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  • manuellnon 4:54 on 7 July 2016 Permalink | Reply
    Tags: , , , , machine,   

    Unit 2 

    Here we are, at the end of the course. This post will try to summarise the development of my practice-based research over the two years.

     

    unit2

     

     

    Looking at my first proposal I have to say I’m satisfied with both what I kept and what I put aside.

    The working title was ‘The real world isn’t real at all’ and I guess it was as a short statement for what I later developed in the research paper last autumn. It focused on the disillusion in separating the concepts of ‘physical’ and ‘virtual’, while affirming how the first is as much ‘real’ as the second, but it also underlined my dedication in blurring the lines between the two.

    Playing with ‘reality’ is a recurrent habit of mine, I’m not sure how effective for most of the times but I’d say it definitely appears as a leading theme. This could be seen in the live music selection I did for the interim show, playing with the synthetic voice of a Vocaloid avatar, or in staging a disrupted database of a fictional Ukrainian city.

    What is ‘real’ if not just the perception you have of yourself and what surrounds you? There is no truth, just versions.

     

     

    In my first proposal I also mentioned to ‘investigate new forms of social relations’. In terms of relationships this master has been great. I definitely met some amazing artists and built great friendships. Which is fundamental to establish, expand and evolve networks based on sharing knowledge.

    Also because of creative networks, I ended up being part of a marathon at the Serpentine Gallery with some fantastic people interested in the most social aspects of collaboration, a great thing (still can’t understand how that happened though).

    Cool, this post is starting to sound like the diary of a teenager so I’ll just stop before posting a picture of a unicorn and try to move on some more constructed reflections.

     

    Thinking of social aspects, networks and collaborative practice, I have to mention the main project I did in the first year of the course: the Blob Village live set with Jack. It was incredible how quick something like this can ‘click’; a few chats and beers, an email to my homeland/colony/tribe/best place in the world (cox18) and we ended up doing a 2hours long visual live set with an interesting take on a ‘common ground’–relationship with technology, re-tribalisation, underground culture. I’d like to extend that same approach in the future to a project started months ago with some friends from the course, Phisherman’s Net, still an embryo of a possible successful collective (and main big thing to focus on after the course).

    I also related my work as much as possible with ‘communities’: both using content from internet places important to me in social terms, but also experimenting on social interactions – remember Isabbel?

    This is why what I do finds its roots in subcultures before growing in many directions.

    I’ve always been concerned about knowledge-sharing and how the access to information in contemporaneity can be seen (and in some ways has to be) as the best tool in human history. It has its many downsides in being overwhelming and a source of collective anxiety. From a creative perspective it offers tools to generate something new out of pre-existent material, which opens questions of authorship and ethics, besides having to face obsolete structures and systems. A transformation of pre-existent material has been the method I employed in my whole research, but I believe is best expressed in the final piece.

    My focus has moved towards transforming content from places on the Internet that had a relevance for me: databases of communities related to underground cultures such as sound libraries for (mainly ‘bedroom’) music makers, MIDI files of guitar solos, Death Metal lyrics, cinematic-style special FX tutorials.

    I’ve reshaped all of this first into a series of sketches from found tribal tattoos, then into an organic stage for a performance, a living being named FAT UR BREED MACHINE with a (cyber)punk heritage.

    I think of these mutating forms even applied on collaborative entities, collective groups or platforms; another way to interpret the idea of ‘machine’, constantly recombining its elements – like a morpho-genetic evolution…

     

     

    And where does the newborn go from here? The net is vast and infinite.

    Major Motoko Kusanagi, Ghost in the Shell

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  • manuellnon 15:48 on 27 May 2016 Permalink | Reply
    Tags: , , machine   

    future breed machine update2 (infrastructure) 

    thinking about the display of my piece for the final show.

    the machine will be an A/V work in two parts: resting time and performance.

    during the resting time there will be a video loop and atmospheric sound, whereas the performance will take place every evening for about 20 minutes.

     

    here two ideas of how the video/sound could be displayed:

     

     

    1 – Triple monitor floor stand

    the central arm would be used as a screen mount and the speakers would be hanging on the two arms on the sides

    r3vTripleMount-800x800 gt-omega-pro-racing-simulator-supreme-rs6-seat-a17821-700x700

     

     

     

    2 (best) Dual screen back to back ceiling mount

    front side as screen side and back side would hang the speakers on a custom made support (lasercut DNA shape? / simple bar)

     

    image-14 image-13

     

     

     

     

    Extra: 3 I’ll be playing TrackMania while you can enjoy everyone else’s work
    1-video-game

     
  • manuellnon 17:58 on 19 October 2015 Permalink | Reply
    Tags: , , machine,   

    research paper 

    finally finished, here it is

    arrow

    Kowloon and the Walled Cloud.pdf

     

    (I would be happy to get some critical feedback, feel free to tell me I wrote a lot of rubbish)

     
  • manuellnon 18:41 on 1 October 2015 Permalink | Reply
    Tags: , , machine, ,   

    research paper #3 

    researchpaper3

     
  • manuellnon 1:21 on 9 September 2015 Permalink | Reply
    Tags: , machine   

    Future Breed Machine (Project Proposal) 

    Future Breed Machine

     

    The Future Breed Machine is a technologized organism composed by bodies, images and data.
    It is the physical trace left by the world of information, as well as the flesh of its cables and
    outputs.
    It embodies in the definitions of multiplicity and contradiction, as an aggregate of different
    identities and cultures.
    It lives on the boundaries of a visual culture collected through a new gesture of the human body:
    the practice of ‘scrolling the data feed’.
    Its shape contains a wide range of values, from geolocation coordinates to bank details.
    It is always interior, so extensive that you rarely perceive limits [1]”; at the same time it is epidermal,
    like a collage of melted skin textures.
    It is a complex system of biological and algorithmic operations.
    It has multiple features in space; it is an erected superstructure, an infrastructure and a smaller
    fully-equipped space entity moving through them.
    It is both a blueprint and a realised project.
    It can last through eternity and it is already a ruin covered in dust.

    1 – Rem Koolhaas, Junkspace, OCTOBER 100, Spring 2002, pp.175-190

     
  • manuellnon 18:00 on 29 July 2015 Permalink | Reply
    Tags: , , machine   

    camberwell summer show report 

    futurebreed01futurebreed03 futurebreed02

    ‘Future Breed Machine’ is a collection of elements stolen from google search, youtube, torrent archives and 3D models databases. I have been collecting series of ‘trends’ like burnout and green screen videos, dance music melodies (MIDI lines), tribal tattoos.

    My piece for this interim show is a proposal/sketch for next year; investigating how these elements spread across the web my aim is to create ‘machines’ melting together trends and attitudes into a visual organism (for the final show). The installation conceived for Camberwell was composed by six tattooed fake skin sheets, three carbon paper sheets and two tribal-shaped yoga mats. These sketches led me to collect material I will use in the video mentioned at the end of the previous post.

     
  • manuellnon 18:21 on 4 July 2015 Permalink | Reply
    Tags: , , machine, , ,   

    research paper tutorial #2 

    researchpaper1

     
  • manuellnon 3:07 on 23 June 2015 Permalink | Reply
    Tags: burnout, , dna, , , , machine, , , , summer show   

    tutorial 11.6.15 

    In light of the chat had with Jonathan last thursday, I am going to try to summarize my work and reflect on the different directions of my current projects. Looking back on the previous tutorial with Keir Williams, he outlined (and I pretty much agreed with him) that my research is generally going on a line about “transformation through material”, working on various series or sub-categories.

    1

    (I have never written about this on my blog but seems pointless now to keep it secret)

    The first line I would like to write about, started with stealing the identity of a facebook fake profile of a sexy girl named Isabel Travez – which presumably was an internet bot – who added me about an year ago. What I basically did was creating a parody, a similar looking profile and I added some friends “she” added in her short social network life (unfortunately the original account was deleted after several reports in a couple of days), changing my new profile’s name from “Isabel Travez” to “Isabbel Trave” – an italian urban translation of the term “transgender”. Well, to avoid misunderstandings, the whole thing had nothing to do with disdaining or representing a transgender in a bad way, rather it was a banal joke of twisting elements from the original profile and have random chat with people I didn’t know.

    bbggg

    I still don’t have any idea of how and why, but my profile caught attention by people from transvestite and trangender facebook communities, people with multiple profiles with the same name, a good amount of fake-looking profiles and 5-6 people from Saudi Arabia (?) – the week after I created that profile Isabbel received about 70-80 friend requests in one single night.

    Then I completely forgot about it for a few months until when I noticed that among her suggested friends there were many profiles of people involved in having an online “fictional” identity in many different ways (from rubber masks to cosplay, furry, kigurumi and so on), so I changed her name in “Isabbel Waters” – I guess didn’t want her to be recognisable as transgender –  and started a visual research, sometimes having the chance to chat with people involved in those practises. The concept of an avatar/costumed performance has been since then a nodal point in my research about materials, technologies and online places; so I bought a rubber mask and started uploading content on that profile, playing with hybrids, translating my masked identity on a 3D animated model of it and building a live music performance. That performance, tested on the Interim show we had last March was also about hybrids: I experimented on the transformation of bits of lyrics and sounds from Lee Perry’s song “People Funny Boy” into noisy and obsessive textures, also playing with different “layers” (or “ages”) of technology as I used an old telephone speaker as a microphone, guitar FX pedals and a software (Renoise) to build the live set structure and play random sounds exctracted from a library of samples from that Perry’s dub masterpiece.

    That’s pretty much the context and background of the first project line I wanted to reflect about on this tutorial session. The further developments of this will probably blend with a second line about 3D collages made with found objects (.obj files), a research more oriented on “machines” and materials rather than costumed identity, which also blends with what I am doing in music and sound (a third line?). Also, I am not that interested in wearing Isabbel’s identity at the moment.

    2

    I told Jonathan about a video I am working on, after collecting several “burnout” videos from youtube (stuff like this) and being interested in creating an animated representation of a DNA chain made of found 3D objects of cars, and I feel definitely excited about starting to work on it. That video might be also the starting point for a series of physical objects, as I have been obsessed with melted plastic materials for a while now (rubber and silicon from my research on masks but also polyester sculptures and found materials, engines or parts of car bodies), and I definitely miss messing up with DMX mixers, lights and smoke machines (I did some work as lighting technician for a while…).

    So, doing a series of physical objects would be both a starting point and a final output of my digital research about materials. These technologized materials also connects with my interest in flesh and skin (which I haven’t abandoned); here’s something I forgot to tell Jonathan, at the same time of this “burnout” smoke/DNA chain video, I am making some sketches for a (quickly realizable) series made of google-found tribal tattoos on fake skin sheets (there are some affordable complete kits on ebay) – this might be a solid idea for the summer show.

    I will write something more about my research in sound and music in a couple of days, and a few notes about a “secret” project that after one year and a half is getting to be completed…also I still have to write here about some ideas for the research paper…ouch

     
  • manuellnon 0:47 on 12 June 2015 Permalink | Reply
    Tags: , , , machine, transformation through material   

    notes #1 machines & hybrids 

    well, I haven’t been posting in the past weeks,
    here’s a series of notes and screenshots as a recap of what I’ve done (and collected) over the past two months:

    blog_machine01t

    water1

    blog_machine03t

     

    blog_machine02t

     

     

     
  • manuellnon 21:23 on 23 February 2015 Permalink | Reply
    Tags: andrea crespo, , machine, , , timur si-qin   

    about the machine 

    The Machine is a technologized organism, composed by flesh, images and data.
    It is the physical trace left by the world of information, the multitude of networks and the materiality of its cables and outputs.
    It embodies in the definitions of multiplicity and contradiction, as an aggregate of identities, cultures, objects and their interactions.
    It lives on the boundaries of visual culture collected through networks and its shape contains a wide range of values, from geolocation coordinates to bank details.
    “It is always interior, so extensive that you rarely perceive limits” [1]; at the same time is epidermal, as a collage of melted skin textures.
    It is a complex system of biological and algorithmic operations.
    It has multiple features in space; it is an erected superstructure, an infrastructure and a smaller fully-equipped space entity moving through them.
    It is both a blueprint and a realized project.
    It can last through eternity and it is already a ruin covered in dust.

     

    [2]

     

    Materials have tendencies and capacities of their own.
    They’re active, autonomous, they do what they wanna do.
    They’re self organizing, and they’re pregnant with morphogenetic capacities and potentialities.

    [3]

    1 2 3

    [4]

     

    hummer-view

    [5]

     

    [1] Rem Koolhaas, Junkspace, 2001 http://lensbased.net/files/Reader2012/rem+koolhaas+-+junkspace.pdf
    [2] Andrea Crespo, Parabiosis: Neurolibidinal Induction Complex, 2015 http://dismagazine.com/issues/72978/andrea-crespo-sis-parabiosis/
    [3,4] extracts from Timur Si-Qin’s presentation of Premier Machinic Funerary at DLD15 conference
    [5] Paul Barsch & Tilman Hornig, hummer view from New Scenario’s Crash, 2015 http://newscenario.net

     
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