Textility of Code

FoAM . Collective looking into Weaving and Coding

A catalogue of errors, by David Griffiths and Alex McLean : This article presents a series of informal experiments in software and weaving, most of which were conducted as part of the Weaving Codes, Coding Weaves project.

FoAM github   Weaving experiment

 

K- cells-Knitted cells – MFA year 2 practical project

 

 

01/25/2018

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

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

Make the invisible visible-crafting the digital

    • Andrew Prescott
    • Datacatcher , http://www.datacatcher.org/
    • 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.”
    • Irene Posch

Mask improvisation pedagogy

https://www.matteodestro.com/pedagogy

PEDAGOGY OF A RESEARCH AND CREATION BASED THEATER

  • THE JOURNEY
  • THE SPIRIT OF RESEARCH
  • THE NECESSITY OF A TEACHER’S PERSONAL PRACTICE
  • THE PEDAGOGICAL SPACE

A PEDAGOGY OF MASKS

  • THE MASK​
  • THEATRICAL MASKS
  • PEDAGOGICAL FUNCTION
  • The Body and the Space​
  • Forms

 

Artists in Wearable

  • Anja Hertenberger (DE) is an artist who researches identity in relation to media, surveillance, power, control and man-machine interaction. Her fascination for electronics and writing small programs started during her masters ‘Interactive Media and Environments.’ In her recent projects she combines electronics and programming with her earlier passion for textiles. Together with Barbara Pais and Danielle Roberts she developed e-pressed (2009), a shirt that displays feedback about the wearer’s stress levels. Her most recent work is Hysterical Bubble (2009-2010), a wearable project consisting of four suits, each one with an embroidered textile bubble that inflates or deflates in reaction to the proximity of the group members to each other.
  • Upcoming Digital Textile Designers
  • Kobakant, Hannah Perner Wilson and Mika Satomi
  • Ethos : Together by Richard Sennet
  • Claire Williams
  • Jessy Seay
  • Emilie Giles
  • Francesca-perona-for-neon13 Francesca’s work focusses exploring the potential of materials using technology to visually express different concepts, the programmability of materials and interaction and also the use of craft as a tool to empower self-expression and visually express concepts.

Wearable