[...] is a discontinuous and non-totalized series of processes, organs, flows, energies, corporeal substances and incorporeal events, intensities and durations, a surface of intensities: *pure simulacra without originals*


erotogenic zones, sexuality, Freud, auto-erotic internalization, clinamen

(the formally female cyborg / techno-monster of the Ghost in the Shell:) the (masculinist) fantasy of leaving the body behind and reconstituting it as a a technical object under human control as both a desire for perfect knowledge and total power and at the same time as a way of escape... [Christian Hubert] #Haraway
•the question of the “soul” is read as the question of (certain technology of) power over bodiess

(traits of) cyborg:
1. boundary transgression
2. the recognition and re-scripting of myth
3. simulations of identity
4. coalitions of affinity


reembodiment of intelligence


Hubert > Serres: “My body (I cannot help it) is not plunged into a single, specified space. It works in 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 communicates in a third; and so forth, as far as one wishes to go. Euclidean space was chosen in our work-oriented cultures because it is the space of work--of the mason, the surveyor, or the architect. [...] My body lives in as many spaces as the society, the group, or the collectivity have formed: the Euclidean house, the street and its 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 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 intersection or the junctions of this multiplicity.” (Hermes, pp 44-45) (@Aela)

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(feminist open-source --✕-->?) 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 different relationship with interference and parasitism
•how and when a concept becomes black-boxed? by which processes?
@Sven: what matters is the input/output, stimulus/response [--> “black-box of the beyond” (#zolmat writing)] --> transfer characteristics, data-flow, the ontology of the “internal working” : “open” exchanges inforamtion about its interactions }--> open-source is part of the tradition of anthropocene system thinking: network synthesis, system engineering, theory of the organism, evolutionary theory, thermodynamics, and world system perspective

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what are the nodes of energy in interdigitalities intra-actions in human-machine relations?

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

technologies of descriptive practices
technology is descriptive practice
technology: anything describable as a technology --> idiom اصطلاح

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[title]
age of stone, and stories for computers

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(#workshop in Stuttgart 11.04.2017 with Femke http://pad.constantvzw.org/p/possiblebodies.rigging)
provisional sketch for a workshop on “Rigging,” notes and nodes


on the notion and practice of Rig in CG
(CG as in “computational gesture”)

[title]
on Rigging and skinning: stories for cultivating creation and creatures of the industrial empire.
a practice in: rhetoric of technical reasoning in inorganic skeletal animacies.


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


KEYWORDS: soft bodies, skin, skinnig, Rig, Rigging, unwrapping, fold, CG, animation, locomotion, kinectics, skeleton, mechanics, interface, technology,


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

whenever you give a definition (a metaphor, a concept) and work with it, and find yourself committed to certain findings, tracings and meanings because of that: you are working with a Rig. that is to say: Rigs are definitional structures, not arguments themselves, but their conditions.
then the question would be: when do you know that it is time to dismantle a Rig? how to recognize, learn to reuse or repurpose old Rigs?

in CG the business of Rigging and Rig-making is handed to the engineering talent and point of view, it has made a pure 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 crafted in their bodies the subphylum vertebrata, a terrestrial 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 Rig by محمد عبدالله
eqFUnFPcuwg

an Optimus Prime transformation Rig by Eske Yoshinob
VDrAzeNS2pk?t=28

(strictly) possible tranformational arrangements

how a being is Rigged into transformational particularities
in this sense, the question of the Rig is ontoloical, specially in a world populated by devices and techniques, interfaces and folds upon folds, constructions that do things for another constructions, Rigs that translate

kinematic equations, inverse kinematics, the math of it is called the Jacobian inverse 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 position for each of the robot's end-effectors. 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
{\frac  {\partial p_{i}}{\partial x_{k}}}\approx {\frac  {p_{i}(x_{{0,k}}+h)-p_{i}(x_{0})}{h}}

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Maya's interfacial iconograhies

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how do we animate quadrupeds, invertebrates,[...]