fieldnotes
relational modes, real and imagined
i. Exquisite Corpus performance
ii. A language of lines
iii. Sprouting -- Hexagram 3 -- First I CHING reading of 2024
iv. diagram
v. Studiomate
vi. except from the Twofold Commitment by Trinh T. Minh-ha
vii. Scan of the wild, Tepoztlán mountains
physical manifestation of my speculative robotics series (ongoing)
Still entranced by the tactility of rapid prototyping, visual properties of clear resin. Maybe glass next?
Title: #kathyacker
Image: Resin print of sculpture created in #VR
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Inspired by xenobots-- constructed of frog cells, computational organisms. Machines made of silicon with proto-cognitive capabilities.
How might these nano-organisms "think" differently -- think alongside our own wetware, differently? And what role does anthropomorphism have in our ability to conceive of such inventions?
.modelled in VR, converting to AR prototype for a physical build soon
Inspired by the materiality of the Mantis shrimp. A research process of energy conservation through it's internal geometric structure. (elastic to kinetic energy conversion through bio-mimicy)
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.modelled in VR, converting to AR prototype for a physical build soon
// my last performance of Exquisite Corpus with D.O.U.G._4 //
I sometimes wonder what the next performance will be like, after a year of lockdown. Exquisite Corpus was the first time I brought in biometric data into the work. my heart rate and brainwave data were linked to the surrounding visual environment at various stages. Electromagnetic field recordings from D.O.U.G._4 were included in the score as well. An exploration of human and machine gestures, and bodies, in collaboration. On view.
I wonder if it would feel different after these waves of pandemic distancing?
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#exquisite_corpus#drawingwithdoug#humanmachinecollaboration#drawingwithdoug
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People sometimes ask me how drawing with D.O.U.G. has changed my process.
Here's and image of me preparing some installation drawings (#chiaro_oscuro) from a decade ago. Breaking out from software into gesture, back to drawing, space and tactile form felt revelatory then; more real than what I could make on screen. Craving the materiality of paper, and maybe the finality if it too.
The encounter with the machine other, a non-human responsive drawing unit I develop with code, data, and time.. that is an exercise in navigating uncertainty, fumbling with error states, imperfections, and sometimes existential horror. I think that's what keeps it interesting though.
It's been 10 years and many experiences, robots, and apparently a global catastrophe in-between then and now, but I think the cravings, the resonance with the tactile, gestural and spatial is the same.
// Does it have to exist in the world to be real? //
#drawingoperations#drawingwithdoug#SougwenChung#chiaro_oscuro#projectionmapping#performanceart#sougwen
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Building interactions implies sovereignty, detachments disguised as world-building-- God-mode.
vs Building (inter)Relation. Implies inclusion, " I" is situated within the relation.
Dynamics of relations -- equitable relationships, requires trust and necessitates attachment, recognition, collaboration. "I" invests in "we".
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"This flood of convergences, publishing itself in the guise of the commonplace. No longer is the latter an accepted generality, suitable and dull no longer is it deceptively obvious, exploiting common sense-it is, rather, all that is relentlessly and endlessly reiterated by these encounters. On every side the idea is being relayed. When you awaken an observation, a certainty, a hope, they are already struggling somewhere, elsewhere, in another form.
Repetition, moreover, is an acknowledged form of conscious ness both here and elsewhere. Relentlessly resuming something you have already said. Consenting to an infinitesimal momentum, an addition perhaps unnoticed that stubbornly persists in your knowledge.
The difficulty: to keep this growing pile of common places from ending up as dispirited grumbling-may art provide! The probability: that you come to the bottom of all confluences to mark more strongly your inspirations."
#poeticsofrelation#edouardglissant#ecologiesofbecomingwith#wildlife#augmentedreality#virtualperformance#virtualreality#bihua#iching
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¹ Still from a private performance in a Mexican jungle
² grasping SECOND NATURE, AR experiments in Lockdown
³ drawing a memory
⁴ excerpt from Anna Anlin Cheng's Ornamentalism
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" What happens to our notions of the subject when carnality is cultivated not out of flesh but from its fusion with inorganic matter? What happens when we accept that style, mediated through yet detached from a racial referent, may not be simply the excess or the opposite of ontology but may in fact be a precondition for embodiment, an insight that challenges the very foundation of the category of the human?"
feat. Drawing Operations (robotic) Unit, Generation 4
Paintings as sound compositions
Referencing John Cage's Fontina Mix, 1958, a provocation for "musical scores of indeterminacy", these experiments were created in collaboration with D.O.U.G._4, with contact mics recording real-time sound feedback on canvas.
