Creative soup

02/14/2018

about Practice Methodology

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

01/30/2018

Pattern for a PCB? : Icosahedral-stereographic-projection-in-the-direction-of-a-2-fold-axis 

01/29/2018

Looking for patterns , how the nodes move

, do they have to move?

 

01/09/2018

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

Wearable memory
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,
information embodied

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 program language and number of updates javascript , C++….
list of devices / software by number of updates
quilt
hieroglyph

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

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”.

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 :

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

Mask making Digital

Data-masks by Sterling Crispin , are face masks which were created by reverse engineering facial recognition and detection algorithms. These algorithms were used to guide an evolving system toward the production of human-like faces. These evolved faces were then 3D printed as masks, shadows of human beings as seen by the minds-eye of the machine-organism. This exposes the way the machine, and the surveillance state, view human identity and this makes aspects of these invisible power structures visible.

Data-Masks are animistic deities brought out of the algorithmic-spirit-world of the machine and into our material world, ready to tell us their secrets, or warn us of what’s to come.

Tony Oursler

Electronic Arts

Centre Pompidou , New Media

“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: On first glance masculine, cold and austere; yet muted in its austerity and restrained by a warmth that is undeniably feminine.

 Oracle was crafted by utilising a hacked Kinect depth sensor as a 3D scanner, modeled in 3D space and 3D laser printed using a durable Nylon Polymer.”
 was part of exhibition : “Masked intentions : 21 Artists reinvent 21 Masks for the 21st Century.” at Behance gallery, : pictures by Thomasz Machnik

  • Soft cyborg, by Rachael Kess Felt mask ; eyelid moved by servo motors

    “soft cyborg (reveal) (formerly soft robot (reveal)) is a piece of performance art that encompasses work from four classes that I completed in the 2010 Fall semester at OCAD University: Body as Material: Performance by Artists, Fibre: Implementing the History of the 19th and 20th Century, Fibre: Constructed Design 2 and Wearable Technology 1. The piece consists of a felted mask that has electronic components embedded into it; the mask blinks periodically through the use of mini-servo motors and a LilyPad Arduino.( instructions in Make : wearable electronics p 172)and here. The second part of the piece is a woven mask/hood that was created using the double weave technique. Both fibre pieces were used in this performance as a way of exploring the potential for masks to reveal and conceal the technological/robotic body….”

     

  • Look at the Other by theatredu1k.

 Proposal for Digital Mask workshop, Physical Avatars, Virtual Reality Mask? Analog Mask : hiding the face will underline body expressions for the viewer, what about digital Mask?