[...]ons 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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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
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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”
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="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.
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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[...]