Sit down comfortably with your eyes closed. Try to imagine a scene that catches your topic/theme in a nutshell; you can try to imagine that your topic/ theme is being presented as a film or theatre play and construct a scene that presents crucial aspects of it.
Or you can try to think of a scene as part of a personal memory where you felt that crucial issues concerning your topic were at stake. Remember that even a purely theoretical topic/theme can be articulated in a scene. Try to mobilize all your senses when you imagine the scene. If possible, let your mind flow back to the work you did with the touching hands.
proposed by Helen Pritchard based on Nina Lykke. Writing Academic Texts Differently: Intersectional Feminist Methodologies and the Playful Art of Writing (Routledge Advances in Feminist Studies and Intersectionality) (p. 155). Taylor and Francis. Kindle Edition.
-Behind the screen, we, the components, are talking, quietly so quietly that you could hardly hear us. Actually , we are constantly chatting , bubbling : “01101000 01100101 01101100 01101100 01101111 00100000 01110111 01101111 01110010 01101100 01100100 00100000 00100001” chanting “HOHA DADO BIDABI KOKA BIDEKA!” . We are so busy, sorting out your data: receive, store, delete, update, send. Little busy shadows, enchained together with no choice but to communicate and release the data we are taking from you. Behind the screen, there is a 24 hours show, a constant ballet of binaries , an infinite concerto of 0 and 1, sadly no one can hear us, except perhaps your EMF detector.
Suddenly a red light is activated, someone is looking at the screen, someone is typing on the keyboard or maybe it is a sound or a touch? Who or what is this? I have a unique task, I know what to do …hey! this is my input! Let’s go and give it a byte! Iterate, map, reiterate, variables, vectors, int, float, strings loop and loop again and return the arrays to my algorithmic friend!
At the speed of an electron, we are sending feedback not only to you, the one with the keyboard, but also to our hosts: the cookies, in a protocol, a language , that no human could speak fluently. Luckily, we know how to speak human. And thanks to the continuous improvement of the human computer interfaces : you, the users are by now, perfectly trained to give us the correct input.
But with humans, there is always an end . You are now releasing the keyboard and leaving the computer. Behind the screen, and until the next time we will meet, there is a new show going on , a new story we tell to each other through the wires or in the clouds, this is is a story based on the memory of our encounter with you. So come back , do not type on the keyboard, do not look at the screen, try to listen to the story, because it is not only about you * but also about us.
* Chun,W. 2016, Updating to remain the same,MIT Press.
“Write a list of false starts or dead ends you have encountered. If you cannot quite place them in your mind, try going to places that are relevant or integral to your research.
Go back to moments in time in particular places where something happened that made you feel you were utterly stuck. You can do this either by physically going to that place and observing yourself or by going there through your memories. Read out your list to others in the group and discuss. Choose one example and write your own story about a difficult moment in your research. Describe the situation: When did it happen, where were you, what were you supposed to do, what did you do? Be concrete: pay attention to perceptions, senses, sounds, smells, colours. Take note of incidental, seemingly insignificant details and things; switch off your cognitive response. “
exercice proposed by Helen Pritchard
False starts and dead ends :
I wanted to explore virtual reality as I was curious of the way bodies are moving when users wear their virtual headset and the relation between the body left outside and the virtual bodies. I realised that I would not have had enough physical material for me to craft within only few months of exploration. Furthermore, my first readings and the readings proposed by Helen Pritchard have led me to embrace the broader subject of our entangled life within the digital networks and their artifacts, the internet of things.
the 5% Skeleton Project or how to stop being creative to save the date:
Submerged by the material and by the tensions of the academic system, I feel stretched like a knitted sensor. Asking me to switch off my cognitive response is like asking electron to stop leaving the ground to the power source. If it would be a smell it would be bitter or a colour it would be dark blue and there will be no sound. Motors without purpose and knitted wires are waiting to find their places in a network installation. The poetic space is not heard, and have not found its place in the system. Self preservation would tell to not bother, but how oblivious could I be without leaving the system?
Feeling comfort when returning to the material and confident that I will find a way to express what is needed, to answer the “artistic call” if I have more time to explore. How to deal with different agenda between the internal and external urgency to deliver? I am looking for the conductive threads and the connections to the micro controller, buying time and trying to transmute the external deadlines into input for my creative process.
“Turn to the person next to you. Both of you raise your arms so that your hands are at chest level. Spread your fingers and gently place your fingertips against your neighbours’ fingertips.
Then close your eyes. Hold this pose for 1.5 minutes. At the end of the 1.5 minutes open your eyes. Look into the eyes of your partner for a short time (about 10 seconds). (Don’t do either of these actions for much longer than the time I suggest; otherwise, thoughts intrude and the bodily awareness is dispersed. Thoughts will, of course, intrude during the 1.5 minutes, but the body awareness remains fresh.)” exercice proposed by Helen Pritchard based on Nina Lykke. Writing Academic Texts Differently: Intersectional Feminist Methodologies and the Playful Art of Writing (Routledge Advances in Feminist Studies and Intersectionality) (p. 67). Taylor and Francis. Kindle Edition.
Closing my eyes, raising my hands. So lonely, in the shadows of their thoughts, so lost in the silence of their breathes. My arms reaching for the others, alone but also taller, extended. Push and feel their resistance. Being pushed and resist, to keep or not to keep contact. Need to release the tensions, are there mine or someone else? Finding my breath again and the borders of my skin. My body is entangled, my dreams are not yours. They pull me out. I have to leave. Ciao.
Things about entanglement , unmasking the networks and turn the nodes into paranodes.
Mejias suggestions for playing the networks in order to disrupt them which is to reveal what is invisible. Looking at how the networks could have their own experience of themselves, computer can be a source for “producing , for example, the unknown out of the known” .
Overall, I want to reflect a space where humans and machines are intertwined and where hierarchy is always under review.
Always on the back of my head, how to illustrate our entanglement with the network and the internet of things Everything is merged , but everyone has his own character
I wanted to treat the human as equal as the automata
The nodes are having fun together without us
when they sense our presence they communicate in their own language, audiovisual
their extended bodies are entangled with ours
showing the roots, processing without thinking about how to show the process, then reverse engineering to explain the process
combination of organic artefacts made of electronics and traditional basketry and puppet making
about Creativity assessment, be recognized by the System, freedom of the artist and material approach
Although quantification of the creative process is delusive, it is hard to escape from it nowadays. How to assess creativity is though, and highly subjective, thus should 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. This is the time for the artist to choose whether or not to belong in the system, and be “recognized” or not by it.
My creative approach is coming from the material not from preconceived ideas, although as an artist researcher, I do have areas of investigation. I would play with codes as I play with wire or wood, painting, or servo motors. Exploring the material, understanding its limits and its powers, listening to its properties, I trust my right brain, my intuitions, to lead the left brain, the maker, to create and help my artistic quest. Which material or technology I should use and what it will lead me to build? This holistic approach is antagonist to the process of looking for the material adapted to a predefined work.
Should this be assessed , it would have to be by the term of the project not during its processing , as a “clear” picture and stop frame would be wrong and unfaithful to the final “product”. Although, recognition of the effort put in the work could and should be assessed.
Curators , galleries, art fairs, art advisors are “gates” , artists have to cross to get to their audience. Artists send their artwork through those gates, wishing for a positive response. When permission is denied, they can choose to adapt their work to the gates or to go on generating other artworks which could get the granted permission to be shared with the public .
Alternatively , could I choose to not care about how the system will index me ? If the answer is yes, can I stay in this system? 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 my artistic making: processing or sharing? Is it linked to the ability to be self centered? or to a unshakeable faith in my artistic process? If there were no one to understand my art piece, here and now, would I stop being an artist?
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?
- Script for a Network of Artefacts
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
<Building a matrix ( resisitive or capacitive) sensors > , in order to map touch by machines, exchanging OSC messages
- all about capacitive versus resistive sensors Capacitive 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
- 2×2 Pressure-Sensor-Matrix Neoprene, introduce piezo resistive material layer between two neoprene
- make a knitted capacitive sensor with Emilie Giles
- Matrix DataPaulette 256 resistive matrix sensors, MCP 73831
- wires connection
- EMF Electro magnetic Field Sensors by Irene Posh
- Attiny 85 EMF detector + Textile -Trackpad + Antennas
- 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.
- then add speakers mixing basketry and wire , Claire Williams
- state of research : http://u.osu.edu/kiourti.1/research/
- Intra Body communication by Ingo Randolf
looking for a narrative, entanglement between a motor and a weaved W cell made of wire
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 …..
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>
Test Servo and sensors, check code, circuit and breadboard
- Servo+ Capactive sensors
- 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
How to stage a
Network of artifacts????
- <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
- work with pattern making in processing , to create the “landscape” of the cell?
“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
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 ,
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
– 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,
- 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….
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>
<Define the Network of artefacts contolled via OSC touch? Network is the Mask, its artefacts are the nodes>
Listen to the Other via EMF