[...]ms 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'>--> ='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.
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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.)
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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'>--> 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'>---(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'>---- ="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'>-----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'>--> 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'>--> 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'>--> body-ege='lgc'>: feeling good about oneself
(via) the playful mastery over ="trms">anthropo="trms">morphized machines
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(="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'>==> machine used for amusement
='strcls'>**="trms">narcissistic investment (of ="trms">interest) in the body protects against sub="trms">mission to the machine='strcls'>** ='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
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both genders (at the beginning) are phallically aggressive when it comes to mother
="ppl">Kafka and de[...]