Things about where I am now

Overall in my process, I hugely draw from the Dada artists and their use readymade objects to “present intriguing overlaps and paradoxes” and in my computational practice, I am too,  “seeking to demystify  artwork [ computational art] in the populist sense but nevertheless remain cryptic enough to allow the viewer to interpret works in a variety of ways.”

At  the end of my journey into the MFA, my practice has drastically evolved in the sense this two years have revealed a purpose while giving me new tools and methodologies to achieve it. Learning how to use code to create art, rooted me in my contemporaneity. Writing an essay about how the Network interfaces act as theatrical masks, opened a field which I believe will be with me for a long time. 

“The code is a shadow bubble” installation is a practical result of my research about the Network masks. Where, last year was about me as a human performer behind the mask , this year was about non human performers , the crafted electronic artifacts, behind a network installation.

Thanks to the first year which taught me object oriented programming and to the open source community of hackers on Github, I was able to teach myself how to code in javascript and python and even how to use natural language processing and neural network programmation.

For this ultimate project in the MFA, I also had to learn how to create a Web server, the use of Github and Atom in my workflow and dig deeper into the Physical Computing.  The process to investigate deeper in a resarch subject and to translate it into an installation was a long and rewarding journey and although I collected a lot of material along the way I have not used everything in the final outcome.

In addition to make artistic choices and not to show everything I know, the difficult part was to stop prototyping, as I am a true crafter and was always tempted to add new resources or technics into my creative vessel.

In theatre making, until the act is performed , everything can change, and the embodiement of this process was sometimes painful as I felt streched between all the potential scenarii for my non human actors. Until they were fixed , soldered , I could potentially change the script forever. Being in the exhibition space helped me to rehearse the piece with the crafted performers and was crucial.

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

Questions about 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?

Question about Network characterization

Reviewing different ways for the characterization of the Network and first tests on how about telling a story with sensors and motors?

About 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

It is noticeable that the machines talk to each other in a foreign language, we gave and forgot about it , they still talk this language. How about checking the ASCII control characters table from old teletype days>?

Possibility to define the Network of artefacts controlled via OSC touch?  Network would be the Mask, its artifacts,  the nodes.

network projects its desire onto us- through its material affordances, AfNet

Artists references and approaches to the concept of Network and cybernetic behaviour :

Questions about installation – K- cells-Knitted cells

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

Things about Crafting the Digital

Make the invisible visible-crafting the digital

While researching about network embodiment , I came across an article written by  Justin Marshall, Jon Rogers and Jayne Wallace  . The authors  investigate how craft sensibility” can extend beyond the scope of material interaction, to engagement with people and situations as a broadly empathetic way of exploring the world. ” Their proposition is to “create a crafted digital future” .

In that matter, Irene Posch , artist and researcher, explore the integration of technological development into the fields of art and craft with projects like the knitted radio  and crafting logic (crafting computer)


Things about Mask improvisation pedagogy




  • The Body and the Space​
  • Forms


Things about Puppetry

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