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…)
My approach is from the material not from preconceived ideas. Thus playing with codes and trust the focus from the right brain who will lead the code play towards the direction
Pattern for a PCB? : Icosahedral-stereographic-projection-in-the-direction-of-a-2-fold-axis
Looking for patterns , how the nodes move
, do they have to move?
update with a more detailed proposal for the practical side : K- cells-Knitted cells – MFA year 2 practical project
This project is about exploring the poetic space lying between nodes and paranodes of the Network using mask improvisation and shadow theatre technics combined with coding and mapping technology
Annexe of the Essay with a list of ideas including even what is left as we try to keep everything even if not used yet to share with other artists willing to use it
what is not used by me could be used by other not only by big companies
not erasing , but put aside, to be revisited
Theatre piece : Head mask , shadow silhouette defined by the edge, producing different scenarios to illustrate the actualization of the Network in human bodies.
Mask improvisation workshops to understand how we actualise in our bodies , the network;
Mask improvisations, craft approach ,
creating the space of mask improvisation and mask making ( mapping + artefact)
looking for symbols produced by the network , logos? how do we choose define the mask
Mask improvisation workshops to understand how we actualise in our bodies , the network;
Human actors. Use the human imagination of the network , how do we perceive the network?
Human actors and machines , create a mask for human actors
Machines, create a humanoid mask for the machine
Exploring the mask and methods of training actors with masks as a way to understand and play the networks .I suggest that the social network and its interfaces (screens, avatars, social media selves…) could be understood as masks. Like masks they have a specific language and specific qualities. They frame, mirror, mediate, catalyse, transform, show emotions, classify or hide.
propose a scenario for a mask to explore the relations between humans and machines in the network.
you are the machine, the hardware , the software, the code, the portal, the algorithm, the coder, the screen, the human, a data, ….list all the possible characters and try to mach a mask
one way to plan this mask workshop could be to rely on tested scenarios experimented without mask like in Ihde, D. 2001, Bodies in technology, University of Minnesota or like in out of body experience by Ehrsson
Body silhouette as a shadow behind a screen made of sensible material,
look through a microscope
Artefact evolving in time and space with dynamic rules
you can inherit the artefact
Artificial Plant, only if you look at her ( bitcoin Plantoid), or with data garbage
network as monstrous chimera knitted , mixing humans and machines with the data garbage , revisit your garbage ( Thomas Mann, the field, Sabrina ’s poem )
animated Rhizome evolving in time with dynamic rules
Japanese tree with prayer papers , printed out
London Bridge , train station and railways from above miniature
experiment the Network as Anthromorphic frame, The Goddess as Void
Sound Installation with knitted sculptures mixing crochet with conductive thread and rope. (inspired by the work by Judy Tadmans or Ruth Asawa) .
Beating the Bounds experiment the limit of the Network , boundaries , sounds of the boundaries
Staging observers and users
listen to data, with wearables antennas to plastron , headband,
producing Interferences to others like it was with Talkie Walkie,
with an umbrella , when under the umbrella you could experience other data
cushion . when you hug it , memories appears (thermo ink)
Petri dishes , biologic bacterias will show the contact
generative algorithm human and machine collaboration for a music quilt continuous renegotiation , control/ freedom ratio
Remote sensors Explore ways to “tell” something happening in other space
Mask is in the exhibition area, and “tell “ (Max MSP?) what is happening elsewhere, outside where the data is collected. Data storage and Data source remote.
Wind automata in display in exhibition place linked to weather data sources
knitted cuffin , plastron, headband, scarve….recording and play sound.
the one you want to share / the one you want not to erase but that you can inherit from someone else , transferable ,
for index visualisation artefact, disconnection between index in virtual and analog reality they are supposed to tell,
Autonomous artefact collecting informations and selection algorithm for read and erase?
Caterpillar , snail
Memory storage as a food chain , eating and digestion remixing the left over ? food artist
navigate through a Mosaic, Puzzle
Mask machine teaching us,
producing a list of lost/ forgotten/ erased behaviours that other machines will teach : good manners, body interactions not reduced to sex ,
use your body perception and affect (excluding eye) for something else than food processing, sex relations
input by the mask, output by the body, input by the body, output by the mask
revisit your garbage ( Thomas Mann, the field, Sabrina ’s poem )
producing a comic with images in memory
Is there a Sustainable program, software , show the evidence of sustainability?
list of devices / software by number of updates
I will explore knitting , embroidery, weaving, ( flexible) wire, thermo painting, and fibre optic as a light and also data transmitter in order to make every other week sculpture. The mask/object will reflect the actualisation of the entanglement between human and machines. The objects will have a practical use or not, will move or not, will have sensors or not etc… and will be displayed , like a dada surrealist “cabinet de curiosite” .
Ultimately , for the exhibition , I am willing to explore also how to create an embroidered tapestry quilt mixing network and human with live input. The tapestry will be a tangible memory of the meeting between machines and humans. I will either hack a sewing machine to build very simple patterns with lines, triangle or rectangles and maybe circle , then combine with embroidery made by hands during exhibition workshop or use an embroidery machine. In order to achieve this goal, I will explore different embroidery and knitting hacking technics and look how to alter their looping process just enough to reveal the encounter , like knitted glitch
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.”
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”.
According to W.Chun, in a world defined by networks, we are like any other variables : defined or 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. W.Chun recognizes creativity’s existence in the network system and 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.” But I would say, not only. 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 :