[...]s, ="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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="large lg2" stl="font-size:110%"> 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


="large lg1" stl="font-size:120%"> (="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'>='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

="large lg3" stl="font-size:111%"> ='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'>?)

="large lg4" stl="font-size:111%">
(="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

="large lg5" stl="font-size:136%"> 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[...]