Questions about installation – K- cells-Knitted cells

the cells, could functions as kinetic drawing bots:

01/10/2018

 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…

“Rules” :

  • 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.

Strategy

  • >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
    yep
    Birdy, found objects puppet by theatredu1k
Mona Luison
credit : Mona Louison

“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
generative sin pattern in Processing by SRQ
 

Luce - Lucette & Lulu

Things about Essay planning

Notes from Helen Pritchard 15th december

  • –  Invasion of the body by the network
  • –  Exploitation of the body of the network
  • –  performativity of the network
  • –  Relations of power
  • –  Which side of the string are you – is there a side in entanglements?
  • –  Automation
  • –  Entanglement – Karen Barad
  • –  Body and Society Journal
  • –  Technology, Culture and Society Journal
  • –  Off the Network – https://www.upress.umn.edu/book-division/books/off-the-network

 

–       Anna Munster’s work
–       Erin Manning’s work on relationscapes

Things about Crafting the Digital

Make the invisible visible-crafting the digital

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” .

In that matter, Irene Posch , artist and researcher, explore the integration of technological development into the fields of art and craft with projects like the knitted radio  and crafting logic (crafting computer)

 

Things about Network -Hide

01/25/2018

> Explore Steganography,  and embedding signal into Wearable Objects,

01/20/2018

State Machines is a programme of activities devoted to the investigation of new relationships between states, citizens and the stateless made possible by emerging technologies. Focussing on how such technologies impact identity and citizenship, digital labour and finance

Every time a smartphone powers up, their user is tied inextricably into data, laws and flowing bytes to different countries. Their every personal expression is framed and mediated by digital platforms which now include those operating new kinds of currencies, financial exchange, and labour relations that bypass corporations and governments.

Meanwhile these same technologies increase governmental powers of surveillance, allow corporations to extract ever more complex working arrangements, and, although seemingly the epitome of globalization, they do little to slow the construction of actual walls along actual borders.

We ask how might the digital subjects of today become active, engaged, and effective digital citizens of tomorrow?

State Machines now launches an open call for a new commissioned artistic project.. What kind of Project ? :

  • efforts and actions that resist new enclosures and preserve mobilities, freedom of assembly and other hard-won rights
  • unintended impacts of digital flows on physical bodies, places and infrastructure
  • shifting techniques for controls and flows of information and finance by governments, private companies and individuals;
  • public deliberation and free speech in social media – algorithmic and human corruption and its counterforces;
  • new tools and data for wrangling the personal and political impacts of cloud computing

The call is open to artists, technologists, activists, inventors and individuals, groups and hybrid human- artificial intelligence collaborations.

We are interested in all art forms and actions that can be encountered and experienced across networks, online and in physical exhibition. We welcome diverse viewpoints, experimental and playful approaches.

Fading Memories The social, political and economic future is determined globally by the evolution of digital technologies. The boundaries between the analogue and digital spheres have become increasingly blurred, and the digital has become an integral part of our actual reality. Fading memories devoted a year of international events to the themes of privacy and data ownership in the digital age against the backdrop of developments in the countries of north-western Europe.

 

What we give away when we log on to a public WiFi network experiment of creating a fake network and stealing data from visiting mobile phone in public space.The idea that public WiFi networks are not secure is not exactly news. It is, however, news that can’t be repeated often enough. There are currently more than 1.43 billion smartphone users worldwide and more than 150 million smartphone owners in the U.S. In the U.S., more than 92 million American adults own a tablet and more than 155 million The US census has numbers. own a laptop. Each year the worldwide demand for more laptops and tablets increases. In 2013, an estimated 206 million tablets and 180 million laptops were sold worldwide. Probably everyone with a portable device has once been connected to a public WiFi network: while having a coffee, on the train, or at a hotel. by Wouter Slotboom

> display the facts, rather than the content of counting smartphones and simulating their behaviour/ connections with K cells?

invisible-internet-of-things

Vladan Joler -ShareLab

Exploitation Forensics. Interview with Vladan Joler

The Human Fabric of the Facebook Pyramid

Things about 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.

Alternatives to increased networking of the digital media, Chaos and creativity

In conclusion to her talk with Richard Grusin and Clemens Apprich at Transmediale 2017 in Berlin, theorist of digital media and Prof Wendy Chun challenges artists to create viable alternatives in response to the increased networking of our digital world and the elusiveness of mediation.
Invoking art as an “agent perturbateur” is interesting as it calls for challenging established rules before creating as it means chaos before emergence of a new order. In a very Simondian way, it is looking for tensions. It is waking up from the delusions we have created ourselves and break the infinite feedback loop we are living in. Life is not linear , seldom logical. Why trying to fit so hard in a logical system which leads ultimately to segregation? Chun ’s answer is homophily or “tendency of individuals to associate and bond with similar others”(Wikipedia).

W.Chun defines how networks are structured by habits and homophily and how habits are shaped and embodied into a monogamous network environment based on similarities , likes and dislikes. “We become our machines”. As Richard Grusin tells us too, not only the present but also all potential futures are pre-mediated and expectations are pre-formatted by algorithms. To reduce segregation induced by homophily, W.Chun invites us to foster another type of network where clusters would be mutual indifferences rather than likeness.
“Homophily create clusters, it is about collaborative filtering, similarities breeds connection. What matters, it is that people likes you, who follows you. Network not only finds connections but also create them for us”.
According to W.Chun, we are living in a world auto-fed by continuous updates ignited by crisis over habits and dependencies embodied in our environment. We are“creatures of the update. To be is to be updated: to update and to be subjected to the update.” (Chun , Habitual New Media, p12). She also warns us that updates means erase the old and replace it by the new. “Things no longer updated are things no longer used, usable, or cared for, even though updates often ‘save’ things by literally”. Consequently, in a world defined by networks, we become variables used by functions. As such, in order to create viable alternatives, not only we would have to resist to homophily but also our needs for belonging and our quest for a definite identity /value.

Recognising the network’s creativity, W.Chun quotes Elisabeth Grosz : “Habits enables stability, which in turn gives us the time and space needed to be truly creative: without habit there could be no thinking, no creativity and no freedom.”

In another hand, one could suggest that  Chaos is also another reliable source for creativity. If we were to create another system, where clusters are not relying on similarities, it could be an open system where input could have no output, where the equation input/output is broken, a system where the traveling salesman problem is solved by optimising the order of visits to several places in a way that the total route is not as short as possible, but the longest.
It would be a permanent chaotic process, where solutions are morphing from one to another, not an infinite loop of updates, but infinite explorations, not only going forward and vertically but also backwards, transversally and horizontally, because the world is not binary, the world is wonderfully messy (Kathleen Vohs). Certainly, not everyone is ready for this. As W.Chun and R.Grusin suggested, artists could find alternatives to the over-controlled networks system as chaos is part of their creative process. About pre-mediated expectations and order over messiness : creativity flows even better when there is no expectations.

Other propositions to break the loop and paths for researching : We are wearing the mask of social media composed by our likes, dislikes and tweets even in the everyday life. Have we forgotten that we could take it off and choose to express ourselves with other masks? How about reversing the trend for empowerment of digital and visual realities over other realms?
How about reconnecting with our embodied cognition to be able to create alternative social systems?

 

Mask making Analog

Virtual World by Walter Pichler‘s Futurist Visions

Pattern for Batman hat , as a base for simple crochet mask

Amigurumi tutorial to make a crochet mask fit to the head

Painting : Leonora Carrington 

Shadow Theatre: theatredu1k

Shibori technic , add texture to Fabric, 3D manipulation

Shape Memory Alloy, keep memory of first shaping, curling mechanism by Jie Qie

http://theatre1k.com/making/electronics-making-ideas

 

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. “

 

Digital Mask 3D explorations

 

  • 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.