> Explore Steganography, and embedding signal into Wearable Objects,
State Machinesis 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 networkexperiment 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 Find the latest numbers here and more than 150 million smartphone owners in the U.S. In the U.S., more than 92 million American adults Tablet numbers 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?
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.”
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.
“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.”
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.
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.
Article Understanding your digital Self by Tamara J Hicks Psy.D.
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