[...]lanchot)
="lsts lst1">•death of Man (Malraux, Kojeve, ="ppl">Blanchot, ="ppl">="ppl">Foucault)
="lsts lst1">•devirilization of man (Kojeve, ="ppl">Bataille, Queneau)
="lsts lst1">•terror (Marlaux, ="ppl">Bataille, Kojeve, ="ppl">Merleau-Ponty)
="lsts lst1">•

Kojeve and Jean Wahl ='lgc'>='lgc'>--> antifoundational realism ='lgc'>='lgc'>--> new ="trms">anthropology

antihumanism
a precondition of thought
a fluid matrix of ideas
a philosophical attitude

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="large lg2" stl="font-size:110%"> Malraux's (="trms">literary-="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical pursuits ='lgc'>[echoes ="ppl">Nietzsche ='lgc'>+ intellectual Left='lgc'>]) ="trms">heritage to us (to artists)='lgc'>: the alternative to bourgeois individualism ='lgc'>[can be achieved='lgc'>] through commitment to a justice based on a quasi-="ppl">Marxist notion of human dignity ='lgc'>='lgc'>--> the ='strcls'>*uprooted, cultured, and powerless individual='strcls'>* who struggled against the nation-driven, ="trms">science-executed destruction wrought by (arid and morally bankrupt) ="trms">modern warfare ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to forensic architecture, ="nms">apass='lgc'>] ='lgc'>='lgc'>--> (='thdf'>the idea that death of man can be averted through) ='strcls'>***a recognition of the heroism of the resistance='strcls'>*** ='lgc'>+ turn to human creativity

how i have used a non-western voice (“i am from outside the west”) to provide for myself an escape from political ="trms">categorization ='lgc'>+ claiming the knowl="trms"nttrm="knowledge,Knowledge">edge of an insider and enjoying the analytical clarity of distance ='lgc'>='lgc'>--> i make claims both ='strcls'>*expertise in='strcls'>* and cool-headed ='strcls'>*distance from='strcls'>* the essence of europe

(="trms">technique of) epistolary exchange


="large lg14" stl="font-size:118%"> (to think of ="ppl">Kantian ="trms">cosmopolitanism a) a genuine model for commitment ='lgc'>=/= outdated illusion

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research ="trms">method (a ="trms">heritage of surrealism='lgc'>:) exquisite corpse ="trms">technique ='lgc'>='lgc'>--> (unpre="trms">dictable and) innocent inventiveness

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for ="ppl">Sohrevardi and ="ppl">Avicenna='lgc'>: ="trms">nature='lgc'> = chah چاه shahr gheyravan (="trms">material of ="trms">nature/="trms">world='lgc'>: ghir قیر) ='lgc'>='lgc'>--> zolmatkade ظلمت کده 

='at'>#comparative ="trms"nttrm="already,spread">reading of stranded
ghorbat gharbia ='lgc'>='lgc'>--> Crusoe

="lsts lst1">•daryaye sabz دریای سبز  (green sea)='lgc'> = donyaye mahsusat دنیای محسوسات (="trms">phenomenological ="trms">world)
="lsts lst1">•دایه daye='lgc'> = nafse nabati (vegetal self)- khahar sister='lgc'> = alame made عالم ماده (="nms">hayula هیولا) ='lgc'>='lgc'>--> (you should) wrap it in azab عذاب
="lsts lst1">•woman='lgc'> = shahvani شهوانی carnal, pas-mandani پسماندنی (the one who stays, Lot's wife leaving the catastrophic city ='lgc'>='lgc'>~= mashmul-e azab مشمول عذاب) ='lgc'>=/= salek سالک ="trms">wonderer='lgc'>='lgc'>==> ba shahvat nemitavan soluk kard ='lgc'>=/= queer mysticism
="lsts lst1">•maghak مغاک ghaar chah قعر چاه (where abe hayat is آب حیات ='lgc'>=/= abe heyvan آب حیوان)='lgc'> = riazat ریاضت

from the spiritual point of view we are always at the bottom of the pit


="brkr">

="large lg30" stl="font-size:135%"> ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid bodies
http://download.autodesk.com/global/docs/maya2014/en_us/index.html='qstn'>?=contextId=BULLETNODES
A ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid body is a polygonal or NURBS surface converted to an unyielding shape. Unlike conventional surfaces, ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid bodies collide rather than pass through each other during animation. To animate ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid body motion, you use fields, keys, expressions, ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid body constraints, or collisions with particles.
Maya has two kinds of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid bodies='lgc'>--active and passive. An active ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid body reacts to dynamics='lgc'>--fields, collisions, and springs='lgc'>--not to keys. A passive ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid body can have active ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid bodies collide with it. You can key its ="trms">Translate and Rotate attributes, but dynamics have no effect on it.



notes on The ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigid Bodies / (="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics of 3D)
the simulacrum / ideal / image ='lgc'>='lgc'>--> ="ppl">Plato
mystic ="trms">geometry ='lgc'>='lgc'>--> Pythagoras (='lgc'>='lgc'>--> mathematization of the real, real ‘is’ math)
='lgc'>}='lgc'>='lgc'>--> what does it mean to perform 3D for these two thinkers='qstn'>?

fire simulation in Maya ='lgc'><='lgc'>='lgc'>--> cotton touching fire in Islamic philosophy

(<)>  ='lgc'>='lgc'>-->='lgc'>{
() manifest image ='lgc'>='lgc'>--> shader/topology/raytracing
<> underlying (="trms">scientific='qstn'>?) image ='lgc'>='lgc'>--> C='lgc'>+='lgc'>+ / physics engine / object oriented programming

="large lg18" stl="font-size:110%"> the mode of production in current 3D-biz creates a ="trms">sort of cultural collateral or collateral culture (term by ="ppl">Lazzarato). 3D practices are arising as series of activities, not recognized as “work,” rather involved in defining and fixing artistic/cultural standards, tastes, norms, and strategically public opinion.
“is this real or fake='qstn'>?” (you have to click)
='lgc'>='lgc'>--> when the productive mediation is smashed to pieces and replaced by this ="trms">question.
either it is ‘made’ or ‘real’
='lgc'>[structural imposibility, a double bind, ...='lgc'>]
='lgc'>}='lgc'>='lgc'>--> the image-warrior who violently asks us to choose between the visible and the invisible
( ='lgc'><-)='lgc'>--='qstn'>?='lgc'>--(='lgc'>-> )

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='thdf'>the notion of “general purpose toolkit”
synthesis, patches,
environment ='lgc'>='lgc'>--> media
="trms">interface ='lgc'>='lgc'>--> physical
="trms">dataflow programming, rapid prototyping, indeterministic machine paradigms,
one-dimensional array of values
telemetry (duri-sanj دوری سنج)

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an evange="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list builds a monument
softimage monument
virtual='qstn'>?



movement and stillness in houdini='qstn'>?
who the 3d software, as an ="trms">ontological device to recreate and study and understand being, is devided or made-up='qstn'>? the presebce of ='thdf'>the notion of movement in it and essence. what is movement and apparition='qstn'>?
='lgc'>[we can have a workshop that teaches houdini just through movement. or a non-movement approuch to 3D making.='lgc'>]


nonre="trms">presentational maya
="trms">epistemology and cognitive approuch to space and ="trms">matter

="trms">ontology of ="trms">matter in maya

="trms">worlding in autodesk industry (look at the trailers, tutorials, and so on.)
="trms">historical view='qstn'>?


i see maya and other 3D apps as visualization ="trms">technologies en="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listed as ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors by ="ppl">="ppl">Haraway and as ="trms">languages that actively ="trms">intertwine in the production of ="trms">literary value


friction, forms of masks (shaders='qstn'>?), and play, and the dance of Dis-tanz
the separations and partings
nearness


transforming and transformative ="trms">agencies

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“="trms">matter refers to the ="trms">materiality/="trms">materialization of ="trms">phenomena” (="ppl">="ppl">Barad)
="prgrph">-let's look at my 3D-related practices again and investigate their ="trms">ontological implications and rework how ="trms">matter is defined, ='lgc'>[="trms">matter, force, ="trms">interdependency, appearance,,, ="trms">phenomena, meaning,='lgc'>] ="ppl">Delanda-='lgc'>[intensification, ="trms">articulation, flow-of,='lgc'>]


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='at'>#="frds scrmbld">Femke workshop='lgc'>: on ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging and skinning, ="trms">writing ="trms">stories cultivating creation and creatures before their enrollment in George Lucas film, speculating on the inorganic skeletal ="trms">animacies

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(Brey > ="ppl">="ppl">Ihde='lgc'>:) ='lgc'>[="trms">technology:='lgc'>] a special class of artifacts (='thdf'>for example telescopes, probes, hearing aids, etc) that are capable of engaging in ‘="trms">symbiotic’ ="trms">relationships with the human body. ='lgc'>[...='lgc'>] means through which the environment is experienced and acted on.


essential ambiguity of ="trms">technology / of ="trms">material human-="trms">technology ="trms">relations

hermeneutic fluency (and the special enigma) of the connection between text and ="trms">world

='strcls'>*="trms">bird's-eye='lgc'>=='qstn'>?/!='lgc'>~navigational='lgc'>='lgc'>~/='qstn'>?=.'='lgc'><-="trms">phenomenological
='lgc'>[...in front of the open (blank) page (of the ="trms">book) (we teach ="trms">children to take the) ="trms">position of the industria="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list, the ="trms"nttrm="disturban">urban planner, or the ="ppl">Cartesian philosopher ='lgc'>='lgc'>--> outside the page is outside and inside the page is inside ='lgc'>]='at'>@="frds scrmbld">Eunkyung's scriptural enterprise ='lgc'>='lgc'>--> ="ppl">Derridean proper space of ="trms">writing
="prgrph">-the panopticon as observing ="trms">instrument for human ="trms">sciences is embeded in the page of the ="trms">book we open. part of this tradition ='lgc'>=/= first person shooter

(="ppl">="ppl">Ihde on) game-bodies='lgc'>: (on multistability ='lgc'>='lgc'>-->) ‘modes of navigation’ ='lgc'>[macro ="trms">phenomenological conditions, modeling observational possibilities, ='lgc'>]='lgc'>:
='lgc'>[1='lgc'>]- third person (pretended) overhead view looking down a map-like ="trms">world and plotting your course, one says “I go to X.” he calls it “the ="trms"nttrm="already,spread">reading ="trms">position” (usually a western navigator) ='lgc'>='lgc'>--> using ="trms">instrumental mediations to ="trms">translate this (overhead) ="trms">position, star patterns are with the north star
='lgc'>[2='lgc'>]- first person shooter, take your body as stable ="trms">position, one says='lgc'>: “X is coming to me.” (usually a south pacific navigator) ='lgc'>='lgc'>--> ="trms"nttrm="already,spread">reading ="trms">phenomena as ="trms">instruments, dynamic motion of star patterns are without the north star
='lgc'>[3='lgc'>]-



every major culture/civilization watches the ='strcls'>*movements of heaven='strcls'>*
="trms">technologies of temporality, lunar calendars (mostly migratory or non-agricultural people who were into smaller cycles) and solar calendars (people who were into lager cycles), knowl="trms"nttrm="knowledge,Knowledge">edge of repeated patterns of environmental ="trms">phenomena
from stonehenge ='lgc'>[= stabilizer of perception, ='at'>#stone telling the movement of heavens;='lgc'>] to chip (, devices to record cycles) ='lgc'>='lgc'>--> the ="trms">techno="trms">science has changed (="trms">phenomenologically merely) in scale
='lgc'>[='strcls'>*='lgc'>] ="trms">science is always ="trms">science-mediated-through-="trms">instrument ='lgc'>[='lgc'>='lgc'>--> regarding ="nms">ajayeb='lgc'>: ='at'>#model is the principal ="trms">instrument of (="trms">modern) ="trms">science.='lgc'>]='lgc'>-='lgc'>='lgc'>--> am I in which model-shift='qstn'>? (how='qstn'>? and why='qstn'>?)='lgc'>:
="lsts lst1">•idealized models ='lgc'>[='lgc'>='lgc'>~='lgc'>-> my “art"='lgc'>] (='lgc'><='lgc'>--)to='lgc'>='lgc'>--> heuristic models ='lgc'>[='lgc'>='lgc'>~='lgc'>-> my ="trms">lectures='lgc'>] ='qstn'>?
="lsts lst1">•computational models ='lgc'>[='lgc'>='lgc'>~='lgc'>-> my ="trms">CG period='lgc'>] (='lgc'><='lgc'>--)to='lgc'>='lgc'>--> ="trms">phenomenological models ='lgc'>[='lgc'>='lgc'>~='lgc'>-> my ="nms">ajayeb='lgc'>] ='qstn'>?
="lsts lst1">•fantasy models ='lgc'>[='lgc'>='lgc'>~='lgc'>-> my ='qstn'>?='lgc'>] (='lgc'><='lgc'>--)to='lgc'>='lgc'>--> theoretical models ='qstn'>?
="lsts lst1">•re="trms">presentational models ='lgc'>[='lgc'>='lgc'>~= my images='qstn'>?='lgc'>] (='lgc'><='lgc'>--)to='lgc'>='lgc'>--> ="trms">epistemological models ='qstn'>?
='lgc'>[='strcls'>*='lgc'>]

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like the blind man's cane or probe, means through which the environment is perceived and acted on, how is the 3D computer simulations an ="trms">embodiment ="trms">relation='qstn'>? what are the (dis)="trms">embodied habituations of the hacker='qstn'>? ='lgc'>='lgc'>==> philosophy of action ='lgc'>: how 3D work as an (dis)="trms">embodied artifact change our ="trms">relation to the ="trms">world='qstn'>? or, which ="trms">world is experienced as perceived through ="trms">embodied artifact of the 3D='qstn'>?
="lsts lst1">•re="trms">presentations of the location
="lsts lst1">•="trms">question of orientation
='lgc'>='lgc'>--> ="trms">epistemological studies of ="trms">scientific ="trms">instrumentation

(="ppl">Feenberg, passivity missing in ="ppl">="ppl">Ihde)
(my own ="trms">interest in shyness and the) passive dimensions of body='lgc'>--lived experience of being the object of action='strcls'>***

="ppl">Feenberg (reflecting on medical ="trms">situations forward='lgc'>:) we live our body not only as actors in the ="trms">world, but also as beings who invite action on our bodies by others
dependent body ='lgc'>='lgc'>--> highly ="trms">technologized experience

="trms">instrumentalized status of ="trms">modernism, in which the ‘dependent body’ belongs to ="trms">childhood
purified “humans” ='lgc'>: the subject distinguished from its ="trms">instrumentalities

sex='lgc'>: construction of the dependent subjectivized bodies
(="ppl">Sartre ='and'>& ="ppl">Merleau-Ponty='lgc'>:) person becomes a thing in the ="trms">world of the other

lived-body ='lgc'>=/= body ='lgc'>[='lgc'>='lgc'>--> also the concern of ="ppl">I="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigaray and ="ppl">Butler='lgc'>]
(this is ="ppl">Husserl's Körper and Leib)
='lgc'>~ machine-infused ="trms">neuro-physical body
="lsts lst2">◦kin="trms">aesthetic sensations
="lsts lst2">◦="trms">presentational sensations
="lsts lst2">◦“="trms">internal” perception
="lsts lst2">◦“subject” -body
="lsts lst2">◦organ of perception / organ of action /
='lgc'>='lgc'>--> (identity of the ego ='lgc'>='lgc'>-->) the (existentia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list visua="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list and strange) idea of='lgc'>: “I am my body"='lgc'>--body in terms of “I can” ='lgc'>='lgc'>==> self-movement
(="trms">intra-action ='lgc'>=/= that sensations are freestanding complexes and ="trms">internally ="trms">differentiated entities that can be identified and studied “before” the action)
='strcls'>*perception (is an act='lgc'>:) “animating” the ="trms">data of sensation (='qstn'>?)

the extended body signifies itself through ='lgc'>[='lgc'>=/= acts through='lgc'>] the ="trms">technical mediation

the impersonal and atomizing (commonplace) as="trms">sociations with ='thdf'>the notion of dis="trms">embodiment ='lgc'>='lgc'>--> ='thdf'>the idea that in online involvement ="trms">relations are abridged and trivialized, that there is a lack of commitment and risk, and moral engagement is impossible, and so on.

="large lg10" stl="font-size:135%"> ='strcls'>*what would be a ="trms">situated account of the (lived-)body in ="trms">CG='qstn'>?

“the ringing of the cell phone that embarrasses us in the middle of a ="trms">lecture” ='lgc'>='lgc'>--> extended body

plasticity and poly="trms">morphism of our bodies (online) ='lgc'>[="ppl">="ppl">Ihde='lgc'>]

programmers working in other programmers’ works (='lgc'>--not ="trms">imaginative engagement with the other, rather) ='lgc'>--through='lgc'>='lgc'>--> ="trms">interfaces and ="trms">folds in ="trms">interpretation ='lgc'>{tutorial voices, screen videos, scripts, help files, layers of ="trms">codes and tools on each other, nested ="trms">folders on one's own computer, named ="trms">categories by oneself, horde of text files and renders, etc='lgc'>}='lgc'>='lgc'>--> these are (en-/de-)crypting extended bodies constructed of ="trms">language
subjectively constructed ="trms">phenomenon of the ="trms">communed ="trms">fold ="trms">interpreted ='lgc'>: the 3D computer programm
(='lgc'>=/= romantic refusal of all mediation)

="prgrph">-what is the ="trms">nature of the ="trms">technology involved in ="trms">CG='qstn'>?

="lsts lst1">•what is the source of the somatic sense of place, if not the body (since ="trms">Greeks) and ="trms">animality (since ="ppl">Deleuze ='lgc'>+ ="ppl">Guattari), in the case of ="trms">CG='qstn'>? ='lgc'>--='qstn'>?='lgc'>='lgc'>-->='lgc'>{the way a good farmer will pick up soil and feel the dirt in his hands='lgc'>}
(="trms">Greek word) ‘soma’ refers to a corpse (in ="ppl">Homer,) not a living body (='lgc'>='lgc'>--> ='at'>#lived-body)
Neither the living body as an entity nor the Mind as an entity had a name.
for ="ppl">Aristotle, ‘thinking’ part of the soul, had an existence from any connection to the body.
“to experience the ="trms">world is the very ="trms">nature of body inside out.” (="ppl">="frds scrmbld"nttrm="Christianson">Christian ="ppl">Hubert > John Schumacher)


a ="trms">community whose ="trms">members are aware of each others’ passive ="trms">presence is ="trms">different forms
(active ='lgc'>=/= ="trms">present)

these are issues of ="trms">social subject in a ="trms">technically mediated ="trms">world

to look at ="trms">CG ="trms">embodiment ="trms">relations='lgc'>:
="lsts lst1">•="trms">fold (="ppl">="ppl">Ihde)
="lsts lst1">•="trms">skill (="ppl">Merleau-Ponty)
="lsts lst1">•theory of affordance (="ppl">="ppl">Gibson)
="lsts lst1">•="trms">intra-action (="ppl">="ppl">Barad)
="lsts lst1">•detour (="ppl">="ppl">Latour)

(="ppl">Merleau-Ponty's) ‘body schema’ ='lgc'>: space of the body='lgc'> = 'space of ="trms">situation,’ orientation towards possible (not only existing) tasks ='lgc'>='lgc'>==> aspects of the external/virtual ="trms">world
body understood in terms of their ability to enter into one's projects ='lgc'>=/= spatial location
='lgc'>[what is the body schema of the hacker in ="trms">CG='qstn'>? (an external ="trms">world where there is no near or far.) what is experienced as their ="trms">Gestalt='qstn'>? which grasp is automatically localized='qstn'>? what are their ="nms">phantom limbs='qstn'>? ='lgc'>='lgc'>==> body immediately known to self='lgc'>]


(body as the) ="trms">system of possible actions, a virtual body with its ="trms">phenomenal “place” defined by its task and ="trms">situation. “My body is wherever there is something to be done.”

kinaestheses, proprioception,

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what ‘play’ does to ‘ego’='qstn'>?

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(='lgc'>[is for ="frds scrmbld">="frds scrmbld">Lilia (='qstn'>? like ="ppl">Wittgenstein) all ‘certainties'='lgc'>] grounded in the) certainty of the body
='lgc'>{pain ='lgc'><='lgc'>='lgc'>--> certainty='lgc'>}='lgc'>='lgc'>--> trauma ='lgc'>+ ="trms">memory

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(="ppl">="frds scrmbld"nttrm="Christianson">Christian ="ppl">Hubert > ) Rudofsky “un="trms">fashionable human body” (='at'>#="trms">veil)

Thomas Friedman “The Golden Straitjacket”
="lsts lst1">•political-economic garment of globalization era ='lgc'>='lgc'>--> Straitjacket
(Cold War era='lgc'>:)
="lsts lst1">•Mao ='lgc'>='lgc'>--> suit
="lsts lst1">•Nehru ='lgc'>='lgc'>--> jacket
="lsts lst1">•Russian ='lgc'>='lgc'>--> fur
="lsts lst1">•
="lsts lst1">•Islam ='lgc'>='lgc'>--> hejab

(Tasavof='lgc'>='lgc'>-->='lgc'>{for which the body does not remain concrete and ="trms">material, and soul is ambiguous and poly="trms">morphic='lgc'>}, Pythagorean='lgc'>:) veli='lgc'>: soul can clothe itself in ="trms">different bodies ='lgc'>=/= (="ppl">Aristotle='lgc'>:) soul is the form of a particular living body ='lgc'>{ soul='lgc'> = organization of the body ='lgc'>}='lgc'>='lgc'>--> “..there seems to be no case in which the soul can act or be acted on without involving the body” ='lgc'>=/= (="ppl">Descartes='lgc'>:) soul='lgc'> = enlightened machine (='lgc'>='lgc'>~=='qstn'>? proper organization of the brain)


='strcls'>***The body is a special image ='lgc'>='lgc'>--> ="nms">body image

body, the priveleged image, the ="trms">world of consiousness (through self-reference), the brain's primary frame of reference ='lgc'>[-constructed with libidinal intensity='qstn'>? ='lgc'>='lgc'>--> a map of ="trms">narcissistic investment='lgc'>] (='lgc'>=/= body without organs)
="lsts lst1">•condition of the subject's access to spatiality (of the ='lgc'>[numero-computationally='qstn'>?='lgc'>] built environment)
="lsts lst1">•anatomy is always “="trms">imaginary anatomy”
="lsts lst1">•the (body-)ego is a formation of ="nms">body image through primary ="trms">narcissim (in terms of Oedipus complex)
="lsts lst1">•="nms">body image also incorporate external objects (implements and ="trms">instruments ='lgc'>='lgc'>--> intimate, vital, even libidinally cathected parts of the body) ='lgc'>='lgc'>~='lgc'>='lgc'>--> the “detachable” parts of the body='lgc'>: urine, faeces, saliva, sperm, blood, vomit, hair, nails, skin='lgc'>--all retain something of the cathexis and value of a body

="large lg30" stl="font-size:131%"> ="prgrph">-for ="ppl">Bergson='lgc'>: an image that one know from within by ="trms">affections, rather than from without by perceptions='lgc'>: body ='lgc'>}='lgc'>='lgc'>==> “my body” is the center of actions ='lgc'>==births='lgc'>='lgc'>==> re="trms">presentation
="prgrph">-for ="ppl">Whitehead='lgc'>: “self-knowl="trms"nttrm="knowledge,Knowledge">edge of our bodily event” ='lgc'>='lgc'>==> (organic) conception of ="trms">nature
="prgrph">-masculinity='lgc'>: body subordinate to the mind ='lgc'>='lgc'>='lgc'>~=>='lgc'>{ body='lgc'>: site for feminist critique
="prgrph">-for contemporary feminism (="ppl">Grosz)='lgc'>: body is neither a biological nor a ="trms">sociological ="trms">category, but rather a point of overlap between physical, ="trms">symbolic, and ="trms">material conditions

the ideological re="trms">presentations of a “real” precultural body
='lgc'>[='lgc'>='lgc'>--> idealized in terms of abstract ="trms">geometry, rendered primal in primates,,,='lgc'>]

“The theory of the body is al="trms"nttrm="already,spread">ready a theory of perception.” ="ppl">Merleau-Ponty

(in his studies on body, ="ppl">="frds scrmbld"nttrm="Christianson">Christian ="ppl">Hubert quotes John Schumacher quoting) James ="ppl">="ppl">Gibson='lgc'>: “The optical information to specify the self, in="trms"nttrm="cluster,club">cluding the head, body, arms, and hands, accompanies the optical information to specify the environment. The two sources of information coexist. The one could not exist without the other. When a man sees the ="trms">world, he sees his nose at the same time; or rather, the ="trms">world and his nose are both ="trms">specified and his awareness can shift....The ="trms">supposedly separate realms of the subjective and objective are actually only poles of attention.” (The ="trms">Ecological Approach to Visual Perception)


="trms">sensuality is co-making


rituals and ="trms">technologies are links between bodies and ="trms">societies
(="trms">social) ="trms">techniques for the inscription of locality into bodies
="trms">technology as an exteriorization of the functions of the body='qstn'>?

="trms">CG stands for='lgc'>:
="lsts lst1">•computer graphics
="lsts lst1">•computer games
="lsts lst1">•creature generator
="lsts lst1">•="trms">categorial grammar ='lgc'>='lgc'>--> “='lgc'>='lgc'>==>”, “='lgc'>=/=”, etc
="lsts lst1">•conceptual graphs ='lgc'>='lgc'>--> graph-based knowl="trms"nttrm="knowledge,Knowledge">edge re="trms">presentation and reasoning model
="lsts lst1">•computational ="trms">geometry ='lgc'>='lgc'>--> geo-info-="trms">sys design
="lsts lst1">•='strcls'>*computational ="trms">gesture='strcls'>* ='lgc'>='lgc'>--> extracorporeal ="trms">material culture
="lsts lst1">•
="lsts lst1">•(complete governance, chaotic God, commanding general, common ground, center of gravity,)
="lsts lst1">•

the well-="trms">="trms">equipped invalid (='lgc'>='lgc'>--> ="trms">embodiment, ="ppl">Virilio)

(="ppl">="ppl">Foucault's radical exploration of='lgc'>:) body='lgc'> = (subject to the effects of) ="trms">rhetoric of ="trms">technical reason
="trms">techniques of punishment (, a “political ="trms">technology”) ='lgc'>: “an art of unbearable sensations” ='lgc'>--to='lgc'>='lgc'>--> “an economy of suspended ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights”

="ppl">Deleuze and ="ppl">Guattari='lgc'>: “We know nothing about a body until we know what it can do, in other words, what its ="trms">affects are, how they can or cannot enter into com="trms">position with other ="trms">affects, with the ="trms">affects of another body...” (what are the ="trms">affects of the ="trms">CG bodies='qstn'>?)
="prgrph">-for them the “body” is a discontinuous and non-totalized series of processes, organs, flows, energies, corporeal substances and incorporeal events, intensities and durations, a surface of intensities='lgc'>: ='strcls'>*pure simulacra without o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginals='strcls'>*


="trms">erotogenic zones, sexuality, ="ppl">Freud, auto-="trms">erotic ="trms">internalization, clinamen

(the formally female cyborg / ="trms">techno-="trms">monster of the Ghost in the Shell='lgc'>:) the (masculinist) fantasy of leaving the body behind and reconstituting it as a a ="trms">technical object under human control as both a desire for perfect knowl="trms"nttrm="knowledge,Knowledge">edge and total power and at the same time as a way of escape... ='lgc'>[="ppl">="frds scrmbld"nttrm="Christianson">Christian ="ppl">Hubert='lgc'>] ='at'>#="ppl">="ppl">Haraway
="lsts lst1">•the ="trms">question of the “soul” is ="trms"nttrm="already,spread">read as the ="trms">question of (certain ="trms">technology of) power over bodiess

(traits of) cyborg='lgc'>:
="lstsrd">1. boundary transgression
="lstsrd">2. the recognition and re-scripting of myth
="lstsrd">3. simulations of identity
="lstsrd">4. coalitions of af="trms">finity


re="trms">embodiment of intelligence


="ppl">Hubert > ="ppl">Serres='lgc'>: “My body (I cannot help it) is not plunged into a single, ="trms">specified space. It works in ="ppl">Euclidean space, but it only works there. It sees in a projective space; it touches, caresses, and feels in a topological space; it suffers in another; hears and ="trms">communicates in a third; and so forth, as far as one wishes to go. ="ppl">Euclidean space was chosen in our work-oriented cultures because it is the space of work='lgc'>--of the mason, the surveyor, or the architect. ='lgc'>[...='lgc'>] My body lives in as many spaces as the ="trms">society, the group, or the collectivity have formed='lgc'>: the ="ppl">Euclidean house, the street and its ="trms">network, the open and closed garden, the church or the enclosed spaces of the sacred, the school and its spatial varieties containing fixed points, and the complex ensemble of flow-charts, those of ="trms">language, of the factory, of the family, of the political party, and so forth. Consequently my body is not plunged into one space but into the ="trms">intersection or the junctions of this multiplicity.” (Hermes, pp 44-45) (='at'>@="frds scrmbld">Aela)

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(feminist open-source ='lgc'>--='not'>✕='lgc'>='lgc'>-->='qstn'>?) I am actually coming from a masculinist closed-source culture-thing, that is to say, my background is in masculinist black-boxed concepts of being and beyond, that means i have a ="trms">different ="trms">relationship with ="trms">interference and parasitism
="lsts lst1">•how and when a concept becomes black-boxed='qstn'>? by which processes='qstn'>?
='at'>@="frds scrmbld">Sven='lgc'>: what ="trms">matters is the input/output, stimulus/="trms">response ='lgc'>[='lgc'>='lgc'>--> “black-box of the beyond” (='at'>#zolmat ="trms">writing)='lgc'>] ='lgc'>='lgc'>--> transfer characteristics, ="trms">data-flow, the ="trms">ontology of the “="trms">internal working” ='lgc'>: “open” exchanges inforamtion about its ="trms">interactions ='lgc'>}='lgc'>='lgc'>--> open-source is part of the tradition of ="trms">anthropo="trms">cene ="trms">system thinking='lgc'>: ="trms">network synthesis, ="trms">system engineering, theory of the organism, evolutionary theory, thermodynamics, and ="trms">world ="trms">system perspective

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="large lg1" stl="font-size:127%"> what are the nodes of energy in ="trms">interdigitalities ="trms">intra-actions in human-machine ="trms">relations='qstn'>?

='strcls'>***we are belonging to a set of cultures that regularly believes in the idiom of='lgc'>: organism ='lgc'>=/= ="trms">technology
='lgc'>='lgc'>--> this little ="trms">ontological dichotomous device is doing ="trms">serious ="trms">worldings, making and destroying ="trms">worlds

="trms">technologies of descriptive practices
="trms">technology is descriptive practice
="trms">technology='lgc'>: anything describable as a ="trms">technology ='lgc'>='lgc'>--> idiom اصطلاح

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='lgc'>[title='lgc'>]
age of stone, and ="trms">stories for computers

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(='at'>#workshop in Stuttgart 11.04.2017 with ="frds scrmbld">Femke http://pad.constantvzw.org/p/possiblebodies.="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging)
provisional sketch for a workshop on “="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigging,” notes and nodes


on the notion and practice of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig in ="trms">CG
(="trms">CG as in “computational ="trms">gesture”)

='lgc'>[title='lgc'>]
on ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigging and skinning='lgc'>: ="trms">stories for cultivating creation and creatures of the industrial empire.
a practice in='lgc'>: ="trms">rhetoric of ="trms">technical reasoning in inorganic skeletal ="trms">animacies.


="lsts lst1">•I begin with the ="trms">position that believes in the essential ambiguity of ="trms">technology
="lsts lst1">•let's look at some terms and notions and the ways they are enacted, practiced, and ="trms">embodied, and to practice some hermeneutic fluency in ="trms">phenomenological conditions in what we call character animation


KEYWORDS='lgc'>: soft bodies, skin, skinnig, ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig, ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigging, unwrapping, ="trms">fold, ="trms">CG, animation, locomotion, kinectics, skeleton, mechanics, ="trms">interface, ="trms">technology,


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="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs are about='lgc'>:
="prgrph">-ways of arranging space, time and ="trms">matter ='lgc'>: like a sentence, that sticks words sequentially together in a certain way. ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig would be a way those elements are attached to one another in time and space.
='lgc'>[='strcls'>*='lgc'>] ='lgc'>='lgc'>--> one-dimenisional skeletal ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs are generally ="trms">intereseting for ='mywrk'>my research, because of the ="trms">specific sequential order that many forms of culture take. (for example, “tradition” is from that famility of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs, a string of things in a particular order and not another. ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to totem columns='lgc'>]. “="trms">language” is another one.)
="lsts lst2">◦what are the degrees of flexibilty, stretch and tention between the nodes in a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig='qstn'>?
="lsts lst2">◦what a substitution in a string-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig might change the ways that being is animated, and therefore change the meaning='qstn'>?
="prgrph">-that means='lgc'>: change the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig, and you will change the ways space and time are arranged
="prgrph">-that means='lgc'>: thinking about ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs is like thinking about the ="trms">language, or better='lgc'>: ="trms">ontological commitments embedded in ="trms">language. and since we are ="trms">interested in ="trms">materiality ='lgc'>[that means='lgc'>: ="trms">material human-="trms">technology ="trms">relations='lgc'>], i would ask='lgc'>: what are the ="trms">material objects that this ="trms">language commits us to='qstn'>? to be more exact='lgc'>: what are the ="trms">material objects that the ="trms">language-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig commits the ="trms">CG-hacker to='qstn'>?
="prgrph">-="trms">ontological assumptions embeded in any “device” (English grammar, ="trms">CG ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs, architect's tools, a de="trms">finition in ="trms">language, etc.)
="prgrph">-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs are clever ="trms">technological provisional constructions, (always) setup for a ="trms">specific ="trms">naturalization.
="prgrph">-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs ="trms">articulate ="trms">animacies, that is to say='lgc'>: they are almost ="trms">linguistic structures that shape or determine our animations
="prgrph">-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs do consequential work
="prgrph">-how elements are arranged together, how they are ="trms">composed, how they are brought into ="trms">relation in the space of a field, ="trms">narrative, text, environment, etc

whenever you give a de="trms">finition (a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor, a concept) and work with it, and find yourself committed to certain findings, tracings and meanings because of that='lgc'>: you are working with a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig. that is to say='lgc'>: ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs are de="trms">finitional structures, not arguments themselves, but their conditions.
then the ="trms">question would be='lgc'>: when do you know that it is time to dismantle a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig='qstn'>? how to recognize, learn to reuse or repurpose old ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs='qstn'>?

in ="trms">CG the business of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigging and ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig-making is handed to the engineering talent and point of view, it has made a pure ="trms">technical problem.



skeletal, it's all about the ‘arm’
http://www.toxik.sk/img/maya2011_ya.jpg
an arm is a spaciotemporal particularity
the organisms that ="trms">crafted in their bodies the subphylum vertebrata, a terrestrial ="trms">technology for moving the flesh.
the images we make are made in the image of the one-with-arms

mechanical
bipedal
facial
quadrupedal
many arms and legs
spinal
surficial
hair
feather

rain ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig by محمد عبدالله
eqFUnFPcuwg

an Optimus Prime transformation ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig by Eske Yoshinob
VDrAzeNS2pk='qstn'>?t=28

(strictly) possible tranformational arrangements

how a being is ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigged into transformational particularities
in this sense, the ="trms">question of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig is ="trms">ontoloical, specially in a ="trms">world populated by devices and ="trms">techniques, ="trms">interfaces and ="trms">folds upon ="trms">folds, constructions that do things for another constructions, ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs that ="trms">translate

kinematic equations, inverse kinematics, the math of it is called the Jacobian inverse ="trms">technique
https://upload.wikimedia.org/wikipedia/commons/7/76/Arc-welding.jpg
https://upload.wikimedia.org/wikipedia/commons/2/2c/Modele_cinematique_corps_humain.svg
“In robotics, inverse kinematics makes use of the kinematics equations to determine the joint parameters that provide a desired ="trms">position for each of the robot's end-effectors. ="trms">Specification of the movement of a robot so that its end-effectors achieve the desired tasks is known as motion planning.”
https://en.wikipedia.org/wiki/Inverse_kinematics
='lgc'>{\frac  ='lgc'>{\partial p_='lgc'>{i='lgc'>}='lgc'>}='lgc'>{\partial x_='lgc'>{k='lgc'>}='lgc'>}='lgc'>}\approx ='lgc'>{\frac  ='lgc'>{p_='lgc'>{i='lgc'>}(x_='lgc'>{='lgc'>{0,k='lgc'>}='lgc'>}='lgc'>+h)-p_='lgc'>{i='lgc'>}(x_='lgc'>{0='lgc'>})='lgc'>}='lgc'>{h='lgc'>}='lgc'>}

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Maya's ="trms">interfacial iconograhies

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how do we animate quadrupeds, invertebrates, phyla, rotifera (wheel-="trms">animals), and so on; for each a mathematics must be invented in order and terms of digital computationality.

“anatomy” is always “="trms">imaginary anatomy” (in ="trms">CG, comtemporary dance, medicine, ="trms">love, etc.)



a skin has to deal with='lgc'>:
“Global Stiffness Structural Optimization”



="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig talks to mesh, telling it how to move, how to be.
how we evolved from jelly to skelletal='qstn'>? something tense, intensified in space, some flesh attached to it. how the concrete mineral came back to assert itself in the terms of bones of the organism='qstn'>?
(a mesh is a matrix of points in which the neighboring points only ="trms">matter to eachother. mesh is the result of the study of topology in mathematical notions of space and structure, with ="trms">demands of an industry ="trms">interested in the re="trms">presentation of surface. mesh is ="trms">interested by creatures that have a skin, and have stakes in tactility='qstn'>?)
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig is that constructed logic or grammar that allows mesh deformation in one way and not another. made of en="trms">folded layers of ="trms">code and constraint


="trms">story of the bone
the flow of ="trms">matter and energy, flow of intensification between ="trms">sortal processes, organisms, and minerals.


this is about how ="trms">matter is defined, in everyday ="trms">CG work


how certain kinetic skeletal ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs ="trms">naturalize the ="trms">relationships between volume and surface and skeleton ='lgc'>='lgc'>--> which is always ="trms">symbolic

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notes by other participants of the workshop='lgc'>:
http://pad.constantvzw.org/p/possiblebodies.sina.workshop

some post-workshop notes='lgc'>:

="trms">questions of='lgc'>:
="lsts lst1">•="trms">causality='lgc'>: how ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig-thinking can help to have a better understanding of ="trms">causal ="trms">relationships between the ‘moved’ and ‘mover’='qstn'>?
="lsts lst1">•control='lgc'>: how can we have a more ="trms">interesting ="trms">ontology of constraints that allows more ="trms">interesting ="trms">articulations of control='lgc'>='lgc'>---(that one-way flow of influence between the soft and the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid)='qstn'>?
="lsts lst1">•process and becoming='lgc'>: how the ="trms">technological ="trms">nature of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig and its ="trms">relations with the image of the organism in ="trms">CG can be ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigged for a ="trms">different ="trms">articulation of the lived-body='qstn'>? and to which extend the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig can be helpfull to think about the becoming of the beings-of-the-="trms">CG (that means='lgc'>: hacker ='lgc'>+ 3D model)='qstn'>?
="lsts lst1">•identity='lgc'>: How within an industry such as Pixar, deeply invested in what is a feeling and ="trms">affectious living characher, a whole new set of ="trms">technologies and ="trms">ontologies must be made and destroyed, learned and unlearned, for a ="trms">different ="trms">question of identity='lgc'>: what is a living thing='qstn'>? how ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig ="trms">matter in a ="trms">world that is made of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs that make ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs for beings to ="trms">articulate themselves in, through, and with them='qstn'>? inventing and being invented by them
="lsts lst1">•model='lgc'>: animation='lgc'> = life; asking what brings us to life, makes us alive='qstn'>? (what we animate and what animates us)
="lsts lst1">•="trms"nttrm="already,spread">reading and space of the text='lgc'>: the practice we did with pop-up-="trms">book making, a joint page of a ="trms">book when opened wide, the meaning and influence of the ="trms"nttrm="already,spread">reading animates itself like a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig, coming into movement, flow and inflow as the result of the muscular skeletal ="trms">gesture of a “="trms"nttrm="already,spread">reader” who has two hands='lgc'>: mechanical ="trms">animacies of the act of ="trms"nttrm="already,spread">reading set in time and space by the “="trms">writer”
="lsts lst1">•which ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs='qstn'>? (with ="ppl">Strathernian ="trms">rhetorics) ='lgc'>='lgc'>='lgc'>---- ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rig-making practices are ="trms">ontological ="trms">technological choreographies that (in the case of ="trms">CG) make mesh ="trms">matter='strcls'>*='lgc'>='lgc'>='lgc'>='lgc'>-----they are involved in ‘making mesh flesh’


='lgc'>[14.05.2017='lgc'>]

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="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig='lgc'>: a higher-level description of the motion of the part (of mesh) it is influencing (='lgc'>='lgc'>--> set of “bones” may not be hierarchical or ="trms">interconnected)
='lgc'>[a='lgc'>] simplified user ="trms">interface allowing animators to control often complex algorithms and a huge amount of ="trms">geometry ='lgc'>='lgc'>--> control the deformation of the mesh ="trms">data (='lgc'>=/= imitate real anatomy or physical processes)

="trms">modern ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging='lgc'> = hacking (in 3D softwares)

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Disney ='lgc'>='lgc'>--> body-ege='lgc'>: feeling good about oneself

(via) the playful mastery over ="trms">anthropo="trms">morphized machines


(="ppl">Rickels > Hanns Sachs='lgc'>:) the last time machines were used for play and not work was during the time of the ="trms">Greeks and Romans ='lgc'>: culture's value of the human body ='lgc'>='lgc'>==> machine used for amusement

='strcls'>**="trms">narcissistic investment (of ="trms">interest) in the body protects against sub="trms">mission to the machine='strcls'>** ='lgc'>='lgc'>--> conceived no longer as plaything but as his own prosthetic extension

movement of fantasmatization

to fantasize aggression='lgc'> = to turn it around upon oneself

guild='lgc'>: the currency of the father function

both genders (at the beginning) are phallically aggressive when it comes to mother


="ppl">Kafka and de Sade despised the body for its limitations and boundaries

body (which is always also the maternal body) comes only to its mutilation ='lgc'>[='lgc'>~ skinning='lgc'>], rebuilding, and reanimation ='lgc'>[="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig='lgc'>]


body has been left behind in the wake of its media-="trms">technical range ='lgc'>='lgc'>--> it can no longer be plugged back into any so-called ='strcls'>*sensorium='strcls'>* or ='strcls'>*corpus='strcls'>*


media ='lgc'>='lgc'>--> (from the point of view of) identification with the dead ='lgc'>[='at'>#="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig ='at'>#nonhuman='lgc'>]='lgc'>='lgc'>--> every medium acquires its only prosthetic aim on a target range of ='strcls'>*projection='strcls'>* and ='strcls'>*haunting='strcls'>*


media-="trms">technical innovation

3D animation industry ='lgc'>='lgc'>--> new modes of disposal of the dead
="prgrph">-not on the side of life


phantasm of the missing ="trms">child
(retro="trms">fashion and charge of ="trms">child abuse)
="trms">modern military ='lgc'>+ ='strcls'>*="trms">techno-mediatic expansion='strcls'>*

="trms">memory pictures
tableaux vivants


="trms">technologization
massification
teenagerization ='lgc'>='lgc'>--> totally SM, friendly, cool, into being popular

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the spaces between decent bodies

='at'>#waiting for render='lgc'>: ="trms">relations between hacker as organism and the computing ="trms">beast
what is being processed='qstn'>? ="trms">intra-actions of both CPU and gut.
='strcls'>*waiting for a slow render to finish, i used to enjoy the process. unfinished renders, slow computers, lag, and queer forms of waiting

='lgc'>[title='lgc'>]
/waiting bodies and slow computing
/="trms">differentiated constitutions of the waiting body and the nunhuman computational labor

com="trms">positional waiting ='lgc'>='lgc'>--> ="ppl">="ppl">Stewart's attunement

the labor of the CPU, the graphical ="trms">interfance, and the waiting body of the hacker are in an orientation (='lgc'>='lgc'>--> what am i asking here='qstn'>?)


(="ppl">Alberti='lgc'>: among the Matis) the practice of ‘curare watching’ (the hours spent observing the process in ="trms">excess of practical necessity) ='lgc'>["waiting,” looking at unfinished render...='lgc'>] is fundamental to the efficacy of the poison ='lgc'>='lgc'>--> the physical and mental experience of making something has an impact on its ultimate properties

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='at'>#a comparative software study='lgc'>: principles of ="trms">worlding in Maya/Blener, Softimage, Houdini

which de="trms">finitions are postponed='qstn'>?
="lsts lst1">•objective='lgc'>: that which is instantly defined
="lsts lst1">•subjective='lgc'>: that which its de="trms">finition is postponed

change='lgc'>--='lgc'>{time, space, ="trms">matter='lgc'>}='lgc'>='lgc'>-->
touch='lgc'>--='lgc'>{time, space, ="trms">matter='lgc'>}='lgc'>='lgc'>--> ="trms">data flow

in Maya
re="trms">presentation is postponed ='lgc'>='lgc'>--> subjective mode of Maya ='lgc'>='lgc'>--> an sculptura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ="trms">ontology='qstn'>?

in Softimage
the distinction between spatiotemporal modifiers is postponed ='lgc'>='lgc'>--> dynamics paradigm='qstn'>?
(the viewport partial renderer in Softimage is part of the ="trms">phenomenological experience of enacted ="trms">interface ='lgc'>=/= Maya's renderer pops up in another window) 4697942

in Houdini
the de="trms">finition of the onject is postponed

='strcls'>*which ="trms">differences are delayed in ="trms">different 3D software applications='qstn'>?
(the difficulties of clean ="trms">translation between them)

="large lg26" stl="font-size:125%"> (when I was working as a 3D genera="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list I always reworked the default scence, setting up ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs to begin with...)
begining with='lgc'>:
="lsts lst1">•void
="lsts lst1">•camera
="lsts lst1">•light
="lsts lst1">•chaos
="lsts lst1">•soup
="lsts lst1">•turtle's back
="lsts lst1">•absolute ="trms">geometry
="lsts lst1">•ornament
="lsts lst1">•


how the Latin ="trms">language in software ="trms">interfaces dominates the mode of thinking and conditions synthesis='qstn'>?
="lsts lst1">•how, for example, a ="trms">Farsi inhabiter might ="trms">craft a ="trms">different spatial synthesis in terms of a ="trms">different ="trms">linguistic ="trms">ontology='qstn'>?
='lgc'>[b ='lgc'>+ a='lgc'> = ba='lgc'>] ='lgc'>=/= ='lgc'>[آ ='lgc'>+ ب ='lgc'>='lgc'>='lgc'>~=> با='lgc'>] ='lgc'>{a ="trms">different effect='lgc'>}
="lsts lst1">•="trms">interface ="trms">question
="lsts lst1">•="trms">phenomenological ="trms">question
="lsts lst1">•in ="trms">Farsi the joint attachments undergo trans="trms">figuration, ="trms">different ="trms">viscous ="trms">relational property, adhesion refigured

what would be an ="trms">interesting ="trms">interface ="trms">question posed to each of the 3D softwares='qstn'>?

one ="trms">language ='lgc'>='lgc'>---='lgc'>{Bauhaus='qstn'>? De Stijl='qstn'>? nasta'ligh نستعلیق='qstn'>?='lgc'>}='lgc'>--to='lgc'>='lgc'>--> another ="trms">language

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painfully queer


='strcls'>*="trms">questions for my ="nms">ajayeb's ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs and pop-up ="trms">book='lgc'>:
my ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs and pop-up ="trms">book are descriptive concepts, that means='lgc'>: they obtain their meaning by reference to a particular physical ="trms">apparatus ='lgc'>='lgc'>==>='qstn'>? a constructed cut between the object and the ="trms">agencies of observation
="lsts lst1">•pop-up ="trms">book='lgc'>: an ="trms">instrument with fixed parts ='lgc'>='lgc'>==> concept of “="trms">position”
="lsts lst1">•="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs on the other hand tries not to ex="trms"nttrm="cluster,club">clude other concepts such as “momentum” from having meaning
='lgc'>='lgc'>--> ="nms">ajayeb's variables require an ="trms">instrument with moveable parts for their de="trms">finition (='qstn'>?)
='strcls'>*ex="trms">="trms"nttrm="cluster,club">clusions (= physical ='and'>& conceptual constraints) are co-constitutive='strcls'>*
='strcls'>*objectivity (= possibility of unambiguous ="trms">communication, boundry ="trms">articulations) ='lgc'>='lgc'>--> reference must be made to bodies in order for concepts to have meaning (='qstn'>?)='strcls'>*
="lsts lst1">•my ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs and ="trms">books are about how discursive practices are related to ="trms">material ="trms">phenomena

(='strcls'>*)="trms"nttrm="already,spread">reading='lgc'>: “text” is the ="trms">interface between the matrialization of “reality” and subjectivation of “="trms"nttrm="already,spread">reader” ='lgc'>='lgc'>--> inseparability of ="trms">language and reality in ="nms">ajayeb
(“We are suspended in ="trms">language in such a way that we cannot say what is up and what is down, The word ‘reality’ is also a word, a word which we must learn to use correctly.” Petersen < ="ppl">="ppl">Barad)

="nms">ajayeb's iterative processes of ="trms">materialization

عجایب نامه ='lgc'>=/= ="trms">imagined and idealized human-independent reality
="nms">ajayeb's ="trms">stories of ="trms">historically nunhuman people

in ="nms">ajayeb's descriptive ="trms">intra-actions with reality, humans and ="trms">language are part of the configuaration or ongoing reconfiguring of the ="trms">world, that is ="trms">phenomena


we cannot so easily answer where the ="trms">apparatus “ends”

="lsts lst1">•(but again, how can I answer) which ="trms">ontological practices are ="trms">embodied (or embeded) in (the productive and constraining dimension of regulatory) ="trms">apparatuses of my ="nms">ajayeb='qstn'>? (="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs, hypertext, pop-up, etc.)
="lsts lst1">•(resisting the anti-="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics legacy) how can I keep insisting on accountability for the particular ex="trms">="trms"nttrm="cluster,club">clusions that are enacted in (my) ="nms">ajayeb and taking up the ="trms">responsibility to perpetually contest and rework the boundries (of my objectivities)='qstn'>?


(='strcls'>*)effect='lgc'>: marks left on the ="trms">agencies of observation


enacted ='lgc'>=/= having
(="trms">agency is the ="trms">matter of enactment not something that one ‘has’)

(='strcls'>*)dis="trms">articulation='lgc'>: the ="trms">question of who/what gets to be ="trms">imagined (and in which way)


(="ppl">="ppl">Barad's sentences are long in a way for the ="trms"nttrm="already,spread">reader to feel all those particular words in one breath)


(in medical practices) the machine becomes the ="trms">interface between the objectification of the spacific body under experience (for example the fetus) and subjectivation of the ="trms">technician, physicianm engineer, and ="trms">scientist.

...some ="trms">ontologies='lgc'>:
="lsts lst1">•classical rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list='lgc'>: ="trms">posit some fixed notion of being that is ="trms">prior to signification
="lsts lst1">•="ppl">Kantian transcendentalism='lgc'>: being completely inaccessible to ="trms">language
="lsts lst1">•="trms">linguistic monism='lgc'>: being completely of ="trms">language
="lsts lst1">•="ppl">="ppl">Baradian ="trms">agential realism='lgc'>: ="trms">phenomena are constitutive of reality


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kinetic, energies expressed in variables


="trms">integrated de="trms">finitions='lgc'>:
="lsts lst1">•movements of an isolated body
="lsts lst1">•in detachment with the rest of the ="trms">world
="lsts lst1">•linear function of time
="lsts lst1">•all energy is kinetic
="lsts lst1">•value of “potential energy” is zero


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="trms"nttrm="metaph,metamorph,metabol,metal">metal="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurgy concerns ="trms">matter in movement

="trms">matter-flow

="large lg34" stl="font-size:128%"> what about the 3D hacker='qstn'>? what is in flow='qstn'>?

form is ever-emergent ='lgc'>=/= pre-determined ='lgc'>='lgc'>-->='qstn'>? default

="large lg38" stl="font-size:128%">
='lgc'>[="ppl">Alberti on northwest Argentina first millennium ceramic vessels:='lgc'>] potters’ bodies were shaped irrevocably by their ="trms">skilled practice
objects they made were never complete ='lgc'>='lgc'>==> they were aligned with others’ concerns ='lgc'>='lgc'>==> they were drawn into potters’ ="trms">social identities ='lgc'>='lgc'>--> into the ="trms">category of potter


='strcls'>*="trms">skill and ="trms">ontoloical risk ='lgc'>[='lgc'>='lgc'>--> ="trms">question at ="trms">CG artist='lgc'>]
="prgrph">-becoming subject to the processes they are involved in ='lgc'>--(this commitment)='lgc'>='lgc'>--> involves them in both the task and its ongoing ="trms">material consequence

="trms">skilled practices ="trms">situated as the mediator between one realm and the other ='lgc'>=/= (in Amazonia) where ="trms">natural and cultural processes are not distinguished in the same way, ="trms">skill is conceived far more broadly and is not an ex="trms">="trms"nttrm="cluster,club">clusively human capacity
(for Kuna) ='lgc'>[='strcls'>*='lgc'>]="trms">skill='lgc'>: a mark of the maker's openness to alterity, learned in dreams from ="trms">animals that lost the ability to perform those activities in mythic times, it not only acts upon surfaces or moulds forms; it also transfers qualities


="trms">skill ="trms">matters (='lgc'>=/= gauge of ="trms">technical action applied to raw ="trms">material='lgc'>--like the case of The Magicians)

hackers and potters
(potters’ identities were vulnerable, how about hackers after a millennium='qstn'>?)

="trms">CG artist's ="trms">intervensions in 3D ="trms">materials (concidered active)

(we are living in) an inconstant ="trms">world in which ="trms">materials (in="trms"nttrm="cluster,club">cluding computers='qstn'>?) were lively and equally capable of subjectivity

(conventionally conceived) polygon modeling='lgc'>: reproducing, or re="trms">presenting a mental image of a completed body-pot

='strcls'>*='qstn'>?how ="trms">CG artist can learn, like La Candelaria potters ='strcls'>****to take part in an ="trms">aesthetics of care that is also a ="trms">response to the threat of the inconstancy of all forms='strcls'>****, ="trms">responding to perturbations in the movement of ="trms">materials, to in="trms"nttrm="cluster,club">clude knowl="trms"nttrm="knowledge,Knowledge">edge of its inconstancy and of ="trms">materials always capable of subjectivity
(this is significant for ='mywrk'>my research on ="nms">ajayeb, due to the ways ="nms">iranian culture is attracted to the image, and my self to ="trms">CG and digital form making)

my ="trms">relationship with the digital (="trms">articulated with ="ppl">Alberti='lgc'>:) that body-polys (body-pots) are ambivalent ="trms">responses to the threat of inconstancy in a ="trms">world wherein forms (like statues of myrtle) were only ever apparent ='lgc'>='lgc'>--> each making of a body-poly (or pot) is a performance and an improvisation, unscripted and therefore cab go wronge
='lgc'>[="ppl">Alberti ='lgc'>+ Budden ='lgc'>+ Sofaer ='lgc'>+ Ingold ='lgc'>+ Hallam='lgc'>]


3D model='lgc'> = partial subject

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in Maya particles are as little ping-pong balls ='lgc'>--='not'>✕='lgc'>='lgc'>--> relativity theory destroyed ='thdf'>the idea of consistent objects
='lgc'>='lgc'>--> extreme forms of realism



Hitchcock's vertigo effect ='lgc'>='lgc'>--> a tool i built years ago='lgc'>: https://www.highend3d.com/maya/script/vertigotool-for-maya
="trms">simultaneously ="trms">zooming and pulling away ='lgc'>: we apear to be in the same place, yet the place seems to distort beyond our control ='lgc'>==reestablishing='lgc'>='lgc'>==> the way we experience “here”
the vertigo tool doens't do away with human experience, it drastically modifies it in a dizzing manner
='lgc'>='lgc'>--> a d="trms"nttrm="danger,stranger">angerous knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">zoom lens tool, a vertiginous antirea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list/anti="trms">literal ="trms">abyss (='lgc'>=/=='qstn'>? irony device ='lgc'>='lgc'>==> ="trms">presenting us with intimacy with existing nonhumans)

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='at'>#="trms">veil
='at'>@="frds scrmbld">Janina
='at'>@="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Ale


Nicole ="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>: ‘textile’='lgc'>: a ="trms">material formed at the ="trms">intersections of desire and ="trms">modern politics
="lsts lst1">•textile's ‘textility'='lgc'> = texture
="lsts lst1">•textile's ‘textuality'='lgc'> = ="trms"nttrm="already,spread">readability

to be prepared to address ="trms">relations consistencies ='lgc'>='lgc'>==> (hope to) meaningfully reform them

='strcls'>*(="ppl">="ppl">="trms"nttrm="search">Archer lingering in the textile's volatile gum) to develop forms of critique that can account for the peculiar textiles ‘we’ are currently wrapped-up in='strcls'>* ='lgc'>[globalized economies, militarized laboratories, etc. (BioSteel and so on)='lgc'>]

="large lg30" stl="font-size:126%"> text ='lgc'>+/& textile
="lsts lst1">•in ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='lgc'>: the ="trms">social fabric, the ="trms">Internet, the ="trms">Fold, etc.
="lsts lst1">•in myth='lgc'>: Arachne's textiles, or Penelope's epic loom
='lgc'>}='lgc'>--='not'>✕='lgc'>='lgc'>-->='qstn'>? to account for neo-liberal and transgenic subjects

(traditionally='lgc'>:) textile (racialized and gendered, as “woman's work”) “='lgc'>=/=” text

='strcls'>*fabric conditions and binds our desires and bodies ='lgc'>='lgc'>---='at'>@="frds scrmbld">Janina

(="ppl">="ppl">="trms"nttrm="search">Archer >) Gernreich exposed how the ="trms">fashion ="trms">system ="trms">instrumentalized the body's desire to move” while inscribing it within the time-sig="trms">natures of ="trms">modern capitalism

uniform='lgc'> = contemporary ="trms">fashion's other

digi-camo (redesigned and digitally remixed camouflage fatigues worn by the US military)

desire for “freedom” and for alternative temporalities ='lgc'>+ desire for discipline and physical restraint
='lgc'>}='lgc'>='lgc'>--> ='strcls'>*tight spaces our desires are prone to work themselves into='strcls'>*

textures and taxonomies of ="trms">fashion and uniformity

Abu Ghraib ='lgc'>='lgc'>--> (in the pursuit of a) ="trms">perverse desire for justice (a desire that many feel is best met in the violent erasure of certain subjects)



(let's) stop pretending that “we” weren't al="trms"nttrm="already,spread">ready caught-up in the messy circuits of desire

“='lgc'>[...='lgc'>]="ppl">Freud's figure of the woman who has nothing better to do than but braid her pubic hair into a futile simulation of the phallus, and who (="trms">interestingly enough) accidentally invents weaving as an outcome of this inherently fetishistic ="trms">gesture” (="ppl">="ppl">="trms"nttrm="search">Archer > ="ppl">Barthes > ="ppl">Freud)


Gernreich working with “the future” as a medium and not as a destination='strcls'>***
="prgrph">-he was keen to work with ="trms">fashion as a ‘time-based medium’(='lgc'>~ deliver us ="trms">onto alternative temporalities)

='lgc'>[='strcls'>*='lgc'>]="trms">fashion='lgc'>: a distinctly ="trms">modern clothing regime engineered to ="trms">materially manipulate “the ="trms">past” so it may serve as a springboard into “the time to come”, an attempt to create the perfect tension between “="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right now” and “back then” ='lgc'>='lgc'>==> (="trms">fashion serving as one of ="trms">modern culture's main engines catapults the wearers) towards a time and place where ="trms">present-day problems can no longer reach them and unknown pleasures are made manifest ='and'>& continually converting the erratic power of our desires into a kind of motion that can be effectively capitalized upon

(brackets and bracelets)

...momentary and marvelous sensations of free fall (by way of design)

="frds scrmbld">Janina's wardrobe malfunctions

='strcls'>*the fine line between sexual liberation and sexual exploitation (in Space 1999 and ="ppl">="ppl">Star Trek uniforms)='strcls'>*
(="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>:) “="ppl">="ppl">Star Trek's futuristic costumes assert their ‘other-="trms">worldliness’ by emphatically exposing as much of a woman's body as possible to a relatively prudish American public during the peak of the sexual revolution. Theiss’ garments were ="trms">literally devised to slip back into the legacies of shame that had heretofore defined the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of sexual ="trms">difference and the litany of unequal gender ="trms">relations that followed.”

() the artist and his muse (typically gendered image of the ="trms">fashion designer and his model) ='lgc'>='lgc'>--> based on the classical notion of an unhampered and ="trms">naturally feminine ground of conception ='lgc'>=/= masculine drive to be “creative” ='lgc'>: (old notion that) “woman is the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ='lgc'>='lgc'>==> it is up to man (Gernreich) to be o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal” ='lgc'>='lgc'>--> to re="trms">fashion feminine mater-iality into more meaningful forms

easily inscribed and ="trms">veiled shame of nudity

='strcls'>*hyper-exposure='strcls'>* and ='strcls'>*self-consciousness='strcls'>* (aimed at the shame ‘we,’ who live within ‘the cultures of the textile,’ are possessed by)

...deep-seated knowl="trms"nttrm="knowledge,Knowledge">edge that the textile leaves us continually and hopelessly exposed


='strcls'>*our need to be forever wrapped-up in the text/ile='strcls'>* ='lgc'>: endlessly bound by the perpendicular, criss-crossing of one another's desires and the ‘significances’ we ascribe to such satisfying pre="trms">dictability


textile screens

textile’s discursive usefulness='lgc'>: its ability to support and exploit the image of our “alternative” identities

(="ppl">Lacan's) objet petit a ='lgc'>: prediscursive, meaningless thing’


textiles (and the clothing shaped from them) are not “convenient things” that help curtail or discipline our desires (by properly ="trms">veiling them), rather, they are the very object cause of our desire

capturing and suspending our desires in fabricated flights of fancy ='lgc'>=/= a sieve (alak) to pass through ="trms">onto places unknown/unknowable



="trms">embodied politics of impropriety

rethinking how ‘the body’ is typically ="trms">interpolated, along temporal lines

the medium of the textile (='lgc'>='lgc'>--> ="trms">fashion's main medium ='lgc'>='lgc'>--> th="trms"nttrm="already,spread">read of sexual ="trms">difference running through this fabric)

...styles that are not pre- or over-determined by a dua="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic form of sexual ="trms">difference

sartorial scheme

abstracting the concept of ‘the body’

attire

(more) body's ="trms">social ranges of movement
(more) flexible corporeal ="trms">aesthetics and ="trms">articulations


='lgc'>{Edie's odd,protracted sleeves of her dress in Warhol's ICA exhibition 1965='lgc'>} the surreal transformation of a woman's arm into a pachyderm's long, wily, and ="trms">authority-defying appendage...


the conventional and deeply gendered notion that ="trms">fashion is “='lgc'>[ephemeral='lgc'>], frivolous, relegated to the domain of the feminine and the body, as opposed to art, which ='lgc'>[is='lgc'>] deemed ='lgc'>[eternal,='lgc'>] masculine and placed in the sphere of the mind and psyche” (="ppl">="ppl">="trms"nttrm="search">Archer > Geczy and Karaminas)

and='lgc'>='lgc'>--> ="trms">intertwining of ="trms">fashion and art has long been regarded as absolutely key to the production of the ="trms">modern ="trms">social fabric='lgc'>--intended (like the warp and weft of a textile) to remain discreet, always perpendicular

="trms">modern ="trms">aesthetic theory ='lgc'>='lgc'>--> contradictory structure of ="trms">difference of “="trms">fashion ='lgc'>=/= art” ='lgc'>: “="trms">fashion design='lgc'> = art's constitutive other” (= that mode of creative production that is beholden to the ="trms">market and to the manufactured whims of the ="trms">embodied, ="trms">consumer passions ='lgc'>=/=='lgc'>{ art's singularity, extraordinariness, ='lgc'>[="ppl">Nietzschean ethics of='lgc'>] standing alone ='lgc'>='lgc'>==> timeless or universal knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>=/= ‘everyday culture'='lgc'>})

radical beauty of the quotidian

mundane ="trms">material culture is repeatedly ='strcls'>*elevated='strcls'>* and “="trms">translated” into art ='lgc'>='lgc'>--> “losing its place within lived reality ='lgc'>='lgc'>==> to become critically meaningful” ='lgc'>=/= (Gernreich's) art and ="trms">fashion critically transformed so that they run parallel and start to resonate with one another

(for ="ppl">Benjamin) ="trms">translation ='lgc'>[='lgc'>='lgc'>~= criticism='lgc'>]='lgc'>: allowing (="trms">translatior's) ="trms">language to be powerfully ="trms">affected by the foreign tongue ='lgc'>[='lgc'>=/= preserves the state in which (="trms">translatior's own) ="trms">language happens to be='lgc'>]
="prgrph">-to transform “the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal” text/thing through the medium of the other, echoes that are produced in the space that opens up between an “o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal” and “secondary” text ='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]="trms">translation='lgc'>: inconsequentiality of o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal/secondary separation
='lgc'>--Gernreich='lgc'>='lgc'>--> to make clothes in-between art and ="trms">fashion (now and the future, the self and the other)


it-girl

Beatlesque escape

new paths that young people are charting requires clothes



(="ppl">="ppl">="trms"nttrm="search">Archer is making me ="trms">interested in ="trms">fashion by helping me go through the) economic and scopophilic grains of the ="trms">fashion industry

='thdf'>the idea of the ‘new look’ absolutely dominating the ="trms">fashion s="trms">cene during the mid 21st century
‘new look’ ="trms">fashion strictly obeying the laws and divisions of optically delineated ="ppl">Cartesian space, and its attending ="trms">epistemo-="trms">ontologies and political economies (-="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>: the proportions of Dior's famous silhouette absolutely required that one always take a well-heeled “step-back” in order to comprehend themselves in a mir[...]