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



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



="large lg2" stl="font-size:111%"> ="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

="large lg6" stl="font-size:113%"> 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'>]

="large lg1" stl="font-size:140%">
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

="large lg6" stl="font-size:116%"> 3D animation industry ='lgc'>='lgc'>--> new modes of disposal of the dead
="prgrph">-not on the side of life


="large lg6" stl="font-size:103%"> 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

="large lg10" stl="font-size:109%"> 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)

(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'>~=> 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


="large lg14" stl="font-size:119%"> ='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

what about the 3D hacker='qstn'>? what is in flow='qstn'>?

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


='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'>]

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'>*

="large lg3" stl="font-size:110%"> textures and taxonomies of ="trms">fashion and uniformity
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