Installation version IV work in progress


ChatBot using speech recognition  p5jS > create a Script for the interaction between audience and computer , (D.Shiffman Tutorial)

Chatbot is triggered by ultra sound sensors monitored via Arduino. Arduino send via Serial to Computer , 1 if there is someone in front of the sculpture. If there is no one, Chatbot is only displaying DataText. The installation is moving mechanically after the first trigger by Audio Speaker Sculpture

DataText is produced by training Texts on masks and object in theatre and Text about components specifications. Training model is Markov Chain

Audio Speaker sculpture with microphone and speakers plugged to computer: role is to get the Chatbot starting, has to drive the audience in, to start the conversation,

Chatbot ‘s script should be based on waiting for keywords ,and ability to display long sentences

Need to set up a private router , to have the installation free from overcrowded network

Questions about training Neural Networks from the maker

The maker : For who’s pleasure do we train the models?

Who is the curator/ the audience?

What is the purpose?

“If we employ machine intelligence to augment our writing activities, it’s worth asking how such technology would affect how we think about writing as well as how we think in the general sense.” (Ross Godwin )

How to start

“5% Skeleton Project” or How to deal with Creativity Assessment


about Creativity assessment, be recognized by the System, freedom of the artist and material approach


Although quantification of the creative process is delusive,  it is hard to escape from it nowadays. How to assess creativity is though, and highly subjective, thus should not to be trusted as a source for inspiration.

Should creativity aims for an academic success, that is a “delivery”, this creativity will be formatted in such a way that will fit external constraints determined in order to “please” a bureaucratic system. This is the time for the artist to choose whether or not to belong in the system, and be “recognized” or not by it.

My creative approach is coming from the material not from preconceived ideas, although as an artist researcher, I do have areas of investigation.  I would play with codes as I play with wire or wood, painting, or servo motors.  Exploring the material, understanding its limits and its powers, listening to its properties, I trust my right brain, my intuitions, to lead the left brain, the maker, to create and help my artistic quest. Which material or technology I should use and what it will lead me to build?  This holistic approach is antagonist to the process of looking for the material adapted to a predefined work.

Should this be assessed , it would have to be by the term of the project not during its processing , as a “clear” picture and  stop frame would be wrong and unfaithful to the final “product”. Although, recognition of the effort put in the work could and should be assessed.

Curators , galleries, art fairs, art advisors are “gates” , artists have to cross to get to their audience.  Artists send their artwork through those gates, wishing for a positive response. When permission is denied, they can choose to adapt their work to the gates or to go on generating other artworks which could get the granted permission to be shared with the public .

Alternatively , could I choose to not care about how the system will index me ? If the answer is yes, can I stay in this system? How strong , how careless should I be? Does it matter to fit?  How worth is it to surrender to the frame versus staying in an individual and lonely process? What is worth in my artistic making: processing or sharing? Is it linked to the ability to be self centered? or to a unshakeable faith in my artistic process? If there were no one to understand my art piece, here and now, would I stop being an artist?

Network characterization


working with sensors and motors, reading Physical computing : Sensing and controlling the physical world with computers. O’Sullivan, D., & Igoe, T. (2004). Boston, MA: Thomson. interesting quotes about “lost” characters in ASCII table “Another point of confusion stems from the fact that the first 32 entries in the ASII table are control characters, like the “carriage return”( ASCII 13) and “line feed”( ASCII 10), are familiar to you from word processing. Some of them, like “bell”(ASII 7), are left over from the old teletype days. Sending these numbers can cause confusion in environments that can only interpret text characters becaue either nothing shos up, or you get a bunch of garbage characters( square, smiley faces, and other dingbat characters).p142

the machine talks to each other in a foreign language, we gave and forgot about it , they still talk this language< Check the ASCII control characters table from old teletype days>


<Define the Network of artefacts contolled via OSC touch?  Network is the Mask, its artefacts are the nodes>

network desire onto us- through its material affordances, AfNet

Jane Prophet and Helen Pritchard , Entanglement of Ubicomp apps in Urban South East Asia as possibility to create your own creatures on the web, entangled making between humans and non humans

Ken Rinaldo

Jessica Field Semiotic Investigation into Cybernetic Behaviour, 

Puppetry articles and readings

Kenneth Gross : Puppet: An Essay on Uncanny Life Paperback – University of Chicago -16 Oct 2012

Aesthetics of the Puppet – European Romanticism to the Avant-Garde

“Priority given to the visual and to sound is essential for all forms deriving from the art of the puppet.”

Myth of the Puppet – A Western Perspective


Embedding signal in objects

soft electronics, embedded in fabric

“The marks often were created by a wire sewn onto the paper mold.” and invisible to naked eye

Ref to Steganography


01/17/2018 > hidden life of objects in the Ubiquitous Computing ! Network -Hide

Signal Rich Art:Enabling the vision of Ubiquitous Computing

” Sculpture and Other Objects

Objects with flat surfaces can obviously be watermarked in the same way that digital photography and art is watermarked, using either the historic approach or the newer ideas introduced above. Medical packaging, for example, is beginning to be watermarked during printing as a way of providing additional important resources to purchasers. Objects, however, literally offer additional dimensions to consider in watermarking. One additional dimension is that of texture. Signal can be embedded in an object by adding textured patterns or by modifying an object’s natural texture.
This form of watermarking is currently employed to track sensitive or high-value machine parts and to identify containers carrying toxic or hazardous materials. Three-dimensional objects also raise the possibility of encoding signal by arranging artistic elements in space. This possibility raises the same kinds of issues as those brought up by embedding signals in music or painting by careful arrangement of artistic elements. While practical applications do not yet exist, research has been done in watermarking 3D models through modulation of triangle vertices. 13 It can be extrapolated that such modulations would persist through the manufacturing process.”

K- cells-Knitted cells – MFA year 2 practical project




the cells, could functions as kinetic drawing bots:


 In relation to my essay proposal about the  ”NetWork : the Ultimate Mask “
Find the Poetic Space of the Network , I have the intention is to build up some Knitted cells units.  I would like to be able to stitch them together to make either a costume , a quilt , a mask,  a 3D sculpture  , a sensitive environment, or reactive bodies for puppets…

“Rules” :

  • The cells will have different functions , and different structures . They could store visual memories . They could produce or record sounds, be thermo sensitives.  They could produce lights etc…
  • Combined and stiched together they form a body. Each of this unit has its own functions and life, stich together they form a collective and have a collective behaviour. Individually they have a autonomous behaviour.
  • Like puppets can do one thing , dancing versus walking, or a mask is expressing one quality ( neutral, clown, buffon ….)  each type of K cells have limited functions , either data feed, ligth or sound. their design should reflect this particular feature.
  • Decide whether together they are stronger or weaker ? amplification process? they can also relate to each other remotely ie not stitch together.


  • >Build K cells in electronics and transpose into soft e textile
  • > Build two families KL, knitted light fiber cells .and KA knitted audio fiber cells

    • Wearable Antennae Speaker FM Transmitter (KA)
  •  Puppetry and mask making process of animating objects
  • then WA weaved audio cells
  • combine the two families in a collective structure
    Birdy, found objects puppet by theatredu1k
Mona Luison
credit : Mona Louison

“Variables and functions”:

To achieve the design of each family of K cells,  I will use ( list to be completed)

  • mapping technology ( Max/ MSP, Mad Mapper)
  • generative code to find interesting patterns for each type of cells
generative sin pattern in Processing by SRQ

Luce - Lucette & Lulu

Make the invisible visible-crafting the digital

    • Andrew Prescott
    • Datacatcher ,
    • Justin Marshall, Jon Rogers and Jayne Wallace “Andrew Prescott’s piece, where he writes ‘Networks can enable the local to be linked into the wider world, but still allow a distinctive local character.’ This sensitivity or attunement to the ‘local’ when creating connections between people, things and places through the digital, is something that we recognise as a characteristic of a craft approach, it enables people, places and their ‘things’ to retain their particular and idiosyncratic textures. We know that whatever happens, we’re going to walk into our digital futures, this much is certain. Our proposition to you is whether we take the choice to create a crafted digital future or something else altogether. With this in mind, let’s look at what this means from the two perspectives we outlined at the start of our reflection and why this matters to us. Craft and pre-industrial production and in relation to a sensitivity to things, people and process that focuses on the individual and the idiosyncratic. This is in contrast to the current model of global infinites in terms of production networks, materials, processes and homogeneity of form.”
    • Irene Posch

Mask improvisation pedagogy




  • The Body and the Space​
  • Forms