Practice Report

 

02/21/2018

  • plan how many type of artefacts:?  4 sounds spinner , 4 lights walkers, 4 touch
  • mechanical interactions rather than serial interaction
  • more precise sketch with the mask in , working as a gate what is the link with the network of artefacts? how the mask activate the network?
  • look at this work for inspiration

3D printing fabric exploration

3D printing ideas and download : https://www.myminifactory.com/

sinus wave to Servo :

02/14/2018

Worked :

motor A, continuous servo is activated by sound, holder A turn and stop. While turning, touch holder B which  in turn activate motor B , servo 180  ” nervous servo”. Using two arduinos.  

to do :

  • use only one arduino, stabilise the holders
  • test other fabrics for nervous servo, and elastic thread to fabric from servo, shibori technic to enclose artifacts
  • transfer to textile circuits with Attiny 85
  • add a sound producing ,  Speaker playing a short record
  • add EMF transmitter

02/10/2018

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

“Prototype A  – Presentation for the MA continued development of your project so that it fully realises some of the features which you previously sketched out.(assessed) : 5%”

I developed mixed feelings about the compatibility between my artistic process and an academic frame. How to assess creativity is though, and highly subjective, thus 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. Thus the importance of choosing to belong or not in the system, to be able to use it and be “recognized” by the system.

My creative approach is from the material not from preconceived ideas, although as an artist researcher, I do have a area of investigation.  For example,   play with codes and trust the focus from the right brain who will lead to create an algorithm which help my investigations . In my process, I trust my intuition, right brain again, about which material , equipment, technology I should use and finding out how to use it as opposed to try to create a predefined work and in the process creating an artwork for the purpose I was looking for.

Although, recognition of the effort put in the work could and should be assessed., while processing the work there is neither a  “clear” picture neither a stop frame faithful to the final “product”. Similarly,  is it relevant to judge a painting by it sketches ? I should be free to create my work at my own path.

 

This raises questions about my art practice. Could I choose to not care about how whatever system will index me ? If the answer is yes, can I stay in this systems? 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 the artistic making: processing or sharing?

Is it linked to the ability to be self centered and deaf to my environment?  or to a strong belief in my artistic process? If there were no one to understand my art piece, here and now, would I stop being an artist?

02/06/2018

  1. Script for a Network of Artefacts
  2. Coding
  3. Prototyping

 

Modelling in 3D digital

  • https://www.blenderguru.com/
  • using 3D modelling for having repetition
  • export to laser cutting or 3D printed
  • example of use : bits and bots to make a plotter controlled by arduino and processing sketches
  • “object is embedded by information, fabrication process has to be honest” Lior Ben Gai
  • https://www.blenderguru.com/tutorials/lightbulb-tutorial

Daily experiments, sensing the world

 
 
Imagine Communication between objects through their tactile properties

sensors to the world (other machines, human and environment)

02/08/2018

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

02/07/2018

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

 

02/05/2018
<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>
 
 

01/29/2018

<Building a matrix ( resisitive or capacitive) sensors > , in order to map touch by machines,  exchanging  OSC messages

Tutorial, inspirations

Motor and Sensors

02/10/2018

check conductivity of water , for input from viewer , Kobakant crying dress or Root Node

tuto EMF

02/05/2018

looking for a narrative, entanglement between a motor and a weaved W cell made of wire

01/30/2018

tutorial for  MPU6050-Arduino-Gyroscope GY-521

<put in a box , share info? to motor>

stepper, worked then freeze….. ????, servo more reliable, but/and making sound, stepper is soundless….. silent …..

01/29/2018

tutorial from Maker Show, Bret Stateham 

  •  stepper motor basics , , testing the order for the wire pins order
  • 28BYJ-48 stepper  common ground between IN1 and Micro Controller, power source independent motor and board , connect to arduino, find the bottom for the delay, not to quick , it will frieze
  • accelstepper arduino library : Supports acceleration and deceleration,Supports multiple simultaneous steppers, with independent concurrent stepping on each stepper, API functions never delay() or block, Supports 2, 3 and 4 wire steppers, plus 3 and 4 wire half steppers.
  • reduce speed DC motor with a PWM., < turning slowly and getting mad when sensor activated>

01/25/2018

Test Servo and sensors, check code, circuit and breadboard

  1. Servo+ Capactive sensors
  2. Servo+ Photo resistor

Hands on !

started from the arduino book and shadow theatre sensor installation

found some interesting movements from continuous rotation versus non continuous rotation  , and different motors , different “mood”,

to do : video and pictures , try different heads to check the movements, test how they relate to each other in term of movement/character

 

Pseudo codes R&D

 

Network of artifacts.

02/05/2018 ChatBot exploration

  • <create a surrealist “conversation”between the nodes and with the nodes>
  • use the bibi dictionary as a base, binary system with letters , “Ho, He, BikEDa” , translated into shapes
    • code the binary letters, still to be done, shape equivalence bibiDico
    • http://www.graner.net/nicolas/nombres/bibibinaire.php
  • work with pattern making in processing , to create the “landscape” of the cell? 

01/25/2018 Embedded Signal

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”

  • No one has trespassed the border, the nodes are “talking”/ interacting with each other.
  • Someone crossed the border, his face is snapshot by the LAO mask, the nodes stopped talking to each other, mirroring/ framing/hiding/revealing the human.
  • Human is crossing back, when he is out of the “view”, the nodes are “talking” again, they are talking about him, something about this human remains with the nodes to “talk” about.
  • inspiration : chinese whispers, 1 ,2 ,3 soleil, gossip, bid/offer and how news are spread across exchange markets and transformed into (non)tangible assets, lemurs and their group behaviour
  • border is a framing a door for accessing the nodes world , behind the screen, nodes , projecting their shadows on screen . on the order side the viewers trying to pass

01/22/2018 Secret conversations

UCCC : Ekman,U Ubiquitous Computing, Complexity and Culture, 2016 Edited by Ulrik Ekman, Jay David Bolter, Lily Díaz, Morten Søndergaard, Maria Engberg – Routledge, p125 Irene Mavrommati :  “Ubiquitous computing (Ubicomp ) are complex computing systems; they can also be understood as ecologies of artifacts, services, people, and infrastructure. Systems with such complexity can be approached as component-based systems. …Component based systems are independent systems with loose coupling of interchangeable parts, which communicate via interfaces.”

AmI : http://blog.teleplanglobe.no/ami-and-internet-of-things ,“The encrypted tunnels allow the private network to communicate privately over public networks.” “The way devices communicate, in a mesh network of devices”

 create a Network of artefacts , interacting with each others and with people
Slip in two groups, on two different locations

-When “alone”, the artefacts are moving accordingly to patterns generated by one algorithm and data previously collected, input/ parameters should include time and location
-When a presence is detected, new data are collected and new patterns, movement, sound or visual are generated, informations are processed , some of them shared to the viewer, so he could modify its input.
-The two groups will evolve to separate species after few iterations, even if they started identical

(Uncanny space).

– using the programming publish-suscribe concepts?

– artefacts moving accordingly to patterns generated by cellular automata algorithms ( ref simulating neural transmissions, synaptic caguama by Lozano-Hemmer)?  make them evolve with genetic algorithm ( the more people looking at them, ref Jessica Field)?

– repulsion / attraction systems, 10 prints, L systems, machine learning, MaxMSP , using OpenData to map to a visual. Use of OSC touch on my mobile to draw.artefacts mixing digital and analog making, embedded with sensors and OSC technology, talking to each other while receiving data from external input ( open data?)

 

  • algorithms to work on : GA, CA, particle systems,L system
  • technology for input : OSC touch , kinect,OpenData access, web Scraping
  • technology for output : machine learning, rasperry pi, 

draft scenario

  • Input is human , through sensors or data collecting. Output group 1 is visual- Output group 2 is sonic
  • If there is no input, the group 1 are drawing some shapes and machines of group 2 are reacting to the drawings by making sounds,
  • If there is some external input group 1 is taking the input and changes the patterns of its drawing , sending informations to the group 2,  having a private conversation between them . machine 2 output as sounds responding,
  • If the two groups have people , they count the people, the group with more people will have the possibility to evolve and/ or making more noise/ expanding drawings….

01/29/2018 the machine talks to each other in a foreign language

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>

01/20/2018 Listen to the Other via EMF

<the machines will feel the EMF on visitor ‘s body and react with sounds or visuals>

Embedding signal in objects

01/30/2018
soft electronics, embedded in fabric
 
01/25/2018
 

“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.”