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Smart textiles development is combining computing and textile technologies to create tactile, functional objects such as smart garments, soft medical devices, and space suits. However, the field also combines the massive waste streams of both the digital electronics and textiles industries. The following work explores how HCI researchers might be poised to address sustainability and waste in future smart textiles development through interventions at design time. Specifically, we perform a design inquiry into techniques and practices for reclaiming and reusing smart textiles materials and explore how such techniques can be integrated into smart textiles design tools. Beginning with a practice in sustainable or "slow" fashion, unravelling a garment into yarn, the suite of explorations titled "Unfabricate" probes values of time and labor in crafting a garment; speculates how a smart textile garment may be designed with reuse in mind; and imagines how electronic and textile components may be given new life in novel uses. 

While craft has had increasing influence on HCI research, HCI researchers tend to engage craft in limited capacities, often focusing on the juxtapositions of "traditional" craft and "innovative" computing. In this paper, we describe the structure and results of a six-week "experimental weaving residency" to show how HCI practitioners, engineers, and craftspeople perform similar work and can productively collaborate to envision new technological interfaces at early stages of development. We address both social and technical challenges of residencies and critically reflect on biases about technical and craft labor that we held prior to the residency. We share our experiences and lessons learned in the hopes of supporting future collaborations with craftspeople and broadening the techniques we use to address design challenges. 

Design is commonly understood as a storytelling practice, yet we have few narratives with which to describe the felt experiences of struggle, pain, and difficulty, beyond treating them as subjects to resolve. This work uses the praxis of embodied design as a way to bring more complex narratives to the community for contemplation---to engage and entangle personal and difficult stories within a public context. We propose the term Design Memoirs for these first-person practices and reflections. Design Memoirs are subjective and corporeal in nature, and provide a direct and observable way to reckon with felt experiences through, and for, design. We demonstrate Design Memoirs by drawing on our own experiences as mothers, caregivers, and corporeal subjects. Following Barad, we propose a practice of diffractive reading to locate resonances between Design Memoirs which render difficult autobiographical material addressable, shareable, and open for new interpretations. We present this strategy as a method for arriving at deeper understandings of difficult experiences. 

In this paper we explore how the qualities of Autonomous Sensory Meridian Response (ASMR) media - its pairing of sonic and visual design, ability to subvert fast-paced technology for slow experiences, production of somatic responses, and attention to the everyday-might reveal new design possibilities for interactions with wearable technology. We recount our year-long design inquiry into the subject which began with an interview with a "live" ASMR creator and design probes, a series of first-person design exercises, and resulted in the creation of two interactive garments for attending, noticing, and becoming enchanted with our our everyday surroundings. We conclude by suggesting that these ASMR inspired designs cultivate personal, intimate, embodied, and felt practices of attention within our everyday, mundane, environments. 

Notions of what counts as a contribution to HCI continue to be contested as our field expands to accommodate perspectives from the arts and humanities. This paper aims to advance the position of the arts and further contribute to these debates by actively exploring what a "non-contribution" would look like in HCI. We do this by taking inspiration from Fluxus, a collective of artists in the 1950's and 1960's who actively challenged and reworked practices of fine arts institutions by producing radically accessible, ephemeral, and modest works of "art-amusement." We use Fluxus to develop three analogous forms of "HCI-amusements," each of which shed light on dominant practices and values within HCI by resisting to fit into its logics. 

Smart textiles integrate sensing and actuation components into their structures to bring interactivity to fabrics. We describe how we adapted two existing fiber arts techniques, double weaving and yarn plying, for the purpose of creating a woven textile that changes color in response to touch. We draw from this experience to make three core contributions: descriptions of our experiments plying yarns that change between three color states; descriptions of double weaving structures that allow us to support interactivity while hiding circuitry from view; and suggestions for how these techniques could be adapted and extended by other researchers to make richly crafted and technologically sophisticated fabrics. 

Woven smart textiles are useful in creating flexible electronics because they integrate circuitry into the structure of the fabric itself. However, there do not yet exist tools that support the specific needs of smart textiles weavers. This paper describes the process and development of AdaCAD, an application for composing smart textile weave drafts. By augmenting traditional weaving drafts, AdaCAD allows weavers to design woven structures and circuitry in tandem and offers specific support for common smart textiles techniques. We describe these techniques, how our tool supports them alongside feedback from smart textiles weavers. We conclude with a reflection on smart textiles practice more broadly and suggest that the metaphor of coproduction can be fruitful in creating effective tools and envisioning future applications in this space.