Recently I was interviewed for The Creators Project about wearable technologies for the Intel Make It Wearable Challenge, both for my (old) role as a designer and managing director at Cooper and in relation to sci-fi interfaces. In that interview I referenced a few technologies from the survey relevant to our conversation. Video is a medium constrained by time, so here on scifiinterfaces.com I hope to give the topic a more thorough consideration.
This is a different sort of post than I’ve put to the blog before, more akin to the chapters from the book. This won’t be about a single movie or television show as much as it is a cross-section from many shows.
What counts? Fortunately we don’t have to work too hard on this definition. The name makes it pretty clear that these are technologies worn on the body, either directly or incorporated into clothing. But there’s two edge cases that might count, but I’ll call out as specifically not wearable.
Carryable technologies—like cell phones, most weapons, or even Ruby Rhod’s staff from The Fifth Element—aren’t quite the same thing. When in use, these technologies occupy one or both of the hands of its user. They also have to be holstered or manually put away when not in use. That introduces some different constraints, microinteractions, and ergonomic considerations. In contrast, wearable technologies don’t need to be fetched from storage. They’re just…there, usable at a moment’s notice. So for purposes of the sci-fi interfaces from the survey, I’m only looking at wearable technologies and not these carryable ones.
Perhaps more controversially, exosuits lie outside the definition. Certainly by definition exosuits are worn. Tony Stark’s Iron Man suit, the loader that Ripley wears in Aliens, or the APUs used to defend Zion in The Matrix: Revolutions are all worn by their users. But these technologies can’t really be donned or removed casually. Users climb into them and strap in, or as with Iron Man, are mechanically sealed inside. That breaks a connotation of the term “wearable” as its used today, and that is that wearable technology fits into our everyday lives. It’s thin, light, and flexible enough to let us ride the bus, have coffee with a friend, or attend to our jobs with little to no disruption. I can’t really see trying to use Ripley’s loader to grab hold of my espresso cup and ask someone about how their day’s gone, so exosuits are out. (Attentive readers note that exosuits are also called out as excluded from of gestural technologies in Chapter 5 of the book. Fans of these cool interfaces must still wait, but someday these devices will get their due attention.)
Catch me soon if I’m wrong in excluding these two categories of tech from wearables, because the remainder of the writeups are based on this boundary.
Even excluding these two, we’re left with quite a bit to consider, reaching almost back to the beginning of cinema. The first sci-fi film, La Voyage Dans La Lune, had nothing we’d recognize as an interface, so of course that’s off the hook. The second, Metropolis, for all of its prescience, puts technology in the furniture and walls of its Upper City, as monstrous edifices in the Lower City, or as the wicked robot Maria.
But the next thing in the survey is the Buck Rogers serials from the 1930s, and there we see a few technologies that are worn. Since then, we’ve seen devices for communication, mind control, biometrics, fashion, gaming, tracking, plus a few nifty one-offs. Of course the survey is just that, the catalog of interfaces captured and documented so far. Sci-fi is vast and has continued since the book was published. If you see any missing by the time I wrap these up, please let me know.
With this introduction complete, the next several posts we’ll look at several examples in details. But the first one is the big one, and that’s the Star Trek combadge.