Imagine Communication between objects through their tactile properties
sensors to the world (other machines, human and environment)
plan to use a spin drum on the top of the servo A. work with catch dreamer format as it spin, and automata spinner Robert Race, carousel toy , spin
Plan to encapsulate Two servo motors, A and B
Environment produce shadow/ sound/ light …… and trigger A
A motor on
A turn and hit B ( every time or randomly)
B motor on
B produce sound
<When Sensing EMF from electronic devices you have on you
The nodes move A / Nodes = textile + SERVO / Osc control / Nodes sound B , if no EMF>
<Building a matrix ( resisitive or capacitive) sensors > , in order to map touch by machines, exchanging OSC messages
all about capacitive versus resistive sensorsCapacitive elastomer sensors can be assembled by sandwiching elastomer dielectric layers between elastomer electrodes that are filled with conducting particles. Resistance strain gauges, commercially available from the early 1940s, are now predominantly fabricated from metal foil . Such strain gauges are now ubiquitous and used for characterizing small mechanical strains in rigid engineering structures, force (load) cells, scales for weighing, and the engineering testing of metals and rigid composites. What is measured is the change in the gauge resistance
schematic and tutorial Claire Williams EMF antenna with wire and circular knitting, Materials: Enamelled copper wire, cotton, EM amplifier material : LM386, 220 uf capacitor, Female mono jack 3.5mm (head phones), logarithmic potentiometer 2k, 9 volt battery.
Dans notre cas, la gravure au vinaigre est une solution accessible qui fonctionne bien (Ref : Tuto sur Instructables ). Cette solution ne fonctionne pas avec les tissus au nickel. Ci-dessous : la composition et les proportions du mélange. Nous avons constaté que la solution fonctionne de mieux en mieux après plusieurs gravures. Nous avons donc imaginé activer le mélange avec une pièce de cuivre ou une pincé de sulfate de cuivre.
A catalogue of errors, by David Griffiths and Alex McLean : This article presents a series of informal experiments in software and weaving, most of which were conducted as part of the Weaving Codes, Coding Weaves project.
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…
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
“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
knitted and weaving iterations , exploring different techniques ( manual or computarized) and material ( copper, wool, paper, cord…)
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.”
a sound artist curious about our relationship to the environment. Together with material designer Hélène Combal-Weiss, and technology creative Simon Cacheux they form SounDoesnTravel, a sound driven creative studio designing innovative listening experiences. on Vimeo