Network characterization

01/29/2018

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>

01/28/2018

<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

 

http://www.lozano-hemmer.com/projects.php

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

https://www.rochester.edu/pr/Review/V74N5/pdf/0304_inrev_puppets.pdf

http://scholarship.claremont.edu/cgi/viewcontent.cgi?article=1050&context=mimejournal

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

 

Make the invisible visible-crafting the digital

    • Andrew Prescott
    • Datacatcher , http://www.datacatcher.org/
    • 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

https://www.matteodestro.com/pedagogy

PEDAGOGY OF A RESEARCH AND CREATION BASED THEATER

  • THE JOURNEY
  • THE SPIRIT OF RESEARCH
  • THE NECESSITY OF A TEACHER’S PERSONAL PRACTICE
  • THE PEDAGOGICAL SPACE

A PEDAGOGY OF MASKS

  • THE MASK​
  • THEATRICAL MASKS
  • PEDAGOGICAL FUNCTION
  • The Body and the Space​
  • Forms

 

Wearable

Mask making Analog

Virtual World by Walter Pichler‘s Futurist Visions

Pattern for Batman hat , as a base for simple crochet mask

Amigurumi tutorial to make a crochet mask fit to the head

Painting : Leonora Carrington 

Shadow Theatre: theatredu1k

Shibori technic , add texture to Fabric, 3D manipulation

Shape Memory Alloy, keep memory of first shaping, curling mechanism by Jie Qie

http://theatre1k.com/making/electronics-making-ideas

 

Theory : The Use of Masks in Counseling: “Creating Reflective Space By: Heather C. Trepal -Wollenzier and Kelly L. Wester Trepal- Wollenzier, H. C., & Wester, K. L. (2002). The use of masks in counseling: Creating reflective space.Journal of Clinical Activities, Assignments & Handouts in Psychotherapy Practice, 2(2), 123 – 130

” ..mask can be used in counseling: (a) to represent two sides of a

conflict or dilemma, (b) to express one’s identity in a group, (c) to explore  dreams and imagery, or (d) to express a social role “.

“In therapeutic mask work, the mask is used as a projective technique to separate one part of the self from another. “

 

Mask making Digital

Data-masks by Sterling Crispin , are face masks which were created by reverse engineering facial recognition and detection algorithms. These algorithms were used to guide an evolving system toward the production of human-like faces. These evolved faces were then 3D printed as masks, shadows of human beings as seen by the minds-eye of the machine-organism. This exposes the way the machine, and the surveillance state, view human identity and this makes aspects of these invisible power structures visible.

Data-Masks are animistic deities brought out of the algorithmic-spirit-world of the machine and into our material world, ready to tell us their secrets, or warn us of what’s to come.

Tony Oursler

Electronic Arts

Centre Pompidou , New Media

“Oracle    by Jake Stollery  is an amalgam of concepts tied together by the common thread of the user interface. To that end, it is a reflection of AI and UI as they exist in society’s consciousness: On first glance masculine, cold and austere; yet muted in its austerity and restrained by a warmth that is undeniably feminine.

 Oracle was crafted by utilising a hacked Kinect depth sensor as a 3D scanner, modeled in 3D space and 3D laser printed using a durable Nylon Polymer.”
 was part of exhibition : “Masked intentions : 21 Artists reinvent 21 Masks for the 21st Century.” at Behance gallery, : pictures by Thomasz Machnik

  • Soft cyborg, by Rachael Kess Felt mask ; eyelid moved by servo motors

    “soft cyborg (reveal) (formerly soft robot (reveal)) is a piece of performance art that encompasses work from four classes that I completed in the 2010 Fall semester at OCAD University: Body as Material: Performance by Artists, Fibre: Implementing the History of the 19th and 20th Century, Fibre: Constructed Design 2 and Wearable Technology 1. The piece consists of a felted mask that has electronic components embedded into it; the mask blinks periodically through the use of mini-servo motors and a LilyPad Arduino.( instructions in Make : wearable electronics p 172)and here. The second part of the piece is a woven mask/hood that was created using the double weave technique. Both fibre pieces were used in this performance as a way of exploring the potential for masks to reveal and conceal the technological/robotic body….”

     

  • Look at the Other by theatredu1k.

 Proposal for Digital Mask workshop, Physical Avatars, Virtual Reality Mask? Analog Mask : hiding the face will underline body expressions for the viewer, what about digital Mask?