Dictated Talk on Mocap/ture http://www.alansondheim.org/throughput1.png https://youtu.be/NTEM5gy7DyE http://www.alansondheim.org/throughput2.png http://www.alansondheim.org/throughput3.png What I want to do here is to try to generate an outline of thinking about motion-capture. Motion-capture or mocap is a way of articulating the movement of human beings within a computer or formal framework. There is a mapping that goes on between the movement and the formal framework. It is within this space this mapping that different sorts of Transformations can be made, Transformations that allow you to consider an organism in general as a supple or motile entity that need not have any relationship to being human. In order to do this different sorts of mappings are used. For example you can assign random nodes to different parts of the body. Or you could do different types of mapping by changing the topological framework of the application. Another thing you can do is split the nodes among several bodies. If you do this the nodes could retain their articulation of the standardized human body. Or they could also be placed within a more supple and organic topological framework. Finally given all of these possibilities there is the moment, there are the movements of the body itself or bodies themselves to be considered. The bodies can be placed Within a formal and standard framework of how a body moves. The bodies can be placed within a framework of untoward or difficult or imaginary body movements. Or the bodies can be placed within a communal setup if there is more than one body and such a communal setup allows you to have movements between the nodes that you have already assigned. Working with all of these transformations, a situation in which you can literally construct new types of organisms as if you are entering new types of worlds. It's in this area, an area that I call edgespace that you can construct the imaginary - this construction - the imaginary is something I think of as a projection into the unknown or a projection into new types of spaces that are in dialogue or dialectic between oneself and the computer. This is the way of constructing art, a way of making things that go beyond you and beyond the machine itself. They go within a situation or a habitus that is - but what I want to do here is to try to generate an outline of thinking about motion capture or mocap is a way of articulated the movement of human beings within a computer or formal framework. There is a mapping that goes on between the movement and the formal framework. It is within this space that is mapping the different sorts of transformations that can be made, transformations that allow you to consider an organism in general as a couple or model that need not have any relationship to being human in order to do this. Different sorts of mapping are used for example you can assign random nodes to different parts of the body or you can do different types of mapping by changing the topological framework of the application of the nodes, in other words the mapping itself within a formal system. Another thing you can do is split the nodes among several bodies. If you do this again the nodes could retain their articulation of the standardized human body or they could also be placed with any more supple and organic topological framework. Finally given all of these possibilities there is the moment that there are the movements of the body itself or bodies themselves to be considered. The body, the bodies, can be placed within a formal and standard framework of how a body moves; the bodies can be placed within a framework of intrude (?) or difficult or imaginary body movements or the bodies can be placed within a communal set up, if there is more than one body, and such a communal set up allows you to have movements between the bodies that distorted mapping you have already. Aside from working with all of these transformations you get a situation in which you can literally construct new types of organisms as if you are entering new types of worlds; it's in this area, an area that I call edgespace, that you can construct the imaginary this construction the imaginary is something I think of as a projection into the unknown or a projection into new types of spaces that are in dialogue or dialectic between oneself and the computer. This is the way of constructing as a way of making things that go beyond you and me on the machine itself, they go with in a situation or a habitation that is unique and exploratory, more like a laboratory than a finished work of art. So all of this in a way is a kind of generator of networks that is on the way to be coming something but it is the becoming itself that is critical - the art is in the becoming, not in any final product or stations that is why failure is acceptable within all of this. In this manner failure itself is raised to the level of something to be sought, something to be learned from. This is different than trying to construct a formal work of art or a finished work of art. We don't do that. We try, we try to work, we try to work on the edge of the possible. The edge itself becomes part of the psychological topology of what we're doing. In this way we're entering unknown territory. In this way correction, in this way we're constructing even here the resemblance of a theoretical text based on the speaking body instead of a final and closed off circumscribed piece of writing. Thank you. _______________________________________________ NetBehaviour mailing list NetBehaviour@lists.netbehaviour.org https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
