Bibliography

01/09/2018

BiblioGraphy

Albu, C. 2016, Chapter 4, Mirror Portal. Mirror Affect, Seeing Self, Observing Others in Contemporary Art, University of Minnesota
Assaraf, A, 2017, « Toutes les émotions en deux forces : Damasio et le “système JP” », PSN, volume 15, 1993, Quand dire, c’est lier, Nouveaux Actes Sémiotiques, Université de Limoges, PULIM, no 28.
Austin , J. L., 1976, How to do things with words, London : Oxford University Press
Barad, K. (2007). Meeting the universe halfway : Quantum physics and the entanglement of matter and meaning. Durham: Duke University Press.
Butler, J. 1993. Bodies that Matter. On the Discursive Limits of Sex. London and New York: Routledge. Butler, Judith. « Performativity’s Social Magic » chapter 7 in Bourdieu: A Critical Reader. Richard Shusterman (Editor). Critical Readers. Blackwell, 1998.
Chun, W. 2011, Programmed vision, MIT Press.
Chun,W. 2016, Updating to remain the same,MIT Press.
Hills, K. 2015, Networked affect, MIT Press
Hills, K. 1999, Digital sensations, University of Minnesota
Ihde, D. 2001, Bodies in technology, University of Minnesota
Landy, R.J. (1986). Drama therapy concepts and practices. Springfield, IL: Charles C. Thomas.
Manovitch, Lev 2002, The Language of New Media, Cambridge, Mass.: MIT Press.
Monteiro , S. 2017. The fabric of interface mobile, MIT Press
Munster, A, 2013, An Aesthesia of Networks: Conjunctive Experience in Art and Technology, MIT Press
Meijas , Ulises Ali, 2013, Off the Network, Electronic Mediations , University of Minnesota Press
Shaviro, S ,2003 , Connected, or, What it means to live in the network society, Minneapolis : University of Minnesota Press
Simanowski, R. 2011, Digital Art and MeaningReading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations, University of Minnesota
Simondon,G. 1965-1966, Imagination and Invention, Puf 2008

Artworks, Artist, Mask

Best, S. 2013, Visualizing Feeling affect and the feminine avant-garde, I.B.Tauris; Reprint edition3
Ekman,U Ubiquitous Computing, Complexity and Culture, 2016 Edited by Ulrik Ekman, Jay David Bolter, Lily Díaz, Morten Søndergaard, Maria Engberg – Routledge
Sears A.Eldredge Mask Improvisation for Actor Training and Performance, the Compelling image, 1996. Northwestern University Press Evanston, Illinois
Ishii Hiroshi, Tangible Media Group.
Jeremijenko,N, 2007 the “Dangling String”
Jonze, S. 2013, Her. Film synopsis available at <https://en.wikipedia.org/wiki/Her_(film)>
Mondloch, K . 2010, Screens, Viewing Media Installation Art, University of Minnesota
Napier, A. (1996). Foreign bodies : Performance, art, and symbolic anthropology. Berkeley: University of California Press.
Oursler, T . Available at < http://tonyoursler.com/>
Perona , Francesca
Posch, Irene , the knitted Radio http://www.stitchingworlds.net/speculation/the-knitted-radio/
Rokeby, D, Very nervous System
Simanowski, R. 2011, Digital Art and Meaning Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations
Thomas, R, Vision , 1970, comic character ,android, synthetic human from the Avengers, informations available at <http://marvelcinematicuniverse.wikia.com/wiki/Vision>

Technology
how can technology evolves to enrich the relation between human and machines, Hiroshi Ishii, about tangible interfaces available at <https://www.media.mit.edu/people/ISHII><https://www.fastcodesign.com/video/mit-legend-hiroshi-ishii-urges-tech-to-think-beyond-the-iphone/hPj1HLTA>
Embroidery and Related Manufacturing Techniques for Wearable Antennas: Challenges and Opportunities available at <http://www.mdpi.com/2079-9292/3/2/314/htm>
Williams, C. 2014,Knitted Antenna research project, available at <https://xxxclairewilliamsxxx.wordpress.com/electronic-textiles/>

Articles

Marc Jeannerod, M , 2003, De la vision à l’imagination available at <https://www.scienceshumaines.com/de-la-vision-a-l-imagination_fr_13502.html>
Lise Amy Hansen* and Andrew Morrison , Materializing Movement—Designing for Movement-based Digital Interaction Institute of Design, The Oslo School of Architecture and Design, Norway available at <http://www.ijdesign.org/ojs/index.php/IJDesign/article/view/1245/614>
Justin Marshall, Jon Rogers and Jayne Wallace, Crafting the digital <https://github.com/DigiTransGlasgow/crafting_our_digital_futures/blob/master/_contributions/27.md>
Ford Morie , J, 2007. Performing in (virtual) spaces: Embodiment and being in virtual environments, International Journal of Performance Arts and Digital Media, Volume 3 Number 2 & 3. University of Southern California, available at <http://ict.usc.edu/pubs/Performing%20in%20(virtual)%20spaces%20-%20embodiment%20and%20being%20in%20virtual%20environments.pdf>
Heather C. Trepal-Wollenzier MEd & Kelly L. Wester MA (2002) The Use of Masks in Counseling, Journal of Clinical Activities, Assignments & Handouts in Psychotherapy Practice, 2:2, 123-130, DOI: 10.1300/J182v02n02_13 , available at <https://doi.org/10.1300/J182v02n02_13>

Literature Review

”NetWork : the Ultimate Mask
(New Media Self New Collective) “
Performed by and for the Network

In “Imagination and Invention”, Simondon is calling out our attention on the “cycle of the image” from image to perception and imagination. Scientists have explored the relation between vision and perception and found that there is “not only images created by the perception of the outside world, but images that we create through our imagination.”. As “we become our machines”(Chun), our imagination is fuelled by images produced and transmitted by the new media and the relation between our brain and our body has evolved accordingly. We have now multiple (dis)embodied selves in both the analog and the digital worlds , (Idhe and Hayles ). Informations sent to the brain are not only collected through our physical body but also through different visual interfaces and digital sensors.

Spectators and also performers of new type of encounters , we are staged by the Network in a digital environment (Hillis ) where space and time are collapsed. Software and codes (Chun) perform things such as words and our social body do in the analog world.(Austin and Butler)
The Network generate new narratives where humans and machines, affecting each other, are merged into a new collective . We are living within ”the new computer culture: a blend of human and computer meanings, of traditional ways human culture modelled the world and computer”(Manovitch) .

New media, interactive interfaces, screens are the analog masks of the digital, they stand between man and machine, hiding the face of the users to each others. According to Landy , there are “four ways in which a mask can be used : (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“. Like the greek or other expressive masks such as the red nose, have different expressive qualities, digital masks have their own and unique expression. They, too, have the power to initiate new rituals and “habitus“ to be explored. We do not become machines, we use them as masks to perceive differently and we still have the freedom to jump in and out of the digital space, take the mask off and exit the quantification loop. Still behind the machines, behind the code, humanity is hiding itself and it is “You again”(Chun).

Overloaded by informations, we have also the ability to grasp the big picture of our multiple selves by using our body imagination and intuition. The virtual can “be understood as the potentialities , investments and imaginations concerning the present and the possible shape of things to come“(Hills, K. Paasonen,S. Petit.M). Revealing this potential for invention in digital environments, media artist, D.Rokeby create disruptive installations where “both the computerised system and the participants need to undergo transformations”.
When images lose their power to index reality (Chun), could it be the time for other senses to overcome the visual dominance in our perception to the world?

While , in science fictions, we give the machines the wish for a body made of flesh, we teach ourselves to disconnect from our physical body, to be self resilient, self alone without the necessity of connecting physically with others, we learn to be brain sufficient. Do the machines control us, or is it us thinking about ourselves as machines?

BiblioGraphy

Albu, C. 2016, Chapter 4, Mirror Portal. Mirror Affect, Seeing Self, Observing Others in Contemporary Art, University of Minnesota
Assaraf, A, 2017, « Toutes les émotions en deux forces : Damasio et le “système JP” », PSN, volume 15, 1993, Quand dire, c’est lier, Nouveaux Actes Sémiotiques, Université de Limoges, PULIM, no 28.
Austin , J. L., 1976, How to do things with words, London : Oxford University Press
Butler, J. 1993. Bodies that Matter. On the Discursive Limits of Sex. London and New York: Routledge. Butler, Judith. « Performativity’s Social Magic » chapter 7 in Bourdieu: A Critical Reader. Richard Shusterman (Editor). Critical Readers. Blackwell, 1998.
Chun, W. 2011, Programmed vision, MIT Press.
Chun,W. 2016, Updating to remain the same,MIT Press.
Hills, K. 2015, Networked affect, MIT Press
Hills, K. 1999, Digital sensations, University of Minnesota
Ihde, D. 2001, Bodies in technology, University of Minnesota
Landy, R.J. (1986). Drama therapy concepts and practices. Springfield, IL: Charles C. Thomas.
Manovitch, Lev 2002, The Language of New Media, Cambridge, Mass.: MIT Press.
Monteiro , S. 2017. The fabric of interface mobile, MIT Press
Shaviro, S ,2003 , Connected, or, What it means to live in the network society, Minneapolis : University of Minnesota Press
Simanowski, R. 2011, Digital Art and MeaningReading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations, University of Minnesota
Simondon,G. 1965-1966, Imagination and Invention, Puf 2008

Artworks

Best, S. 2013, Visualizing Feeling affect and the feminine avant-garde, I.B.Tauris; Reprint edition3
Mondloch, K . 2010, Screens, Viewing Media Installation Art, University of Minnesota
Oursler, T . Available at < http://tonyoursler.com/>
Simanowski, R. 2011, Digital Art and Meaning Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations
Jonze, S. 2013, Her. Film synopsis available at <https://en.wikipedia.org/wiki/Her_(film)>
Thomas, R, Vision , 1970, comic character ,android, synthetic human from the Avengers, informations available at <http://marvelcinematicuniverse.wikia.com/wiki/Vision>

Technology
how can technology evolves to enrich the relation between human and machines, Hiroshi Ishii, about tangible interfaces available at <https://www.media.mit.edu/people/ISHII><https://www.fastcodesign.com/video/mit-legend-hiroshi-ishii-urges-tech-to-think-beyond-the-iphone/hPj1HLTA>

Articles

Ford Morie , J, 2007. Performing in (virtual) spaces: Embodiment and being in virtual environments, International Journal of Performance Arts and Digital Media, Volume 3 Number 2 & 3. University of Southern California, available at <http://ict.usc.edu/pubs/Performing%20in%20(virtual)%20spaces%20-%20embodiment%20and%20being%20in%20virtual%20environments.pdf>
Heather C. Trepal-Wollenzier MEd & Kelly L. Wester MA (2002) The Use of Masks in Counseling, Journal of Clinical Activities, Assignments & Handouts in Psychotherapy Practice, 2:2, 123-130, DOI: 10.1300/J182v02n02_13 , available at <https://doi.org/10.1300/J182v02n02_13>
Marc Jeannerod, M , 2003, De la vision à l’imagination available at <https://www.scienceshumaines.com/de-la-vision-a-l-imagination_fr_13502.html>

Networked Affect from the Digital Self to the Avatar Bodies

Look at the Other at Ugly Duck
BookS

Networked Affect ” Edited by Ken Hillis, Susanna Paasonen and Michael Petit

Main Library collection 004.6 NET

The contributors investigate networked affect in terms of intensity, sensation, and value. They explore online intensities that range from Tumblr practices in LGBTQ

communities to visceral reactions to animated avatars; examine the affective materiality of software in such platforms as steampunk culture and nonprofit altporn; and analyze the ascription of value to online activities including the GTD (“getting things done”) movement and the accumulation of personal digital materials.

Bodies in Technology by Don Ihde

Main Library collection 303.4833 IHD

exploration of the ways cyberspace affects human experience. abstract Reviewed by Maureen Nappi

Ihde is interested in exploring how our sense of embodied self is transformed via contemporary technology”….”Here Ihde seizes on the distinction between the real and the virtual, and from that distinction he develops both a phenomenology of embodiment (whereby technology corrects or enhances the perceptual faculties of the body) and a phenomenology of disembodiment (whereby technology projects and objectifies the [End Page 837] body). Ihde is particularly interested in disembodiment because it underlies the notion of a “virtual” body, which involves a kind of visualization of the body as generated by various technologies. in-class “thought experiment” that he uses to elicit his students to articulate their sense of the non-technological virtual body. The assignment: to imagine themselves jumping out of an airplane. Their responses, Ihde points out, fall into one of two possible categories: either the student imagines an “embodied” perspective [End Page 77] of self as actor, which Ihde refers to as the “here-body”—a present-tense version of a “‘be here now’ body,” -or- the student imagines a disembodied perspective of self as observer of the self as actor, that is, “already a kind of virtual body in a nontechnological projection.” 

The Fabric of Interface Mobile Media, Design, and Gender By Stephen Monteiro

Monteiro goes on to argue that the capacity of textile metaphors to describe computing (weaving code, threaded discussions, zipped files, software patches, switch fabrics) represents deeper connections between digital communication and what has been called “homecraft” or “women’s work.

Connecting networked media to practices that seem alien to media technologies, Monteiro identifies handicraft and textile techniques in the production of software and hardware, and cites the punched cards that were read by a loom’s rods as a primitive form of computer memory; examines textual and visual discourses that position the digital image as a malleable fabric across its production, access, and use; compares the digital labor of liking, linking, and tagging to such earlier forms of collective production as quilting bees and piecework; and describes how the convergence of intimacy and handiwork at the screen interface, combined with needlecraft aesthetics, genders networked culture and activities in unexpected ways.

Software and Memory

New media thrives on cycles of obsolescence and renewal: from celebrations of cyber-everything to Y2K, from the dot-com bust to the next big things—mobile mobs, Web 3.0, cloud computing. In Programmed Visions, Wendy Hui Kyong Chun argues that these cycles result in part from the ways in which new media encapsulates a logic of programmability. New media proliferates “programmed visions,” which seek to shape and predict—even embody—a future based on past data. These programmed visions have also made computers, based on metaphor, metaphors for metaphor itself, for a general logic of substitutability.

Chun argues that the clarity offered by software as metaphor should make us pause, because software also engenders a profound sense of ignorance: who knows what lurks behind our smiling interfaces, behind the objects we click and manipulate? The combination of what can be seen and not seen, known (knowable) and not known—its separation of interface from algorithm and software from hardware—makes it a powerful metaphor for everything we believe is invisible yet generates visible, logical effects, from genetics to the invisible hand of the market, from ideology to culture.

ArticleS

Article Understanding your digital Self by Tamara J Hicks Psy.D.

Darknets

(Wikipedia ) in general may be used for various reasons.

Starting to render

After Session 3 with Helen Pritchard,

sort out all that matters in circle around The Subject :

Network, Visual dominance , Identity, Mask, Memory, Futur, VR, Affect, Perception, Body/Brain, Ubiquity, Interaction, Power/Control and Bio Politics, Creative process, Objectification, Potential, Expectation, Tension, the Other, the Self, Mirror, Transversality, Feed, Shape Memory, Hyperobject

and find that the title of the essay could be … the Network as the Ultimate Mask (of the Self) or the Mask of the Network

 

Artists in Wearable

  • Anja Hertenberger (DE) is an artist who researches identity in relation to media, surveillance, power, control and man-machine interaction. Her fascination for electronics and writing small programs started during her masters ‘Interactive Media and Environments.’ In her recent projects she combines electronics and programming with her earlier passion for textiles. Together with Barbara Pais and Danielle Roberts she developed e-pressed (2009), a shirt that displays feedback about the wearer’s stress levels. Her most recent work is Hysterical Bubble (2009-2010), a wearable project consisting of four suits, each one with an embroidered textile bubble that inflates or deflates in reaction to the proximity of the group members to each other.
  • Upcoming Digital Textile Designers
  • Kobakant, Hannah Perner Wilson and Mika Satomi
  • Ethos : Together by Richard Sennet
  • Claire Williams
  • Jessy Seay
  • Emilie Giles
  • Francesca-perona-for-neon13 Francesca’s work focusses exploring the potential of materials using technology to visually express different concepts, the programmability of materials and interaction and also the use of craft as a tool to empower self-expression and visually express concepts.