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.
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” .
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. “
Still researching about analog and digital masks, further to my last project Look at the Other. Investigating how to set up a digital Mask workshop, production of physical avatars versus virtual reality masks? Analog Mask : hiding the face will underline body expressions for the viewer, what about digital Mask?
Data-masks by Sterling Crispin , is an interesting approach which uses reverse engineering facial recognition and detection algorithms to produce 3D printed masks.
In the same veins, “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. Oracle was crafted by utilising a hacked Kinect depth sensor as a 3D scanner and a part of exhibition : “Masked intentions: 21 Artists reinvent 21 Masks for the 21st Century.” at Behance gallery, : pictures by Thomasz Machnik
Although these works claim that it is a sol machine interpretation of human identity , it is worth noticing that the machine is still constrained and serves human design and purposes. The outcome is un-computable for a human brain rather than unexpected.
Another approach to explore masks in a more feminine and organic manner is the Soft cyborg, by Rachael Kess Felt mask ; eyelid moved by servo motors. This work is a piece of performance art experimenting in soft robotics: “soft cyborg (reveal) (formerly soft robot (reveal)). The piece “explores the potential for masks to reveal and conceal the technological/robotic body”. The work produces a collaboration between the soft cyborg mask, the performer and the audience , thus the outcome is unexpected as none of the actors of the performance have control on each other and no one control them all.
Cultivated Memory (source : Residency unlimited) is an experimental form of exhibition that brings together the works as well as artistic research of Adler, Mills, Santana, Sztencel, and Van Hoorebeke. Dealing with construction of memory and suggesting possible imaginations of future remembrances, the works create unique strategies of archiving, casting, molding, recreating and manipulating the perception of things, events, and their forms of representations in relation to potential future memories.
This collection of works interrogates the ways in which collective memory is formed, based on the speculative interpretation of objects, their traces, and visual appearances. The connection between the material, form and meaning is cross-examined by each artist, creating possibilities for alternative perceptions and memories through creative archival forms, probing the ways in which our perception of history and social memory is constructed.