbath.Forshapingyourcircuitryyoumightalsoliketokeepaselectionofcommonsculptingtoolsathand,suchasribs,needles,knivesandrollingpinsaswellasasurfacetoworkingon.
Figure30.Left:Microcontrollerwithlegsbentoutwardsandpressedintothelongpiecesofacrylicclay.Right:AdditionofthreeLEDlightsthatallconnecttothesameballthatwillbethegroundconnection.
TobeginsculptingtheFimostartbyrollingandkneadingyourclayinyourhands,warmingituptomakeitmoreworkable.Asyoushapethematerialyoucanincorporatevariouselectronicsasyougo[Fig.30].Youcandothisbysculptingclayaroundthemorbypressingthemintotheclay.Asyouworktheclayintoit'sfinalformyouneedtoplanwheretheconnectionsbetweenyourelectronicswillrunsothattheymatchtheconnectionsinyourcircuitdiagram.
Firing
WhenyourFimosculptureisfinisheditcanbefiredinyourovenoreveninatoasteroven[Fig.31].Checkthepackagingforpreciseinstructionsonwhattemperatureandforhowlongyoushouldfireyourpiece.TheFimothatIusedcouldbefiredat110°Cfor30minutes,atthistemperatureyoucanfiremostelectronicswiththeclayandnotdamagethem.Fimosoftensasitheatsupinthefiringprocessandthismightaffectthestructureofyourpiece.Dependingonwhatyouhavesculptedyoumightneedtocreatesomesupportstructuresoutoftoothpicksorsimilarmaterialsthatcanwithstandtheheatofthefiringprocess.RightafterfiringtheFimoishotandstillsoft,leaveittocoolbeforeproceeding.
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Figure31.Left:Fimosculptureintoasteroven.Right:Fimosculptureafterbeingfired.
ApplyingConductivePaint
Thecoppersulfateplatingbathisalsoanetchant.Iftheobjectyouwanttoplateisofamaterialthatmightbeaffectedbytheetchingpropertiesthenyoufirstwanttosealitwithalayerofvarnish.Forthisyoucanuseawholerangeofproducts,forsmallerobjectsoneofthemostconvenientoptionsistousenailvarnish,sinceitalsodriesrelativelyquickly.
Inorderforthecoppertoselectivelyplatetoareasthatyouwouldlikeitto,youfirstneedtomakethesurfaceofyourobjectelectricallyconductiveintheseareas.Whilethereareavarietyofdifferentconductivepaintsthatcanbeappliedtovarioussurfaces,IhadthemostsuccessusingawaterbasedsilverpaintWB‐101fromConductiveCompounds[ConductiveCompounds,w2011].Youcanthinthepaintwithwaterandwithapaintbrushapplyasinglelayertotheareasoftheobjectyouwishtoplate[Fig.32].Paintselectively,butkeepinmindthatwhenyougoontoplatetheseareas,iftheyarenotinterconnectedthenyouneedtoconnectseparatelytoeachofthem.
Figure32.Left:Applyingsilverpaintwithpaintbrush.Right:Disassembledcircuit.
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Therearesomethingsyoucandotogetaroundhavingtomakemultipleconnectionsortoplateeachseparateconductiveareaoneatatime.Onesolutionistohaveallyourconductorsmeetinanareathatyoucanlatercutawayorremove.AtrickforthisshowninFigure44istouseapieceofcoppertapethatyoucansticktothesurfaceoftheobjectandhavetheconductivepaintconnecttoitbypaintingontopofit.Aftertheplatingisdoneyoucanscorethecoppermetalbuilduparoundthetapeandthenpeelitoff.AnothervariationofthisapproachisshowninFigure33,whereawirehasbeensupergluedtotheseashellandthensilverpainthasbeenpaintedontopofit.Becarefulnottocompletelycoatthewireinsuperglue,otherwiseyoucreateanisolatinglayerandthewireandthepaintwillnotbeelectricallyconnected.
Anothersolutionistousemultiplealligatorclipstointerconnectallyourseparateconductorstothecathodeofyourrectifier.Bewarethatalligatorclipsandanyothermetalitemsthatgetincontactwiththeplatingsolutionwillcorrodeovertimeunlessyourinseanddrythemafteruse.
Figure33.Left:Seashellwithsilverpaintandwiresupergluedtosurfaceasapointofconnection.Right:Seashellsthatwereaccidentallyleftinplatingsolutionovernight.Theshellswereetchedbythesolutionbutprotectedwheretheconductivepainthadbeenapplied.
ThefollowingimagesinFigure34showaseashellcoatedincarbonpaint.Theplatingattemptswerelesssuccessfulthanwiththesilverpaint.Whileintheimageontheleftthehomemadeplatingbathdidnotachieveanicelayerofcopper,itdidcoatalmosttheentireshell.Intheimageontherighttheshellonlyplatedclosetowherethealligatorsclipswereattached,evenafterbeingleftintheplatingbathforlongerperiodsoftime.MostlikelythecopperpaintthatIwasusinghadtoohigharesistance.
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Figure34.Platingusingblackcarbonpaintinsteadofsilver.Ididnothavemuchluckwiththis.Left:Carbonpaintedseashellinhomemadeplatingbathwouldonlyplateathighervoltageandcopperbuildupwouldhappenfast,becontaminatedandwashaway.Right:Sameshellafterrinsingplatedincommercialplatingsolutionworkedbetterbutcopperbuildupwouldonlyhappeninselectareas,evenwhenleftinforlongerperiods,uptohalfanhour.
PlatingBath
Youwantyourplatingbathtobeinacontainersuitabletothesizeoftheobjectyouareplatingaswellasthepieceofcoppermetalthatwillbeyouranodeintheplatingprocess.IfyouareusingarodthenyoucanbenditintheshapeofyourcontainersothatitsurroundstheobjectyouareplatingasshowninFigure36.
WhenIfirststartedelectroplatingIwassetonmakingmyownplatingbath.Ihadreadonvariousonlinetutorialsthatitispossibletocreatetheplatingsolutionyourself.Whenetchingcopperfabricinsaltandvinegarthesolutionturnsgreenandcrystallizesasitislefttodry.Ihadbeensavingthesecrystalsbecausetheyarepoisonousandshouldnotbepoureddownthedrain.ReadinguponcoppersulfateitsoundedlikethesecrystalswereaformofcoppersulfatethatIcoulddiluteinwatertomakeaplatingbath.TheimagesinFigure35showmyattemptatdilutingthecrystalsandplatingacoin.Thiswasnotsuccessful,thoughIamnotsureoftheexactreasons,Isuspectismighthavetodowiththepurityofthesolution.
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Figure35.Preparingmyownplatingbathfromthecrystallizedremainsfrometchingcopperfabricinsaltandvinegar.
ThesecondhomemadesolutionItriedmakingwastodissolvecitricacidindistilledwater.Afternoticingthatitdidnotwork[Fig.36,left],Iranlowvoltageacrosstwocopperelectrodesforawhileuntilthesolutionturnedturquoise.
Figure36.Left:Preparingmyownetchingsolutionfromsaltandvinegar.Aftersometimethesolutionbeginstoturnlightblue.Right:Myownetchingbathpreparedbydissolvingcitricacidindistilledwater.Afterawhilethesolutionturnsblue,asthepictureshows.
Iproceededtoplateinthisturquoisebathandmyattemptswerefinallysomewhatsuccessful.TheproblemwasthatthecopperbuildupwasveryroughandlookedlikeitwasrustingasitwasplatingasseeninFigure37.WhatevercopperbuildupIachievedwouldwashawayunderrunningwater.
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Figure37.Imagesofplatingprocessinahomemadeplatingbath.Thecopperbuilduplooksroughandrustyandrinsedoffwithwater.
AfteralltheseunsuccessfulattemptsatcreatingmyownplatingsolutionIfinallyorderedsomeprofessionalMidascoppersulfatejewelryplatingsolutionfromRioGrande[RioGrande,w2011]aswellasabottleofreplenishingbrightenerandtheseworkedwonderfully.Thefollowingprocedureswerealldonewiththiscommercialplatingsolution.
PowerSettingsandConnections
Setyourrectifiertosupplyaverylowvoltage,lessthan1Voltanddonotlimitthecurrent.Connectthecoppermetal(Anode)tothepositivepoleofyourrectifier.Andtheobjectyouareplating(Cathode)tothenegativepoleofyourpowersupply.Ifyoulookupthecopperplatingprocessonline[SherriHaab,w2011]youwillfindlotsofillustrationsthatindicatewhattoconnecttowhataswellaswhatexactlyishappeningwiththecopperelectrodesintheplatingbath.
Submergetheobjectcompletelyintheplatingbathandmakesuretheareascoatedinsilverpaintdonottouchthecopperanode.Whentheplatingprocessbeginsitwilldrawcurrentandifyourrectifierhasadisplaythenyoucanwatchtheamountofcurrentitdrawsincrease.Checktheobjectwithinthefirstminutetoensureitisplating,ifallisgoingwellthenyoushouldseeatintofcopperformingontopofthesilverpaintasshowninFigure38,right.
Continuetoplatetheobjectuntilyou’resatisfiedwiththecopperlayer.Thismighttakeanywherefromafewminutestomuchlonger,dependingonthesizeandconductivesurfaceareaofyourobject.Ifthecopperdoesnotlookshiny,youcanaddafewdropsofthebrightenersolutiontothebath.
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Figure38.Left:paintingseashellwithconductivesilverpaint.Right:Seashellduringplatingprocess.Afterthefirstfewsecondsyoucanalreadyseeafinebuildupofcopper.
Whentheplatingiscomplete,removetheobjectandrinsethoroughlywithwatertoremoveallofthecoppersulfatesolution.Coppersulfateispoisonoussomakesurenottogetitinyourmouthorincontactwithanyutensilsthatyouuseforfood!
Figure39.Left:Removingplatedobjectfrombath.Right:Rinsingafterremovingfromplatingbathtoremovecoppersulfatesolution.
ReAssemblingtheCircuit
Youcanbegintoreassembletheplatedpiecesofyourcircuit[Fig.40].Thegreatthingaboutplatingisthatyoubuildupalayerofcoppermetalthatyoucanthensolderto,creatingextremelyrobustconnections.
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Figure40.Left:Partiallyplatedandassembledcircuit.Right:Closeupofthemagneticbatteryholder.
Figure41showscloseupimagestakenwithaUSBmicroscope.Whiletheconnectionstothemicrocontrollerweresoldered,theconnectionstotheLEDlightswerepaintedandthenplated.YoucanseehowtotherightsideoftheLEDtheplatedcopperseamlesslycoverstheFimoaswellastherightledoftheLED.
Figure41.USBmicroscopeimagesofthesolderedandplatedconnections.
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TheFinalResult
ThefollowingFigures42and43showimagesofthefinalplatedcircuit.
Figure42.ImagesofthefinishedcopperplatedcircuitwiththethreedifferentcoloredLEDlightslitup.
Figure43.Imagesofthefront(left)andback(right)ofthecopperplatedcircuit.
CommentsandReflections
Besidessculptingandplatingacrylicclayyoucanalsoplateavarietyofotherobjects.Includingseashells,andevenflexibleandporousmaterialssuchaspaperandfabric[Fig.44,45].Whenplatingonslicksurfacescoppertraceswilleasilycomeoffthesurface.ThoughIhavenotdonethis(yet),youcouldusethisfeaturetocastcircuitelementsoffofexistingstructures.Aprocessinwhichtheelectroplatedmetalisself‐supportingandcanberemovedforthebasestructureiscalledelectroforming.
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Figure44.Other,flexiblematerialsyoucanplate:paperandfabric.Eventhoughplatinginstructionsrecommendthatyousealporousmaterialsbeforesubmergingthemintheplatingbathtopreventtheetchingpropertiesofthebathtoaffecttheobject,Isuccessfullyplatedpaperandfabric.Afterplatingrinsethematerialswithcleanwatertogetridofallthecoppersulfate.
Figure45.USBmicroscopeimagesofthecopperplatedpaper.Left:Legsofamicrocontrollersolderedtothecopper.Right:SurfacemountLEDssolderedtothecoppertraces.
Links
InlearninghowtosuccessfullyplatecoppercircuitsIfoundSherriHaab’stutorialsextremelyhelpful.SherriHaabisajewelrymakinginstructorandalsodevelopsherowntechniquesandequipmentthatsheshareswithothers.Herwebsite[SherriHaab,w2011]contains,amongotherthings,extensiveandwell‐preparedPDFsonhowtoplatenaturalmaterialsforjewelry.Shealsosellskitsandsuppliesthatincludeherownelectroplatingregulateddirectpowersupply.
Thepublication“Jewelry:ConceptsandTechnology”byOppiUntracht[Untracht,1982]containsdetailedinformationaboutallthematerialsandtoolsinvolvedinelectroplating.YoucanviewpartsofthebooksonlinethroughGooglebooks.
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TheWebsite
Figure46a.KitofNoPartswebsitefrontpagedisplayingselectrecipesinagridorganizedbyelectronicsandcrafts.
InthischapterIintroducehowthewebsite[AKit‐of‐No‐Parts,w2011]cametobeandexplainitscurrentstructureandcontents.Iwillalsodetailsomeofthemoretechnicalaspects.Figure46ashowsascreenshotofthewebsite’sfrontpagethatdisplaysselectrecipeslistedinagridorganizedbyelectronics(columns)andcrafttechniques(rows).
Thewebsitewentonlineearlyonintheprocessesofmakingsamplesanddocumentingrecipes.Itwasintendedasadatabasethatcouldgrowandexpendalongsidetheprocess.Italsoofferedmeawaytovisuallyorganizemythoughtstohelpmestructuremyapproach.ItistheplacewhereIwouldcompilenotes,postresultsandsharetechniques.
ThestructureofthewebsitedevelopedovertimebutwasalwaysbasedontheinitialcategorizationsIchosewhenmappingthespaceIusedtogenerateideas.Thecurrentselectionof
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categoriesisbasedonthekindsoftechniquesandresultingrecipesIendedupdevelopinganddocumenting.WhereasinthebeginningIhadthreecategoriesthatwereelectronics,materialsandprocesses,Iultimatelynarrowedthisdowntotwomaincategories:electronicscomponentsandcrafttechniques.IwantedittobeaneasyandintuitivestructuretonavigateandtoaccommodatethecontentIhadcreatedandwascontinuingtocreate.WhileIfeelthatthecurrentstructurelackssomeofthepotentialthatlessconventionalcategorizationsmightoffer,Ihavealsobecomeusedtoitandfinditconvenientformyownpurposes.
Therecipesonthewebsiteareorganizedasindividualposts.Thesecanbebrowsedbytwomaincategories,CraftsandElectronics.Withineachofthesecategoriesarethefollowingsubcategories.Craft:Additive‐drawingandpainting,gilding,plating;Subtractive‐carving,etching,cuttingandengraving;Deforming‐moldingandcastingandsculpting.AndElectronics:Tracesandconnections,resistors,sensors,actuators,capacitorsandpoweroptions.
Figure46bshowsscreenshotsofthewebsitelistingrecipesintheelectronicscategory“TracesandConnections”(left)andinthecrafttechniquecategory“MoldingandCasting”(right).Thewebsitealsofeaturescategoriesfor“Ingredients”[Fig.46c],“Equipment”and“Examples”.
Figure46b.KitofNoPartswebsite.Left:Listingallrecipesinthe“TracesandConnections”category.Right:Websiteshowingallrecipeslistedinthe“MoldingandCasting”category.
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Figure46c.KitofNoPartswebsite.Left:Listing“Ingredients”.Right:Showingthelistingfor“MetalLeaf”.
ThewebsitewasbuiltusingWordpress[Wordpress,w2011],afreeandopensourcesoftwareforcreatingblogsandwebsitesthatusesaMySqldatabasestructure.ThesiteiscurrentlyhostedonmyMITstudentserverspacewiththeURL:“http://web.media.mit.edu/~plusea/”itcanalsobeaccessedthroughthedomain:“www.kit‐of‐no‐parts.at”.
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COLLECTIONOFEXAMPLES
Figure47.CollectionofExamplesmountedonawall.TheyrepresentthetechniquesdevelopedinbuildingaKitofNoParts.
TheexamplesthatIintroduceinthissectionweredesignedtoeachrepresentoneofthedifferenttechniquesIdeveloped.Whenviewedtogethertheyfunctionasasortoflibraryoranexhibitionofthecircuits,materialsandtechniquesrepresentingtheKit‐of‐No‐Partsapproach[Fig.47].Besidesshowcasingmaterialsandtechniqueseachexamplealsodemonstratesthepossibilitiesofthisapproach.
Someoftheexamplesareinteractive,othersareintentionallyleftincompleteandsomeunfortunatelydonotwork.VideosofeachoftheexamplescanbeviewedintheexamplessectionontheKit‐of‐No‐Partswebsite[Kit‐of‐No‐Parts,w2011].Theinteractiveexamplesincludeamicrocontrollerthatrunsaverybasicprogram.Whenthe,inmostcasesspiral,contactbetweengroundandinputistouched,themicrocontrollertogglesbetweenthreeLEDsthatareconnectedtoitsoutputs.Thetouchsensingisdonethroughasetthresholdbasedonskin‐resistance.
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CarvedPixels
Thisexampledemonstrateshowthermochromicpaintscanbeusedtopaintcolorfuldisplaysthatareactuatedthroughanunderlyingcarvedcircuit[Fig.48].Adialinthecenterofthepixelsdirectsthecurrenttodifferentpartsofthecircuit,revealingthecarvedpixelsonebyone.
Theplywoodonwhichthecircuitwascreatedwasfirstcoatedwithprimerandthensandeddowntocreateasmoothandlessabsorbentsurface.Anevenlayerofsilverpaintwasappliedtothissurfaceandlefttodry.ThecircuitwasfirstsketchedoutinpencilandthencarvedoutusingthenarrowheadedcarvingtooldepictedinFigure17,left.Aftercarvingthecircuit,stripesofthermochromicpaintwerepaintedontopinanattempttodeferfromthemaze‐likedesignofthecarvedtraces.Differentcolorsofthermochromicpaintandpigmentweremixedwitharangeofcolorsofacrylicpainttocreateavarietyofcolors.Thethermochromiccolorsbecometransparentwhenheatedandrevealtheregularacrylicpaintcolorstheyweremixedwith.Differentcolorthermochromicpigmentsreactatdifferenttemperaturescausinganunevenvisualeffect.Inthecenterawoodendialwithaconductiveundersideconnectsonesideofthebatterytodifferentpartsofthecircuit,dependingonthedirectionitispointing.Thepartofthecircuitunderneaththetipofthedialbeginstoheatupbecausethe9Vbatteryisshortedacrosstheconductivepaint.
Figure48.ThermochromicPixels.Left:Photooffullexample.Right:Closeupofdialpointinginthedirectionthatthecurrentisbeingdirected.Thepathofthecurrentcausesthethermochromicpainttoheatupandchangecolor.
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CarvedTraces
Thiscircuithasbeencarvedoutofplywoodandsilverpaint[Fig.49].WhenyoutouchthespiraltothebottomleftofthesquaretheLEDlightstoggleonandoff,onebyone.
Theplywoodbasewassandeddowntosmooththesurfacebutnofillerwasappliedinordertomaintainasmuchofthewood’snaturalsurfacestructureaspossible.Thenacoatofsilverpaintwasappliedandletdry.Themicrocontroller,LEDlightsandcoin‐cellbatterywerelaidoutontheconductivesurfaceand,withpencil,thecircuitconnectionsweresketchedout.WhenthedesignwasreadytheexcesssilverpaintwascarvedawayusinganarrowcarvingtooltomakethenarrowlinesandaflattooltoremovelargerareasasshowninFigure49.SmallgrooveswerecarvedoutforthetinysurfacemountLEDstorecedeinto.
Oncethecircuitwascarved,thecomponentsweresupergluedtothesurfaceandadditionalsilverpaintwasappliedwithasmalltippedbrushtobridgetheconnectionsbetweenthepaintedwoodtracesandthecomponentleads.DetailsofthesepaintedcontactscanbeseeninFigure19.Thecoin‐cellbatteryholderwasmadebyscrewingtwosmallscrewsintothewood,penetratingthroughthesilverpaintthatconnectsthemtothepositiveleadofthecircuit.Thescrewsarespacedsothatthebatterypress‐fitsbetweenthem.DetailsofthisbatteryholdercanbeseeinFigure24.
Figure49.CarvedTraces.Left:Example.Right:CloseupofmicrocontrollerandLEDlightsintheircarvedoutgroves.
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CastTraces
Thecircuitryinthisexampleiscastfromasilverpaintandlatexblendthat,unfortunatelydoesnotconductelectricity[50].Butnevertheless,thisexampledemonstratesthepossibilitiesofcaststretchyconductors.
Firstathinlayeroflatexwasspreadoutonapieceofacrylicandlefttocure.Oncecured,themicrocontroller,LEDlightsandbatterywereallplacedontopofthissurface.Silverpaintmixedina3:1ratiowithlatexwasthenappliedthroughthetipofasqueezebottletocreatetheconnectionsseeninFigure50.Finally,additionallatexwasusedtocoatthecomponentsandkeeptheminplace.
Unfortunatelythisexampledoesnotwork.InallmymoldingandcastingattemptsIwasnotyetabletoachieveagoodconductortolatexmixthatmaintainsthestretchypropertiesofthelatexaswellastheconductivepropertiesoftheconductorbeitapowder,paintorfiber.Iwasabletocastconductorsthathadhighresistances(intheKiloOhmrange)butthesecouldnotbestretched,otherwisetheconductivecontactswouldbebroken.
Figure50.CastTraces.Left:Example.Right:Closeupofmicrocontroller,demonstratingthestretchinessandflexibilityofthiscircuit.
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EtchedTraces
Thisexampledemonstratestheprocessofselectivelyetchingcopperfabrictocreateconductivefabriccircuits[Fig.51].Thecomponentsforthiscircuithavenotbeenattachedtothefabricinanattempttodrawattentiontothedelicateandaestheticpropertiesthatcanresultfromthistechnique.
Toetchthiscircuit,firstamaskwascutfrommaskingtapeandtransferredtoasquareofcopperrip‐stopfabric.Vaselinewasappliedtothecutoutsofthestencilandthemaskingtaperemoved[Fig.51].ThewaterrepellentpropertiesoftheVaselineworkasaresistintheetchingbath,protectingthecopperfabricintheplaceswheretheresistwasapplied.Thefabricwasthensubmergedinabathofonetablespoonofsaltandonecupofdistilledvinegar.Withinfourhours,mostofthecopper,exceptforthatprotectedbytheVaseline,hadbeenetchedaway.ThefabricwasthenthoroughlyrinsedtoremovethesaltandvinegaretchantandironedbetweentissuepapertowelstoremovetheVaseline.
Themissingcomponentscanbeattachedtothecircuitbysewingthemonwithconductivethread.Theleadsofmostelectronicscanbecurledtocreatealoopthatcanthenbestitcheddownsimilarlytohowonesewsonasnaporloopfastener.Inthecasethatacomponentdoesnothavealongenoughlead,additionalwireorcrimpbeadscanbesolderedtothecomponent’sleadstomakethem“sewable”.ThisisacommonE‐Textiletechnique.
Figure51.EtchedTraces.Left:Exampleofcircuitetchedfromcopperripstopfabric.Right:RemovingthemaskingtapestencilafterapplyingVaselinetothecopperfabricasaresist.
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GildedTraces
Thisexampledemonstratestheornamentalanddecorativepropertiesofgoldleafandhowtheycansimultaneouslyfunctionasanelectroniccircuit[Fig.52].ThisinteractiveexampletogglesonandoffbetweenthreeLEDlightsthataremountedatthebottomoftheverticalgoldtraces.
Firstthewoodsurfaceispreparedthroughsandingandapplyingblackacrylicpainttocreateanicesmoothblacksurface.Afterthecircuithasbeensketchedoutonthissurfacewithpencil,sizeisappliedwherethegoldleafshouldgo[Fig.52,right].Sizeisanadhesiveusedingilding;itisappliedtoasurfaceandletdryforseveralminutes.Whenithasbecometacky,metalleafisthenappliedandtheexcessbrushedaway.Thecircuitinthisexamplewasmadefromimitationgoldleaf,whichismadefrombrass,acombinationofcopperandzinc.
ThemicrocontrollerandLEDlightscanbesuper‐gluedtothewoodforstability,andthentheirleadscanbesolderedwithcareandfluxtothegoldleaf.Workingwithgoldleafisfinickyandthiscircuithasceasedtowork.Tinycracksinthegoldleafsurfacecanbethecauseofanelectricaldisconnectionthatisnotvisibletothehumaneye.WiththehelpoftheUSBmicroscopeusedinpreviousexamples,someofthesecrackscanbespotted.Theprocessofbridgingacrackedconnectionisnotstraightforwardsincethelayerofsizethatneedstobeappliedforthemetalleaftoadherealsocreatesanisolatinglayer.Applyingunevendabsofsizetocreateaninconsistentcoverisonewaytore‐connecttounderlyingcircuitry.
Figure52.GildedTraces.Left:Exampleshowinggildedcircuitwithpresfitbatteryholderintoprightcorner.Right:Applyingsizewithasqueezebottleandtoothpicktocreateatackysurfaceonwhichthesheetsofimitationgoldleafwillstick.
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Laser‐EngravedTraces(andPress‐FitComponents)
Thisexampleshowcaseshowalasercuttercanbeusedtocutholesforvariouscomponentssuchasacoin‐cellbattery,amicrocontrollerandaspeakerthatarejusttherightsizesothatthepartspress‐fitintothemanddonotfallout[Fig.53].Thelasercuttercanalsobeusedtoengravechannelsthatconnectthedifferentcomponents.Thisexamplehasnotbeencompleted,butthenextstepwouldbetosaturateorfloodtheengravedchannelswithaconductivepainttomakealltheelectricalconnections.
Inthecaseofthiscircuitthepress‐fitholesaswellastheengravedtraceswerecreatedinthesoftwareAdobeIllustrator.Thisdesignwasimportedintothelasercuttingsoftwareanddifferentelementswereassigneddifferentpowerandspeedvaluesaswellasspecifiedwhethertheyshouldbecutorengraved.
Figure53.LaserEngravedTrace.Left:Exampleofcircuitmadebylaserengravingtheconnectionsbetweenthecomponentsthathavebeenpressfitintoholescutoutholes.Right:Closeupofupsidedownmicrocontrollerinapressfitholewithleadsrecessedintheengravedtraces.
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LinocutandLino‐PrintedTraces
Carvedfromasheetoflinoleumthiscircuitcanbecoatedinconductivepaintandstampedtocreatemultipleprints.Ihavenotyetbeenabletofindagoodmixofconductivepaintandtransfermediumthatallowsmetomakeprintsthatconductwell.
Tomakethelinoleumprint,firstthecomponentsusedinthecircuitwerelaidoutontopofthelinoleumandthenthecircuitwassketched.Withalinoleumcarvingtooltheexcesslinoleumwascarvedaway,leavingtheoriginallinoleumsurfaceasthecircuitasseeninFigure54,left.Conductivesilverpaintandalinoleumprintbaseweremixedandappliedtothesurfaceofthecarvedlinoleumwitharoller.Thepaintonlyappliedtotheareasthathadnotbeencarvedaway.Thenapieceofpaperwaslaidontopofthepaintedlinoleumandwiththebackofaspoonthepaperwasrubbeddowncarefully.Thenthepaperwaspeeledaway,revealingtheprintshowninFigure54,right.
Figure54.LinocutandLinoPrintedTraces.Left:Exampleofcircuitcarvedfromlinoleumwithasilverpaintandlinoleumtransferbasemixappliedtoitssurface.Right:Printmadefromthelinoleumcutfeaturedontheleft.Unfortunatelythesilverpaintdidnottransferwelltothepaperandsothetracesofthiscircuitarenotconductive.
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PaintedTraces
Thislittlecircuitwaspaintedonapieceofstore‐boughthandmadepaper.Thenthewholecircuitwaselectroplatedsothatathinlayerofcopperformedontopofthepaintandpaper[Fig.55].TheplatedcoppermakesthetracesmuchmoreresilienttocrackingwhenthepaperisflexedanditalsomeansthattheleadsofthemicrocontrollerandLEDscanbesolderedtothecircuit.Thecoin‐cellbatteryisheldinplacebyatinyneodymiummagnettapedtothebackofthepaper.Thepositiveleadofthemicrocontrollerconnectstothepositivesideofthebatterywithanothersuchmagnetsolderedtotheendofaflexiblewire.
InFigure41aspartoftheelectroplatingrecipeyoucanseeimagestakenwiththeUSBmicroscopeoftheplatedtracesandsolderjoints.
Figure55.PaintedTraces.Left:Exampleofsmallcircuitpaintedonpaperandthenplatedwithcopper.Right:Closeupofplatedpapercircuit.LEDlightsandthemicrocontrollerleadshavebeensolderedtothecopperbuildup,creatingextremelyrobustconnections.
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PaperSpeakers
Thisexample,basedonthePulp‐BasedComputingpaperspeaker[Coelhoetal.,2009],showcasesaspeakerthathasbeenmadeontissuepaper,bytapingavinylcutcoppercoilontopofit[Fig.56,right].
ThecoppercoilwasdrawninAdobeIllustratorandcutoutusingaCraftRobovinylcutter.Behindthepieceoftissuepaperasmallneodymiummagnetisgluedtothelargersquareofyellowpaper[Fig.56,left].InthelowerleftcornerasmallcircuittakenfromaHallmarkgreetingcardhasbeenmountedandatransistoraddedsothattheaudiosignalcomingfromthesoundcircuitcanbeamplifiedwithanexternalpowersource.
Whena9Vbatteryisconnectedtothetwoleadsatthebottomrightoftheexampleandtheswitchonthesoundcardispressed,thespeakerplaysmusic.Whereasnormallythecoilinsideaspeakeriswrappedcylindrically,inthiscasethecoilisaspiralonaplane.Asthecurrentmodulatedbytheaudiosignalflowsthroughthecoil,itturnsitintoanelectromagnetwithafluctuatingmagneticfieldsothatthecoil,andwithitthetissuepapermembrane,arerepelledandattractedtothepermanentmagnetmountedbehindit.Thesefluctuationsofthemembranecauseairtobemovedcreatingthesoundwavesthatwehear.
Figure56.PaperSpeakers.Left:Paperspeakerexamplewithgreetingcardcircuit.Right:Closeupofexampleinwhichyoucanseetheneodymiummagnetmountedunderneaththepaperspeaker.
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PlatedSeashellSpeaker
Thisexampledemonstrateshowalimpetseashellcanbemadeintoaspeakerbyplatingacoppercoilarounditsinteriorandexteriorwithaholeinthetip,thatconnectsthetwo.Becausetheshellisamuchthickermembranethanthetissuepaperdescribedinthepreviousexample,itvibrateslessgiventhesameamountofcurrentasthepaperspeaker,andsoplaysmuchquietersound.Butifoneholdstheseashelluptoone’sear,onecanhearitplaymusic.
TheexampleoftheplatedspeakerpicturedinFigure57,leftalsoshowsthesoundcircuit,takenfromaHallmarkproduct,andtheamplificationcircuitthatincludesaTIP122transistorandconnectionsfora9Vpowersupply.
Thespeakercoilwasplatedontotheseashell[Fig.57,right],byfirstpaintingthecoilwithconductivesilverpaintandthensubmergingitintheplatingbath.Thinflexiblewiresweresolderedtoeitherendofthecoilmakingtheconnectionfromthespeakertotheamplifiedsoundsourcecomingfromthecircuit.
Figure57.PlatedSpeaker.Left:Exampleofplatedspeakerandcircuitthatplaysandamplifiessound.Right:Threeseashellswithspeakercoidplatedtothem.
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PlatedTraces
Thiscircuitissculptedfromacrylicclayandthenselectivelyelectroplatedtobuildarobustconductivecoatingthatwillnotcrackwhenthetracesofthesculptureareflexedorplayedwith[Fig.58].Thecomponentsofthiscircuitincludeamicrocontroller,threeLEDlightsandacoin‐cellbatteryholder.
Inmakingthesculptedcircuittheacrylicclaywassculptedrightaroundtheleadsofthevariouscomponentsandeverythingwasfiredinatoasteroven,withoutdamagingthecomponents.Thenconductivesilverpaintwasselectivelyappliedtomaketheconnectionsbetweencertaincomponents.Whenthepainthaddried,thecircuitwasdisassembledandthetracesplatedindividually.Fordetailsonthisprocess,seetheelectroplatingrecipefeaturedinthe“Recipe”chapter.
Afterplating,thecircuitwasre‐assembledandtheconnectionstotheleadscouldnowbesoldered.Askin‐resistanceswitch,situatedintheupperlefthandcornerofthecircuit,togglesbetweenthethreeLEDlightseachtimeitispinched.Thebatteryholderincludestwomagnetstoensureagoodelectricalconnectionbetweenthesculptureandthecoin‐cellbattery.
Figure58.PlatedTraces.Left:Exampleofplatedtracesasitappearsintheexamplecollection.Right:CloseupoftheexamplewithallthreeLEDlightslitup.
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Screen‐PrintedTraces
Thisexampleofscreen‐printedtracesshowshowyoucanusetraditionalsilk‐screenprintingtocreatecircuitryonavarietyofflatmedia[Fig.59].
Thecircuitintheexamplewashand‐drawnandthenscannedintothecomputerandtranslatedintovectorgraphics.Themaskforthescreenwascutoutofmaskingtapewiththelasercutter,usingthefilecreatedfromthescan.Themaskinglayerwasthenappliedtothebackofthescreenandadditionalareasweretapedoffwithmoremaskingtape.Copperpaintwasmixedroughly1:1withatransparentscreen‐printingbaseandthenappliedalongtheedgeofthemaskedscreen.Withasqueegeethepaintwasevenlydistributedintotheporesofthesilkscreenbeforelayingthescreendownonapieceofpaperandusingthesqueegeetopressuretheconductivepaintfromthescreenontothepaper.Twotothreelayersofpaintwerenecessarytocreategoodelectricalconnections.Inthisexampleonlythemicrocontrollerhadbeengluedtothesurfaceofthepaper.Theothercomponentscouldbeattachedinasimilarmannerandadditionalpaintwouldneedtobeappliedbetweentheprintedtracesonthepaperandtheleadsofthecomponentstomaketheelectricalconnections.
Thecircuitinthisexample,thoughnotfullyassembled,includesconnectionsforthreeLEDlights,oneresistiveinputaswellasatransistorfortriggeringathermochromicpixel(seethefirstexampleinthischapter).Manyoftheleadsfromthemicrocontrollerconnecttothelowerrighthandsideoftheexamplesquare,theseconnectionareforprogrammingthemicrocontrollerusingasix‐connectionISPprogrammer.
Figure59.ScreenPrintedTraces.Left:Screenprintedcircuitonpaper.Right:Screenprintingusingconductivecopperpaintandmaskedsilkscreen.
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SculptedMotor
ThisextremelybasicmotordesignhasbeenassembledfromavarietyofmaterialssuchastoothpicksandcustomshapedFimofixtures[Fig.60].Theassemblyhasthenbeenelectroplated,formingaconductivelayerofcoppermetal.Whena9Voltbatteryisshortedacrossthetwoconnections,forcingthecurrentthroughthewirewrapcoilthatissuspendedbetweenthetwopoles,itcreatesamagneticfieldaroundthecoilthatrepelsitselffromastackofmagnetsmountedbeneath.Themotorbeginstospinandtheimagesofthebirdandthecagemergeintoone.
Figure60.SculptedMotor.Left:Exampleofamotorassembledfromtoothpicksandpartssculptedfromacrylicclay.Theassemblywasthenelectroplatedwithcopper.Whenpowered,thecoilbeginstospin,mergingtheimageofthebirdandthecage.
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VinylcutTraces
Inthisexample,acircuitcutfromcopperadhesivetapehasbeentransferredtoapieceofclearacrylic.Aholeintheacrylicholdsthecoin‐cellbatteryinplaceandadditionalcomponentshavebeensolderedintoplace[Fig.61].
Thedesignforthecircuitwashand‐drawnandscanned.ThescanwasthentranslatedintovectorsandsenttoaCraftRobovinylcutterwhichthencutitoutfromasheetofadhesivecoppertape.Thecutoutcircuitwastransferredtotheacrylicusingmaskingtape,toensurethatallthetracesstayedinplace.Aholeforthecoin‐cellbatterywaslasercutoutoftheacrylicandtheconnectionstothepositivesideofthebatteryextendovertheedgesofthishole.ThenegativesideofthebatteryisconnectedsimplybystickingthenegativeleadofcoppertapetothebottomofthebatteryasshowninFigure61.ThemicrocontrollerandLEDsweresolderedontothevinylcuttracestoholdtheminplace.ThecoilinthelowerleftcornerisaskinresistiveinputthattogglesbetweenthethreeLEDlightseverytimeyoutouchitwithyourfinger.
Figure61.VinylcutTraces.Left:Coppertracesmountedonclearacrylic.Right:Pressfitholecontainingcoincellbatteryandcoppertracesmakingpowerconnectionstothebatteryalongitssidesandbottom.
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WORKSHOPS
Figure62.Picturetakenduringthesecondworkshopofaparticipantpaintingaconductorthatwillthenbeusedasaheatingelementtochangethecolorofthermochromicpaint,causingtheoutlineofthetreetoappear.
Afterbuilding,documentingandsharingtheKit‐of‐No‐Partsonline,workshopswerethenextstepindisseminatingthisnewapproach.Workshopswerealsotheidealplatformtointeractwithindividualswhowereinterestedinlearningthesenewtechniques.Iwantedtoobservehowotherpeoplewouldtaketothetechniques,howtheywouldexperiencethebuildingprocessandwhattheywouldwanttobuild.Figure62showsaworkshopparticipantpaintingacircuitonwood.
IorganizedtwoworkshopsthatwereheldonconsecutiveSaturdaysintheHigh‐LowTechgroupspaceattheMITMediaLab.Bothworkshopswereadvertisedunderthesamedescription,withtheexceptionthatthefirstworkshopwasopentoanybodywhilethesecondworkshopwasspecificallyforindividualswhohadexperiencewithcraft.ThecallsforparticipantswerepublishedonthewebsiteandsentouttotheKit‐of‐No‐PartsnewsletteraswellastotheHigh‐LowTechnewsletter.Itookthefirst10peoplewhorespondedforeitherworkshopandbothworkshopsfilledupwithinthefirstweekofadvertisingthem.
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TheworkshopswereadvertisedasopportunitiestolearntherangeoftechniquesdocumentedontheKit‐of‐No‐Partswebsite.ThefollowingworkshopdescriptionwasincludedintheemailthatwassentoutaswellasonthepostersusedtoadvertisetheworkshopthatareincludedintheAppendix.
Haveyoueverwonderedwhatkindsofelectronicswewouldbeusingifwehadcraftedthemourselves?Whatkindofinterfacewouldyouhavebuilttointeractwithyourmusic?Whatwouldyouralarmclocklooklike?Howwouldyourdoorbellfeel?Whatshapes,sizes,colors,texturesandfunctionalitywouldacraftapproachtobuildingelectronicsoffer?
TheKitofNoPartsworkshopintroducesparticipantstoacraftapproachtobuildingelectronics.Imagineyoucouldsculptaswitch,carveacircuitorplateyourownspeakers.Thisworkshopwillcoverarangeoftraditionalandcontemporarycrafttechniquesincludinggilding,carving,casting,sculptingandplating,anddemonstratehowavarietyofcraftmaterialscanbeformedintofunctioningelectronicartifacts.
Theworkshopsstartedat11amonaSaturdayandwentuntil6pm,withalunchbreakfrom1‐2pm.EachworkshopbeganwithapresentationthatbrieflyintroducedtheKit‐of‐No‐Partsapproachandwentontodemonstratetheselectionoftechniquesthatwouldbepossibleduringtheworkshop.
InstructuringtheworkshopsIhadtodecideonwhattointroduce,howtointroduceitandhowtoframeitsothatparticipantshadaclearideaofwhattodoandwhattheycouldexpecttoachieve.MygoalwastointroducearangeoftechniquessothatIcouldseewhichonesparticipantswantedtoengagewith.IimaginedparticipantswoulddevelopanideabasedontheavailablematerialsandthekindsofoutputIpresentedineachworkshop.Dependingonthescopeoftheirideas,Ididnotnecessarilyimagineallparticipantswouldcompletetheirprojectsduringtheworkshop,butIdidanticipatethattheywouldbeabletobeginbuildingandgetagoodintroductiontothecraftstyleofworkingwithelectronics.
TocollectfeedbackfromtheparticipantsIpreparedtwosurveys.Participantswereemailedroughlyadayortwoinadvanceofeitherworkshopwithalinktoanoptionalonlinesurveythataskedquestionsabouttheirpriorexperiencewithart,craft,electronicsandprogramming.Thedayfollowingtheworkshopparticipantsreceivedanotheremailwithalinktoapostworkshopsurveyaskingquestionsabouttheirworkshopexperienceaswellasaskingthemtoratethingssuchasworkshopduration,difficultyandspeed.
Althoughtherewasmuchroomforimprovingtheclarity,structureandfocusoftheworkshops,theybothwentwell.Anoverwhelmingmajorityofparticipantsstatedthattheyenjoyedbeingintroducedtothefullvarietyofnewtechniques.Itwasexcitingthatbothworkshopsfilledupsofast.IknewthattherewasakeeninterestintheE‐Textilesandpapercomputingworkfromourresearchgroup,butIwasn’tsurehowpopularamoregeneralcraftapproachtoelectronicswouldbe.Throughouttheworkshopsmostparticipantswereabletoworkfairlyindependentlyandnobodywasatalossforanideaofwhattheywantedtobuild.
Frommypart,IthoroughlyenjoyedwatchingeverybodyworkwiththematerialsandtechniquesIhadprepared,butbothtimesitbecameapparentearlyonthatinmyplanningIhadexpectedtoomuchofaonedayworkshop.Icrammedtoomuchchoiceandnewnessandtoolittlefocusintotheflowofactivities.Makingithardforparticipantstoconcentrateonlearningandmasteringatechnique.NotonlywasIintroducingparticipantstoeightdifferenttechniquesandthematerialstogowiththem,Iwasalsopresentingelectronicsinacraftcontext.Iunderestimatedhowconfusingit
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canbetoreceivesomuchnewinformationatonce.EventhoughIpreparedillustratedinformationontheelectronicsIintroducedineachworkshop,Ididabadjobofselectingandintroducingelectronicsinabasicandstraight forwardwaythatwouldhaveallowedparticipantsmorecreativefreedom.Overallitwassimplyhardforthemtoimmersethemselvesandcreatesomethingnewinsuchashortamountoftime.
InthefollowingtwosubsectionsIsummarizetheoutcomeofbothworkshopsandfocusonhowtheKit‐of‐No‐Partsapproachwasconveyedandreceived.
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FirstWorkshop
Oftheeightparticipantsthatattendedthefirstworkshopfivewerefemaleandthreemale.Sixpeoplefilledoutthepre‐workshopquestionnaireand5thepost‐workshopquestionnaire.Ofthepeoplethatfilledoutthequestionnairesallwerebetweentheageof20and35.
ThechartsinFigure63illustratesomeofthefollowingobservations.Everybodyhadatleastalittleprogrammingandartexperiencebutroughlyhalftheparticipantshadnocraftexperience.Thisfirstworkshopcontainedmorepeoplewithelectronicsexperiencethanthesecondworkshop.Themajorityofparticipantsconsideredthemselvesdesigners,electronicshobbyistsandartists.Theirindividualartexperienceincludedpainting,photographyandillustration.AndtheirexperiencewithelectronicsincludedArduinoandE‐Textilesprojects.Theparticipantsthathadexperiencewithcrafthadworkedwithcasting,papermaking,ceramicsandjewelryaswellasarangeoftextilecrafts.
Figure63.Workshop1.Graphsshowingparticipants’responsestothepreworkshopsurvey.Left:Onascalefrom1to7,howcomfortabledoyoufeelcrafting,makingart,programmingandbuildingelectronics?Right:Howmuchexperiencedoyouhavewithcraft,art,programmingandelectronics?None,alittle,some,doregularly,expert/professional.
InthequestionnaireIexplicitlyaskedwhetherpeoplehadpreviousexperiencecombiningcraftsandelectronicsandeverybodyrespondedthattheyhadheardorreadaboutitpriortotheworkshop.Manyofthemhadalsoalreadyworkedonconcreteprojects.Itwasinterestingthatsomanyoftheparticipantswerealreadyinvolvedincombiningartandelectronics,butthiswasprobablytiedtothefactthattheyfoundoutabouttheworkshopthroughtheHigh‐LowTechnewsletter.
Whenaskedabouttheirmotivationforattendingtheworkshop,Ifoundthefollowingtwoquotesrepresentativeoftwodifferentreasonsthatparticipantsstatedforcomingtotheworkshopthatday.
“Idon’thavealotofexperiencewithelectronicsandfinditveryempoweringtolearnabouttechnologyinahandson/craftway.”
“Iamworkingonanartprojectthatintegrateselectronicswithsculpturalobjects.Iwouldlikeforthecircuittobenotonlyfunctionalbutanaestheticpartofthepiece.”
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Thisfirstworkshopfocusedonmakingthespeakercoilsdescribedintheprevious“Example”chapter.Participantswereshownavarietyofspeakersmadefromvarioustechniquesandmaterials.ThechallengeinintroducingthespeakerwasthatIneededtoincludeasourceofsound.AneasysolutionwastoprovideaselectionofHallmarkgreetingcardsthatparticipantsguttedforthecircuit.Someofthecardsplayedpre‐recordedsongs,otherswererecordablesothatparticipantscouldrecordandplaybacktheirownsounds.Fortheaudiosignalofthegreetingcardcircuittomakesoundthroughthespeakers,thesignalneededtobeamplifiedwithatransistoranda9Voltbattery.TheseextracomponentswerebulkyandsomewhatdistractingfromthetechniquesIwastryingtofocuson.SinceIwasnotfocusingtheworkshoponaspecifictechniqueandneededtofocusitsomehow,Iwassetonhavingthespeakerandthespeakerrequiredtheseextraparts.
Aftertheinitialintroductionsanddemonstrationofthetechniques,participantsproceededtosketchandthinkaboutwhattheywantedtobuild.ThisiswhenitbecamemostapparenttomethatwhileIhadmadesuretoorganizeallthematerialsandtoolsrequiredforthetechniques,therewerenotenough“other”craftmaterialsaroundtoinspirethekindofbuildingIhadenvisioned.
Figure64.Copyinganexistingdesignisagreatwaytogetstartedaswellaslearnsomethingsintheprocessofbuilding.
WhileIencouragedparticipantstofocusfirstonbuildingaconductivespeakercoil,Ididnotenforceitasanintroductoryactivity.Whilesomeparticipantswentaboutmakingthecoilbeforeanythingelseothershesitated.InretrospectIshouldhaveconsideredthissituationmore.Havinganextremelystructuredintroductoryactivitycanbeagreatstartingpointthatallowsparticipantstogettoworkingwiththematerialsandlearningaboutthemeveniftheyarecopyinganexampledesign.Figure64showsparticipant’sspeakercoilsbasedoffsomeoftheexamplesIshowedintheintroduction.
Itisalwaysaharddecisionhowmanyandwhatkindofexamplestointroduceinaworkshop.Everythingyoushowhasanimpactonhowparticipantscometothink,especiallybecauseworkshopsareoftenheldinsuchshortamountsoftimetheseinfluencescanreallyimpacttheoutcomeofaworkshop,bothforgoodandforbad.
Whileroughlyhalftheparticipantsbuildvariationsofthepaperspeaker,theotherhalfbecameinterestedintheuseofthermochromicpaintsthatchangecolorwhenheated.Thisinterestsprung
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fromtwoparticipantsinparticularwhohadseenthethermochromicpaintsfeaturedontheKit‐of‐No‐Partswebsite.Theywerelookingtoincorporatethermochromicpaintsintheirownworkaspaintersandillustrators.Althoughthesepaintswerenotinitiallyplannedfortheworkshop,itwasnotdifficulttointroducethemonthespot.
Asparticipantsbeganbuildingtheirdesigns,oneofthefirstthingsInoticedwasthattheylenttowardsusingmaterialsandtechniquestheywerealreadyfamiliarwith.Figure65showssomeoftheworksthatparticipantscreatedwithmaterialstheywerefamiliarwith.AtfirstIthoughtIhadfailedtointroducesomeoftheothertechniquesclearlyenoughandparticipantswereunsureofthem.Ontheotherhand,thisresponsemadetotalsense.Whenyoucometoanewactivity,evenifyouareallsettotryouteverythingyoudon’talreadyknow,asyoubegintoworkyounaturallyfallbackintothinkingwithandmanipulatingfamiliarmaterialsandtools.Despitethisbeinganaturalprocess,Icouldhavedonemoretosupportparticipantsinengagingwithsomeofthemoreunusualtechniquessuchassculptingandplatingthepolymerclay,andcarvingfromwood.Introducingthesetechniquesasshortandsimplehands‐onintroductoryactivitieswouldhavebeenonewaytodothis.
Figure65.Participantsexploredtheuseofthermochromicpaints.Left:Oneparticipantexperimentedwithcastingboththermochromicpaintsaswellasconductivepowdersinlatextocreatematerialsthatcouldsimultaneouslyconductandchangecolor.Right:Anotherparticipantexploredthecombinationofthermochromicpaintwiththespeakercoilinordertoanimateherownpaintingsandillustrations.
Oneofthemostessentialtoolsinworkingwithelectronicsisthemultimeter,whichcanbeusedtomeasureelectricalresistance,checkforcontinuityandalsoforcapacitance.Intheworkshopparticipantsallusedthemultimetertochecktheircircuitsforbothgoodandbadconnections[Fig.66].Besidesbeinganextremelyusefultoolthemultimeteralsohasastrongeffectonsupportingexplorativeandmoreexperimentalapproachestoelectronics.InmanywaysitbaressimilaritytoJaySilver’sDrawdio[Silver,2009]tool,whichsupportsandenablesaplayfulexplorationofconductiveeverydayobjects.
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Figure66.ThemultimeterisanessentialtoolinanyelectronicsworkshopsandmaybeevenmoresoinaKitofNoPartsworkshop.Left:Participanttestingasilverpaintandwoodcircuitforcontinuity.Right:Anotherparticipantlookingattheresistanceofhercastlatexcoil.
Participantsspentthemajorityoftheworkshopworkingontheirprojects.Mostparticipantsbeganwithasketchoftheirinitialideabutsoonmovedontobuilding.Becauseparticipantschosetoworkwithtechniquesthattheywerefamiliarwiththeywereabletoworkmoreindependently.Also,mostoftheparticipantsinthisworkshophadpriorexperiencewithelectronicsandwerecomfortableusingthecomponentsandcircuitryinvolved,workingfromtheschematicdrawingIprovided.Thefactthatparticipantsinthisfirstworkshophadpriorelectronicsexperiencemighthaveleadmetotakethisforgrantedinpreparingforthesecondworkshopandnotgivingabetterintroductiontoelectronics,whenitwouldhavebeennecessary.
InthefollowingIbrieflysummarizethekindsofprojectsthatparticipantsbuiltaswellasthetechniquesandapproachestheytook.
Fouroutoftheeightparticipantsfocusedprimarilyonusingpaintandpaper.Paintingtheirspeakercoilsandthermochromicheatingelementsaswellastheconnectionstotheotherpartsoftheircircuitryusingtheconductivesilverpaint.Oneparticipantwhoworkedonintegratingthespeakerandthermochromicelementsintotheimageofafrogfoundthathissilverpaintedcoilwasnotconductiveenoughtoplayloudenoughsound,sohewentontosuccessfullyplatehispaintedpapercoil.Althoughthefirstattemptatthisfailedbecausethepaperwastooabsorbentandaffectedbytheplatingbathwhichtookawhilebecausetheconductivesurfaceareawasratherlarge.TheimagesinFigure67showthepapercircuitsubmergedintheplatingbathandthenthefinishedcircuitwithyellowthermochromicpaintaddedaseyesthatdisappearwhentheheatingconnectionismade.
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Figure67.Left:Paintedpaperspeakercoilsubmergedinplatingbath.Right:Finishedcircuitwithyellowthermochromiceyes.
Oneparticipantwasinspiredbyawoodencheeseboxshepickedoutofoneofthematerialsbinsthatwerepartoftheworkshopandbuildamazefromit.Sheusedcardboardtoconstructthewallsofthemazeinsidetheboxandconductivepainttocreatethecircuitryontheback.Twometalballsinsidethemazecouldrecedeintotwoholes,closingthecircuitandturningononeoftwoLEDlights[Fig.68].ThisparticipanthadpreviousexperiencewithelectronicsandalthoughLEDswerenotintroducedaspartoftheworkshopsheaskedtousethem.AstheworkshoporganizerandfacilitatorIwasnotalwayssurehowmuchIshoulddirectpeople’sideastowardsincorporatingtheKit‐of‐No‐Partstechniquesinsteadofreachingforstandardcomponents.InthecaseoftheLEDsIfeeltheparticipantscouldhavepossiblyproducedamoreuniqueandmateriallyintegratedpieceifshehadinsteadusedthermochromicpaintoreventhespeakersasherchoiceofactuatedfeedback.ButontheotherhandherideaincludedtheLEDlightsandatthattimeIwasinthemindsetofhelpingparticipantsrealizetheirideas,ratherthanthinkingtopersuadethemtogoinspecificdirections.InretrospectIcouldhavebeenmoreupfrontaboutstatingthisasagoaloftheworkshop.Tellingparticipantsthattheywereencouragedtotakethelessexploredapproachesandapplytheunderusedtechniques.Icouldhavemoreactivelysuggestedspecificsolutionsthatleadtotheuseofcertaintechniques,ratherthanleaveitentirelyuptoparticipantstodecidehowtheywantedtowork.
Thissameparticipantwentontogildaspeakercoilontheinsideofthelidofthewoodencheesebox[Fig.68].Theideawasthatwhentheboxwasclosed,thepowerconnectionofthecircuitwouldcomplete,turningthecircuitonandplayingsoundthroughthespeaker.Whiletheparticipantgothermazetowork,shestruggledwiththegildingtechnique,asmetalleafisextremelyfinickytoworkwith.Althoughwegotthespeakercoiltobeconsistentlyconductiveweranoutoftimebeforegettingitconnectedtotherestofthecircuitryinorderforittoplaysound.
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Figure68.Left:Mazeconstructedinsideawoodencheesebox.Right:Gildedspeakercoil.
Twoparticipantstookasimilarapproachintwodifferentareas.Bothofthemexploredthematerialsandtechniquesthroughmakingsamplesratherthanworkingonaconcreteproject.Oneparticipanttooktocastingavarietyoflatexsampleswiththermochromicpaint[Fig.65],aswellaswithsteelyarnandconductivepowderstoachieveheatingelements.Theotherparticipantexperimentedmakingavarietyofspeakercoilsondifferentpapersandsubstratessuchastape.Oneofhismoresuccessfulspeakerswasmadeonapost‐itnote,whichthenleadtosomepossibleprojectideas.
Andfinally,oneparticipantincorporatedsculptingandelectroplatingtomakemetalchimes.Thechimeswereintendedtobesuspendedinaspacewheretheycouldbeaffectedbypassers‐by.Causingthechimestomoveandmakecontactwithoneanother,whichwouldtriggersoundsandambientlightingeffects.Thisparticipantsculptedawholeseriesofchimes,firedtheminthetoasterovenandthenplatedtheminbatches.Theplatingdidnotgosowellwithsomanyatonetimeandwereducedthenumberofchimestogetthemtoplatecompletely.TheimagesinFigure69showthesculptedchimesinthetoasterovenaswellasabatchofthemintheplatingbath.
Figure69.OneofthefewparticipantswhotriedsculptingFimoandelectroplatingittocreatemetalchimes.
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Halfanhourbeforetheendoftheworkshopparticipantsgatheredtobrieflypresenttheirworktoeachotherandtosharenotonlywhattheyhadmadebutalsohowtheyhadexperiencedtheprocess.Participantsseemedpleasedwithwhattheyhadmadeandexcitedaboutthevarietyoftechniques,eveniftheyhadnotbeenabletotrythemall.Togiveabetterimpression,herearesomerepresentativequotestakenfromtheresponsestothepost‐workshopsurveys.
Whenaskedwhattheirfavoritethingabouttheworkshopwas:
“Seeingthedemonstrationsandthenusingtheprocesses.”
Whenaskediftheyhadsuggestionsforhowtheworkshoporthetoolsandtechniquesusedcouldbeimproved:
“Ijustwishthegoldleafingwasabitmorereliable.ItlookssoneatandyetIamafraiditistoofragiletobeabletohaveadurablecircuit.”
“Drawingsmoothconcentricspiralsisdifficult.Maybehaveastencil?”
Whenaskedtoshareanyotherreflectionsorcomments:
“Itreallyallowedmetoseehowcircuitscouldpotentiallybemadefromsomanysubstrates.Itwasalmostaninvitationtostartexperimentingwithdifferentmaterialsandreinventingtheformofthecircuitandhowitcanbeintegratedinanewwayinanobject.”
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SecondWorkshop
Ofthetenparticipantsthatattendedthesecondworkshopsixwerefemaleandfourweremale.Allparticipantsfilledoutthepre‐workshopquestionnaireandeightthepost‐workshopquestionnaire.Ofthepeoplethatfilledoutthequestionnairesallwerebetweentheageof21and40.
ThechartsinFigure70illustratesomeofthefollowingobservations.Themajorityofparticipantsconsideredthemselvesartists,craftersanddesigners.Fewpeoplehadpriorelectronicsorprogrammingexperience.Participant’sartexperienceincludedpainting,sculpture,ceramics,videoandelectronicart.Participant’scraftexperienceincludedrepurposingmaterials,metalsmithing,woodworking,ceramics,glass,papercrafts,jewelry,carpentryandawholerangeoftextilecraftssuchassewing,knittingandembroidery.Itisinterestingtomethatthisworkshop,thatwasdirectedatindividualswithpriorcraftexperience,attractedlessparticipantswithelectronicsexperiencethanthefirstworkshopdid.
Figure70.Workshop2.Graphsshowingparticipants’responsestothepreworkshopsurvey.Left:Onascalefrom1to7,howcomfortabledoyoufeelcrafting,makingart,programmingandbuildingelectronics?Right:Howmuchexperiencedoyouhavewithcraft,art,programmingandelectronics?None,alittle,some,doregularly,expert/professional.
Inresponsetothequestionaboutwhatmotivatedthemtosignupfortheworkshop,oneparticipantreplied:
“I’vealwaysbeeninterestedingettinginvolvedsomehow,andwaswaitingforaworkshoptoopenupthatseemedappropriate.”
InarrowedthenumberoftechniquesIintroducedinthesecondworkshopdowntofour:gilding,electroplating,carving,andmoldingandcasting.Ialsoaskedparticipantstobringsomethingwiththemthattheyhadmadeandcouldpossiblyincorporateintheworkshop,butdidnothaveto.Inthepreviousworkshopanumberofparticipantshadshownakeeninterestinusingthermochromicpaintsthatcanbemadetochangecolorwhenheatedup.SobesidesfocusingonthespeakersIalsoincludedthesecolorchangingpaints.InsteadofusingthegreetingcardcircuitsasasourceforsoundIdecidedtouseapre‐programmedmicrocontroller,asmallcomputerwitheightlegsandaprogramloadedonitthatplayedadifferentnote,dependingonthevalueofinputconnectedtooneofitspins.Thisvariableinputcouldbeachievedbypaintingastripofcarbonpainttocreatearesistivetrackalongwhichtomoveaconductivewiperthatconnectedtotheelectricalgroundof
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thecircuit.Aswiththegreetingcardcircuitthisoptionalsoincludedthetransistorand9Voltbatteryforamplifyingthesoundsignal.
Figure71.Imagesfromthebooklethandedoutatthesecondworkshop.
Inadditiontotriggeringthenotes,thesamemicrocontrollerrananothersetofcommands.Everytimetheinputpinwastriggered,nomatterwhatthevalue,theprogramtoggledbetweenonandoff(highandlow)onthreeoutputpins,allowingsomebodytoconnectthreedifferentoutputstothesepins.Thissetupsoundscomplicated,anditwas.InordertomakeallofthismoreaccessibletotheparticipantsIpreparedasmallbookletcontainingfourcircuitdiagrams.Oneformakingaverysilentspeakercircuitusingjusta3Voltcoin‐cellbattery.Anotherformakingtheamplifiedversionofthespeakercircuit.Averysimplecircuitfortriggeringandheatingthethermochromicpaintthatworkedwithoutthemicrocontroller.Andthelast,themostcomplicated,andwhichnobodyattempted,fortogglingbetweenthreethermochromicpixels.Figure71showstwopagesfromthisbookletthatintroducethedifferentcomponentsandillustratetheamplifiedsoundcircuit.Itturnedouttobetoomuchforsuchashortworkshop.
Asparticipantsbegintosketchouttheirideastheyusedpensandpapertodrawsketchesandschematics,buttheyalsotookthecomponentsandconfiguredthemaroundtheirobjectinordertogetabetterideaofhowthingsmightcometogether.Thishappenedmoresointhisworkshopthaninthefirst.Foronebecausesomeparticipantshadbroughtartifactswiththemthattheywantedtouseintheirdesignandsotheyhadanobjectinfrontofthem.AndalsobecauseatthebeginningoftheworkshopIhandedoutbagscontainingthebookletandthecomponentstheywouldneedtobuildanyofthefourcircuitsitdescribed.GoingbackandlookingatsomeoftheimagesItookduringtheworkshopthefollowingtwoimagesstruckmeasreprehensiveofthisprocesses.Seeingtheseimagesalsomademethinkaboutsomeofthefinerdetailsofthisinitialsketchingprocess.
TheleftpictureinFigure72,leftshowsaparticipantwhobroughtaplainmetalbraceletshehadmadewithhertotheworkshopanddecidedto“apply”thesilentspeakercircuittoit.Intheprocessesoffiguringoutwherethecomponentsshouldgosheexperimentedwithdifferentplacements,bothbysketchingalayoutonpaperaswellasphysicallyarrangingthepartswheresheimaginedtheycouldgoonthebracelet.Havingboththeartifactandthecomponentsinhandallowedhertothinkainacertainwayaboutthecombinationofcraftsandelectronics.
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TherightpictureinFigure72,rightshowsanotherparticipantashesketchedouthiscircuitonpaper.Hedidnotbringanartifactwithhimandsothroughsketchingdesignedboththecircuitandtheartifact.ThoughIcan’tsayexactlyhowthisparticulardesignprocessdevelopedandwhatkindofbackandforthhappenedbetweenelectronicsandartifact,Ifeelitworththinkingabouthowintheprocessofcraftingelectronicsonemovesbackandforthbetweenthedifferentworlds,bothofcraftandelectronics,aswellasoftwo‐dimensionalrepresentationandtherealityoffinalpiece.Andtothinkabouthowthemediausedinfacilitatingthisprocesssuchasflatpaperandrealmaterialsinfluencethisprototyping/buildingprocess.IdiscusstheseideasmoreinthefinalchapterwhereItrytosummarizeandreflectondifferentstylesofapproach.
Figure72.Left:Thisparticipantbroughtaplainmetalbraceletshehadmadewithhertotheworkshopanddecidedtointegratetheelectronicsonherbracelet.Right:Anotherparticipantsketchesouthiscircuitonpaper.
Oneparticipantsharedareallyinterestingcommentwithmeaboutherintenttofocussolelyonthelayoutandvisualaestheticsofthecircuitry.Inherdesign,whichwaspaintedonplywood,shefirstusedblueacrylicpainttopreparethesurfaceuponwhichtopainttheconductivesilverpaint.Thebluepaintbackdropalsocreatedaprominentvisualeffect[Fig.73,left].Ithoughtitwasinterestingtoconsiderherfocusontwo‐dimensional,twocolor,twomaterialaestheticsasaniceconcentrationthatcouldbethefocusofafutureworkshop.
Trialanderror!Oneparticipantworkingwiththethermochromicpaintsdidnotmixinenoughmediumandwhenthepaintdrieditwasveryflaky[Fig.73,right].Butaninterestingthingthathealsodidinthisexamplewastopainttheconductivepaintontopofthethermochromiclayer.WhileIhadtakentopaintingtheconductorinthebackgroundtokeepitinvisible,Iverymuchliketheideaofpaintingtheconductorontop.ThoughIamnotsureifinthiscaseitwasaconsciousdecisionornot.
Asinthefirstworkshopparticipantsspentthemajorityoftimeworkingontheirownprojects.Comparedtothefirstworkshopamajorityofparticipantshadlittleornopriorexperiencewithelectronics.IfoundmyselfchallengedtobetterexplaintheelectronicsIwasintroducingforwhichIrealizedIhadnotpreparedasimpleenoughintroductionto.WhilethebookletIhandedoutdescribedthecomponentsandthecircuitsIhadprepared,itwasdirectedatanaudiencethatwasalreadyfamiliarwithelectroniccomponentsandschematics.
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Figure73.Left:Participantfocusedondesignofcircuitry.Right:Trialanderror.
Beingusedtoworkingwithcircuitschematicsonecomestomorenaturallyviewthemasabstractionsoftheactualimplementationofacircuitanditscomponents.Observinghowparticipantswhowerenewtoelectronicsworkedwiththecircuitdiagrams,thiswasnotthecase.Thewaythecircuitwaslayedoutandrepresentedinmyhand‐out,whichcanseeninFigure71ontheleft,wasveryliterallytakenupbysomeparticipants.Ratherthanconsiderotherformatsforrepresentingcircuitconnections,suchaslistingwhatconnectstowhatandnotdrawingtheconnections,itwouldhavebeenbettertostartwithasimplercircuitthatonlyincludedapowersupply,aswitchandsomeactuation.Ofcourse,needingasoundsourceandamplifiedpower,Ihadhadahardtimesolvingthisforthespeaker.Butthethermochromicpaintontheotherhandcanworkverynicelyinsuchasimpleconfiguration,whereyoupaintyourheatingelementandshortyourbatteryacrossitinordertoactuatethepaint.
Ofthetenparticipantsinthisworkshoproughlyhalfworkedonprojectsthatincludedspeakers.Theotherhalfusedthermochromicpaint.Unfortunatelymanyofthoseincorporatedthespeakerswerelesssuccessfulingettingthemtowork.Ibelievethattosomedegreethiswasbecauseparticipantsreallymadeanefforttointegratetheirspeakerswiththeirartifactandindoingsoencounteredsomechallengesthattooktimetoresolve.Whilewiththevisualqualitiesofcraftyoucanoftenbegintoappreciatethemevenbeforetheyreachtheirultimateform,withelectronicsitcandependoneverythingbeingfinishedbeforethereisevenachancethatitmightwork.Andthentheprocessofdebuggingbegins.Whiledebuggingispartoftheprocessitisashamewhenittakesupthemajorityoftheworkshop.
InthefollowingIdescribetwoprojectsthatincludedspeakers.TheyarealsotheprojectsthatIfirstintroducedwhentalkingaboutstylesofapproachinsketchingandprototypingideas,showninFigure72.
Theparticipantwhobroughtthebraceletshehadmadewithhertotheworkshopcameupwiththeideaofusingthemetalbraceletitselfasthecommongroundconnectionthateverycomponentconnectedto.Shealsousedasmallmagnetonthebatterysothatthiscouldbemovedaroundthebracelet.Becausethemetalofthebraceletwasnowpartofthecircuit,otherpartsneededtobeisolatedfromitinordertoformseparateconnections.Forthissheusedaclearnailvarnish.Usingadremeltoolshedrilledholesandcutslitsinthebracelettoaccommodatethecomponentsthat
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includedthebattery,theresistivesensor,themicrocontrollerandthespeaker.Shemadethespeakercoilbyweavingmagnetwireinacircle,throughtheholesshehaddrilledinthebracelet.Buttheinsulationofthewirekeptshearingontheedgesofthemetalholes,causingittoshortwiththecommongroundandrequiringittobeundoneandredonemultipletimes.Ultimatelywetriedtestingthecircuitbyjustwrappingthewireintoacoilandtapingittothebracelet.Thespeakerdidnotproduceaudiblesoundand,althoughIcan’tbesure,Isuspectthiscouldbebecausethewirecoilwasnotfixedtoitwellenoughcausingittovibratethemetalasitsmembrane,orelsethemetalofthebraceletwastoostifftovibrateatsuchlowpower.Inthiscaseshecouldhavetriedimplementingtheamplifiedversionofthecircuit,whichwouldhaverequiredtheextracomponents,includingtheratherbulky9Vbattery.Figure74,leftshowsthebraceletasitlookedattheendoftheworkshop.
Aprojectthatincorporatedthepaperspeakerwasmadeonapieceofplywoodcutoutintheshapeofawashboard[Fig.74,right].Theideawasthatyoucouldplaythewashboardwithaconductivewiper,whichinthiscasewasachopstickcoatedinconductivepaint,bymovingitupanddowntheresistivetrackpaintedwithcarbonpaint.Therestofthecircuitwaspaintedwithsilverpaintonwood,inasimilarstyletothepreviouslymentionedexampleofanotherparticipantthatusedbluepaintasabackdrop.Thespeakerwasnotpaintedonthewoodbutonapieceofpaperthatwasthenconnectedtothewoodcircuitthroughtwosmallmetalscrews.Thespeakerwasextremelyquietbecauseitusedonlythe3Voltcoincellanddidnotamplifythesound.Again,addingthetransistorand9Voltbatterytoamplifythesoundwouldhavemadeitlouderbutalsobulkier.
Figure74.Left:Braceletwithsimplespeakercircuit.Right:Woodenwashboardinstrumentwithpaperspeaker.
Thefollowingthreeprojectsallusedthermochromicpaintaswellassomecarving,moldingandcasting.
TheworkofoneparticipantplayswithourperceptionoftheratherobnoxioussentenceshowninFigure75.WhenthecircuitispoweredtheimagechangesandanoutlineofthecountryofSpainappearsaroundthetext.TheresultisareferencetohowtheparticipantfeelsaboutlivinginNewYorkduringitscoldwinters,whileinSpain,whichisatroughlythesamelatitude,thewinterstherearesunnyandwarm.
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Figure75.Artworkbyoneoftheparticipants,before(left)andafter(right)completingthecircuitthatcausesthepaintedcircuittoheatupandappearthroughthethermochromicpaint.
TheparticipantwhomadetheartworkreferencingSpain’ssunnywinterswasalsooneofthefewwhobeganherprocessbycreatingaseriesofsamplesbeforeattemptingthefinalpiece.Shewasusedtoworkingwithpaintandalsotheideaforthisartworkissomethingshealreadyhadinmind.Comingatthisprocesswithskillstoleverageaswellasastrongideamakesadifferenceinhowyoucanworkgivenanewsetoftoolsandtechniques.
OneparticipantbroughtaselectionofgemstoneswithhimtotheworkshopandproceededtomakeFimomoldsofthemthathecouldthenusetocastlatexmixedwiththermochromicpaintin[Fig.76,left].Healsoincludedalayerofconductivepaintinthemoldashisheatingelementthatwouldcausethemtochangecolor.Unfortunately,eventhoughthemoldsweresmall,thelatextookforevertocurewhencastintheseshapes.Anotherparticipantconstructedawoodenboxandpaintedthermochromicpaintonthedifferentsides.Contactsunderneaththepaintrevealeddifferentshapeswhenthecubewasorientedindifferentpositionstomakeelectricalconnectionswiththebattery[Fig.76,right].
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Figure76.Left:ThermochromicgemstonescastwithlatexinFimomolds.Right:woodenboxwiththermochromicdisplaythatrevealsdifferentelementsdependingontheorientationofthebox.
Thefollowingfinaltwoexamplesofthermochromicpaintweredoneonwoodwithheatingpatternspaintedunderneathintheshapeofthetree’sleaves[Fig.77].Inthefirstexamplenothingbutthecarvedrecessionofthetreetrunkandbranchesarevisibleuntilthecircuitispoweredtorevealtheleafstructures.Asecondandsmalleriterationofthisprojectchangescolormoredramaticallybecausethepaintedheatingelementheatsmuchfaster.Thissecondversioniscoateditinaclearlack,givingitaveryfinishedquality.Italsoincludesholesinthewoodthatbringthepowerconnectionsforthecircuittotheback.Theholesweredrilledandthensaturatedwithpaintandsmallscrewswerescrewedintomakeconnectionsthatcouldbeclippedtowiththealligatorclips.
Figure77.Left:FinishedversionoftheworkinprogressfeaturedattheverybeginningofthischapterinFigureX.Right:Asmallerexampleofthetreefeaturedontheleft.Becauseofthemuchshorterpaintedheatconductor,thisonechangescolormuchfasterandspreadsmoredramatically.
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Attheendoftheworkshopparticipantsgatheredtogethertobrieflypresenttheirprojects.Iaskedthemalsotoreflectonhowtheworkshopwentaswellashowitcouldbeimproved.Thefollowingquotestakenfromresponsestotheonlinepost‐workshopsurveynicelyrepresentparticipant’sconclusions.
Whenaskedwhattheirfavoritethingabouttheworkshopwas:
“Learningaboutdifferentconductivematerials.”
“Seeingallthepossibilities!”
Whenaskedwhattheirleastfavoritethingabouttheworkshopwas:
“Itwashardtolearntheskillsquicklyenoughtomakeaprojectthatworked.”
“Notbeingtaughthowtomakeelectronicconnections.”
Whenaskediftheyhadsuggestionsforhowtheworkshoporthetoolsandtechniquesusedcouldbeimproved:
“Ithinktheworkshopshouldeitherbelonger,orfocusedonasmallernumberofcrafts/materials.”
“Havingtofigureoutthecircuitandthenewmaterialsatthesametimewasmaybetoohard.”
“Itneedstobelonger,anddemonstratingapplicationscanbenice.”
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REFLECTIONSONPROCESS
Figure78.Theremainsofcarvingawoodencircuit;amicrocontroller,flakesofcarvedwoodwithconductivesilverpaintonthem,andthetipsoftwocarvingtools.
InthepreviouschaptersIhavedetailedtheprocessofdevelopinganddocumentingmythesis,andpresentedtheoutcome,whichincludesthewebsite,acollectionofexamplesandtwoworkshops.Iwouldliketoconcludemythesiswithaseriesofreflectionsonprocess.
IntermsofmyownprocessIreflectonbalancingmethodandintuitionthroughoutmysamplemakingprocess.Idiscusswhatitmeanttodocumentmyresults,inreal‐time,asIwasproducingthem.Idescribehowlaunchingthewebsite,asaplatformfororganizingandsharingmywork,helpedmetobemoreexplicitaboutmyprocessesandtechniques.
BasedonobservationsImadeduringtheworkshopsIreflectontheirdifferentstylesofbuilding.Idescribetherolesthatsketching,prototyping,rehearsinganddebuggingplaythroughoutdifferentkindsofbuildingprocesses.
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BalancingMethodandIntuition
ThroughoutmysamplemakingprocessIhadnosetstrategyforbalancingmethodandintuition.Intuitionplayedapartthroughoutthewholeprocess,fromsourcingthematerialsandtools,todecidingwhatsamplestomakeandhowtotestthemforvaluableresults.
ThemorefamiliarIwaswithacertainmaterialortool,themoremyintuitionplayedaroleinmydecisions.AsIcametoknowamaterial,Iwouldworkmoreintuitivelywithit,producingsamplesbiasedbywhatIthoughtwouldworkandoftenrefrainfromtryingthingsthatIdidnotbelievecouldwork.ThelessfamiliarIwaswithamaterial,theeasieritwastosticktoplanningandexecutingaparticularseriesofexperiments.ThiswasduetothefactthatIhadnotdevelopedafeelingfororanopiniononhowamaterialwouldbehave,andsomyintuitiondidnotbiasmeanddisruptmyplans.Interestinglyenough,althoughthissoundslikeawhimsicalwaytoapproachsolvingaproblem,itworkedverywellformeinmanycases.And,thoughIhavenoproofforthis,Idobelievethatfindingagoodbalancebetweenthesetwoforcescanleadtosuccessfulresults,fasterandmoreefficientlythanaprocessbasedonpureintuitionormethodology.
Partoffindingthisbalancebetweenfactandfeeling,methodandintuitionwasalsoinknowinghowandwhentotransitionbetweenthesearchforpriorworkandhands‐onexperimentation.Beingabletodrawuponotherpeople’sresultsisanextremelyvaluablepartofthisprocess,butsoisexperimentation.MyownexperimentsoftentookmeweeksandleadmetothesameconclusionsthatIcouldhavereadupsomewhere.ButtheknowledgeIbuildfromexperiencewasmorecompleteandembodiedthatanythingIcouldreadup.NotonlydidIgainasenseforwhatcouldgowrong,butalsoIdevelopedanintuitionforhowtomakethingswork.
BeingExplicitAboutTacitKnowledge
BeingnewtothevarietyofcraftsIwasintroducingmyselfto,Itriedtoleveragemypositionofsimultaneouslearner,experimenteranddocumenter.NicolaWood[WoodandHorne,2008]doesresearchintohowtacitknowledgecanbeelicitedthroughthehelpofanintermediateexpertlearnerandthestructureprovidedbythedocumentationprocess.Shedescribeshowtheexpertlearnerisabletoconstruct“bridges”thatcanbeusedbythenovicetoacquireskill.Harpertalksofasimilarprocessandcallsit“disassemblingintuition”[Harper,1987].Thetermcodificationdescribestheprocessbywhichtacitknowledgeistransformedintoexplicitknowledge.
AsIwaslearninganddocumenting,Iwasinthepositionofanintermediateexpertlearner,andbecameveryawareofthetacitknowledgeIwasacquiring.Suchknowledgeincludedhunchesabouthowaparticularmaterialwouldbehave,beingabletopredictwhattoolwouldworkbestforacertainjob,aswellasbecomingtactfulinmypractice.Thisheightenedconsciousness,regardingmydevelopingskills,didnotnecessarilymakeiteasierformetoconveythem.But,promptingmyselftoproducedocumentationbasedonthisawareness,didhelpmeelicitinformationthatinturnenabledmetobetterreflectonhow,andwhy,Iwasdoingthingsacertainway.
Inmyroleaslearner,Idrewuponandcametoappreciateotherpeople’sdocumentation.AsIbecamemorefamiliarandexperiencedwithcertaintoolsIrealizedthatIwasabletouncoverorrecognizeadditionalinformationembeddedwithintheirdocumentation.ThemoreIhadincommonwiththepersonwhohadwrittenthedocumentation,themoreIwasabletorelatetotheiraccountsandrecognizeimportantbitsofinformation,whereIhadpreviouslyjustseentext.
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Iabletodetectembodiedformsofinformationthatwereoftenembeddedintheirdocumentedaccounts.Asanovicelearneritisoftenimpossibletodiscernwhatkindsofinformationrefertomoreembodiedpractices.Thisobservationpromptedmetotryandincluderemarksthatwouldmakethisdistinctionevenmoreexplicitinmyowndocumentation.
DocumentinginReal‐Time
MybeststrategyforinsuringthatIdocumentwell,andthatmydocumentationcapturesrelevantpartsofmyprocess,istodocumentinreal‐timeandthroughoutthewholeprocess.Itakenotesalongwitheverysample;Itakepicturesofeverythinginprocess,finished,material,tool,broken,fixedandworking.Iusevideosparinglybecauseitistime‐consumingtoeditaswellaswatch,butitisgreatforcapturingproceduresthatarehardtoconveyotherwise.IalwayskeepinmindthefactthatIwillbeusingmydocumentationtoconveymyprocesstoothers.Thishelpsmebediligentaboutcapturingmomentsthathavebecometrivialtomyself.IconsistentlytakepicturesofwhatIamdoing,especiallywhileIamlearningandmakingmistakes.
WhileitoccurredtomethatIcouldmountacameraabovemyworkspaceandsimplyfilmmyentireprocess,Idon’tbelievethiswouldresultinbetterdocumentation,orthatsuchanoverwhelmingamountofdocumentationwouldbecapableofconveyingmyprocessmorepreciselyoringreaterdetail.ThereisahugeamountofknowledgeanddetailembeddedinthepicturesIchoosetotake,simplybythefactthatIchosetotakethem.EverytimeIthinkofdocumenting,Idocument,andhaveovertimetrainedmyselfbybeconsistentinmydocumentation.WhileIdon’tspendmuchtimethinkingaboutdocumentationduringtheprocess,IdoreflectonitwhenIamnotinthemiddleofproducingwork.IgooverthedocumentationIhavegatheredandamabletodetectgapsthatIcanthengobackandfill.Irarelyrepeataprocesssolelyforthesakeofdocumentation,butitdoeshappen.Ialsospendtimethinkingofgoodwaysofcapturingcertaindetailsorprocedures.PicturesareoneofthemediumsIusemostincombinationwithwrittendescriptions.IalsotrytosketchanddrawdiagramswhenIthinktheyarehelpful.
IlaunchedtheKit‐of‐No‐Partswebsiteroughlyhalfwaythroughmyprocessofsourcingsupplies,whichwasveryearlyoninmyprocessofgettinghands‐onwiththematerialsandtools.SettingupthewebsiteatthisearlystagemeantIcouldpostmydocumentationthereanddevelopthestructureandlayoutofthesitealongsidethetechniquesandrecipesIwasdeveloping.SettingupthewebsiteandfiguringoutthestructureanddesignasIworked,turnedouttobeanexcellentwayofcapturingmyprocessaswellasthetransformationsofmythoughtsasIwasmaking,learninganddocumenting.PublishingmyprocessinthislivemannermeantthatanyonewhocaredtocheckthesiteregularlycouldfollowmyflowoforganizationinwhichIstructuredmythoughtsthroughcategorizationandlayout.
StylesofApproach
DuringtheworkshopsIobservedparticipants’processesandbegantopayattentiontothedifferentwaysinwhichinitialsketchestranslatedintoelectronicartifacts.
Mostparticipantsbeganwithatwo‐dimensionalsketchoftheircircuitandsometimesalsotheirartifact.Almostalwaysthetwoweredrawninseparatestages,oneaftertheother.Inthecaseswhereaparticipantwasworkingwithaparticularartifactalreadyinmind,theartifactmightbesketchedfirstandthenthecircuit“applied”toit.Tofurthervisualizethefinalartifactwiththisapproach,participantswouldsometimesalsophysicallylayoutthecircuitelementsontheactual
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artifacttogetabetterfeelingforhowthingscametogether.“Applying”theelectronicstoanexistingartifact,nottraditionallyassociatedwithelectronics,helpedintroducenewshapesandaestheticstothecircuitlayoutanddesignofcertaincomponents,suchasresistiveswitches,whichcouldbepaintedinmanyshapes.Ontheotherhandthisapproachverymuchimpliesthatelectronicsarebeingappliedtocraft,thatbotharenotpartofthesameprocess.Thatcraftandelectronicsdon’thappenatthesametime,thattheyaredistinctandseparatematerials,toolsandprocesses.
ThemostfluidapproachtoblendingelectronicsandmaterialsthatIexperiencedandobservedinmyownprocess,wasthatofhavingthematerialsinmyhands,andbeingabletocontinuouslyworkthemintotheirfinalform.Thisprocessinvolvedbeingabletogoback,makechangesandundosomeofthethingsIhaddone.WhenworkingwithconductivetextilesandcrafttechniquessuchasknittingandcrochetIreachedapointwhereIwasnotthinkingaboutintegratingelectronicsintotextiles,norapplyingtextilestoelectronics,butwassimplybuildingandthinkingequallyandinseparablyofbothdomains.
RehearsingandDebugging
TheKit‐of‐No‐Partsapproachblendscraftsandelectronicsapproachestobuilding,andindoingsoalsoblendsthevariousstepsassociatedwitheitherprocess.InthefollowingIwouldliketobrieflydescribetherolesthatrehearsinganddebuggingplayedinmyprocessofbuildingandworkingfromaKit‐of‐No‐Parts.
Reflectingonthecraftprocess,TimIngolddescribesthefollowingrelationshipbetweenrehearsalandperformance.
“Thereisacriticalmoment,inimplementinganytask,whengettingreadygiveswaytosettingout.Thisisthemomentatwhichrehearsalendsandperformancebegins.Fromthatpointonthereisnoturningback.Pencilmarkscanberubbedout,butanincisionmadewiththebladeofasawcannotbecontrivedtodisappear.”[TimIngold“WalkingthePlank”in“DefiningTechnologicalLiteracy–TowardsandEpistemologicalFramework”p.68]
WhatIngolddescribesasrehearsing,formewasmysamplemakingprocess.BymakingsamplesIexploredmaterialsandmasteredknowledgetodevelopmyvarioustechniques.IwasthenabletoapplythisknowledgeandskilltobuildingthecollectionofexamplesthatIpresented.
Whileverymuchanelectronicsterm,debuggingisaprocesssimilartotheprocessofsamplemaking.Debuggingisaprocessofspendingtimefiguringoutwhysomethingdoesnotwork.Iwouldarguethatdebuggingismoreprevalentinbuildingprocessesthatbuilduponpre‐designedandmanufacturedcomponents,whoseexactfunctionsarenotallknowntothepersonusingthem,givingcauseforthebuildertospendadditionaltimetounderstandhowthingswork,whentheydon’tworkasintended.Debuggingisaprocessyoulearnthroughexperience,notonlywhattolookfor,buthowtokeeplookinguntilyoufigureitout.Debuggingrequiresamindsetofnotgivingup,becauseyouknowthatthemistakeliessomewhereandthatyouwillfinditeventually.
ThroughproducingmysamplesIlearnednotonlyhowtoachievedesiredresults,butwasalsoabletocharacterizeundesirableresults.Beingabletorecognizewhysomethingdidnotworkwasalmostmoreusefulthanonlyknowinghowtomakethingsworkandneverexperiencingfailure.Thisexperience,thatcamefrommakingsamples,wasofgreathelplateronintheprocessofdebuggingmyfinalartifacts.Thesetiesbetweenanexperimentalsamplemakingapproachandaproblem‐
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findingdebuggingapproacharepartofwhatmakestheKit‐of‐No‐Partsdifferentfromestablishedelectronicsbuilding.ThesetiesalsocontributetomakingtheKit‐of‐No‐Partsamoretransparentandunderstandableapproach.
ConcludingRemarks
Ihopethattheaccountsofmyprocess,whichIhavereflectedoninthisfinalchapter,conveythattheKit‐of‐No‐Partsapproachtobuildingelectronicsistrulydifferentfromthestyleofbuildingwecurrentlyassociatewithelectronics.AndthatthetechniquesIhavedevelopedandpresentedinthisthesisdemonstratethepotentialofthisdifferentapproachaswellasshowthatitiscapableofverydifferentresults.Resultsthatarenotjustdifferentbecauseofthematerialstheyaremadefrombutdifferentbecauseofhowtheyweremade.
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APPENDIX
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