mercredi 30 septembre 2009
Affichage des projets - Vendredi 2 octobre au matin
Les :mentalKLINIK invitent les étudiants à afficher leurs projets sur la mezzanine de l'école ce vendredi 2 octobre au matin afin de rendre visible les travaux du Workshop et de pouvoir en discuter.
lundi 28 septembre 2009
:mentalKLINIK////Obscure Object presentation text
Obscure Object
1
We are here to produce neither a certain result, nor a final product. However, we are not aiming at an uncertain and play-like image which can be considered as opposite. We just intend to negotiate the limits that close the object, therefore to make the realization of object itself possible.
2
We are living in a world of obscure, uncertain, mysterious objects. We are surfing Internet where has already been a tremendous library in which knowledge seems to have a meaning anymore; we are logging in a friendship-site Facebook where friends are turned into relations and links and choosing one of the coded mode of relations.
We are buying already-outmoded products which are out of date even before use. Even image does not save the object. In the 21st century, image is replaced by network blockages. In the time of “butterfly objects”, appearing and in a moment disappearing without letting to experience, in the world of images and objects that are not aware of their non-living, we are following the possibilities that appear in this very moment.
3
In a world where consumers are considered as producers, and products are sold as beta-version, individualized; what do mediating these relations, keeping the distance between object and ourselves mean?
As distinction between producers and consumers no longer exists; their works are not products existing as discrete, complete packages; and their activities are not a defined form of production.
4
We are deliberately keeping away from a real encounter, getting closer and touch. How can we find a way to change our look and transform our relation into a real experience? How can we use our senses to understand the constructed on a different ground?
5
Can it be a meaningful attempt to feel the uneasiness of the object while coming closer to it? Rather more preeminently, does it make sense if trying to reach back side of such uneasiness, to the thing whose absence is concealed from us? Though may be inadequate and even wrong, one should try, even only one time, to save oneself from the pleasure of symptoms that we see in the object and to de-contextualize it. We need a misunderstanding. A misunderstanding that diverges from the mystery of the object. Only then, we can leave a legacy of possibility of true and valuable experience. We need an encounter that we can no more delay and an experience of understanding that questions our own mode of relations.
6
Rather than giving a short cut answer to the question “how can a real experince be material?”, it is necessary to circle it. As Benjamin said, it is necessary to catch the object’s disclosing itself at a moment and not to resist while drifting further to the center of this disclosure and shining.
You are expected to review your activities with the light of understanding presented and with the short texts read to you; and to create a language of transfer for the process of experience that you have gained as a result of creating slight differences in the activities.
7
We suggest to begin with rejection of usage and mode of receptions that objects themselves imposed on us; sending our questions and intense looks back to the world of objects and reflecting back from there with a new look; and making the doubt concerning objects’ mode of production and living, your starting point for your own production.
We do not expect to end this productive process with a concrete product. Rather in your presentations, every narrative and/or form which can be an abstraction of a certain awareness and critique will be considered as an end by itself.
8
If we try to abstract our own method which is itself a little bit concealed, we may say:
that “ (We are…) trying to know the object to the extent of our senses, thinking of its process of production and usage, considering the relations emerged around it, viewing its material and immaterial structure, differentiating its way of becoming. While doing all these, wandering within the moment when we feel congested, get confused and need to stop and take a breath, we aim at taking the keystone in the heart of obscurity.”
9
Just like a thesis with a negative conclusion does not lose its characteristic of being a thesis when it gives a systematic answer to the question that it rises; a production process operated with a correct method, though not brought forth a product, will also have valuable results. Consciously using senses with different configurations can be a significant entry point for “fragmenting the object through itself”.
1
We are here to produce neither a certain result, nor a final product. However, we are not aiming at an uncertain and play-like image which can be considered as opposite. We just intend to negotiate the limits that close the object, therefore to make the realization of object itself possible.
2
We are living in a world of obscure, uncertain, mysterious objects. We are surfing Internet where has already been a tremendous library in which knowledge seems to have a meaning anymore; we are logging in a friendship-site Facebook where friends are turned into relations and links and choosing one of the coded mode of relations.
We are buying already-outmoded products which are out of date even before use. Even image does not save the object. In the 21st century, image is replaced by network blockages. In the time of “butterfly objects”, appearing and in a moment disappearing without letting to experience, in the world of images and objects that are not aware of their non-living, we are following the possibilities that appear in this very moment.
3
In a world where consumers are considered as producers, and products are sold as beta-version, individualized; what do mediating these relations, keeping the distance between object and ourselves mean?
As distinction between producers and consumers no longer exists; their works are not products existing as discrete, complete packages; and their activities are not a defined form of production.
4
We are deliberately keeping away from a real encounter, getting closer and touch. How can we find a way to change our look and transform our relation into a real experience? How can we use our senses to understand the constructed on a different ground?
5
Can it be a meaningful attempt to feel the uneasiness of the object while coming closer to it? Rather more preeminently, does it make sense if trying to reach back side of such uneasiness, to the thing whose absence is concealed from us? Though may be inadequate and even wrong, one should try, even only one time, to save oneself from the pleasure of symptoms that we see in the object and to de-contextualize it. We need a misunderstanding. A misunderstanding that diverges from the mystery of the object. Only then, we can leave a legacy of possibility of true and valuable experience. We need an encounter that we can no more delay and an experience of understanding that questions our own mode of relations.
6
Rather than giving a short cut answer to the question “how can a real experince be material?”, it is necessary to circle it. As Benjamin said, it is necessary to catch the object’s disclosing itself at a moment and not to resist while drifting further to the center of this disclosure and shining.
You are expected to review your activities with the light of understanding presented and with the short texts read to you; and to create a language of transfer for the process of experience that you have gained as a result of creating slight differences in the activities.
7
We suggest to begin with rejection of usage and mode of receptions that objects themselves imposed on us; sending our questions and intense looks back to the world of objects and reflecting back from there with a new look; and making the doubt concerning objects’ mode of production and living, your starting point for your own production.
We do not expect to end this productive process with a concrete product. Rather in your presentations, every narrative and/or form which can be an abstraction of a certain awareness and critique will be considered as an end by itself.
8
If we try to abstract our own method which is itself a little bit concealed, we may say:
that “ (We are…) trying to know the object to the extent of our senses, thinking of its process of production and usage, considering the relations emerged around it, viewing its material and immaterial structure, differentiating its way of becoming. While doing all these, wandering within the moment when we feel congested, get confused and need to stop and take a breath, we aim at taking the keystone in the heart of obscurity.”
9
Just like a thesis with a negative conclusion does not lose its characteristic of being a thesis when it gives a systematic answer to the question that it rises; a production process operated with a correct method, though not brought forth a product, will also have valuable results. Consciously using senses with different configurations can be a significant entry point for “fragmenting the object through itself”.
Traduction du sujet en français : "Objet obscure"
Objet obscur
« Nous pensons que les relations entre l’homme et les choses qui l’entourent sont brisées. Emprisonnées d’un monde qui veut que tout soit prédéterminé dans le moindre détail, les expériences d’aujourd’hui se muent en statistiques pour l’avenir. Leurs valeurs médianes sont calculées en intégrant toutes les marges d’erreur, ce qui ne laisse plus aucune place à l’imprévu. La vie humaine est condensée en données temporelles. Par conséquent, l’objet et le sujet ne sont plus liés par la même dynamique – ils sont tous les deux traités sur un pied d’égalité, comme des données pour la consommation future. Les relations à la consommation nous définissent comme des sujets tournés vers les services. Notre rôle de sujets nous amène à devoir toujours trouver le juste équilibre entre notre subjectivité et la demande des services proposés. La vie elle-même prend l’aspect d’un bien offert comme service, et l’immortalité se mue en durabilité qui fait abstraction du sujet.
Dans une ère de transition entre un monde qui veut savoir et prévoir ce que lui réserve l'avenir, et un monde où le futur est déjà dessiné, où la réalité prend une nouvelle forme, la prise de conscience est le point de départ ».
:mentalKLINIK_Statement 2009
Dans cet atelier, vous n’êtes pas censés concevoir un nouvel objet. Vous êtes plutôt invités à vous promener dans la jungle des relations confuses entre sujet et objet. Sur ce terrain incertain, elles sont réduites à des données qui doivent être réinterprétées au sein du réseau dont nous sommes déjà les acteurs.
Cet atelier « Objet obscur » s’articule autour d’une question centrale : « Comment donner de la visibilité à une expérience réelle dans les enchevêtrements de l’objet déterminé qui fait office d’interface » ?
Dans la mesure où elle s’attache au transfert du processus plutôt qu’au résultat, cette œuvre n’impose aucune limite aux méthodes et aux modes de présentation. Elle se fonde sur l’extension du processus créatif, quel que soit le résultat. Plutôt que le transfert de recherches et d’informations, le mode de transfert du processus doit être une abstraction issue des activités d’observation, de compréhension, de convergence, d’opération, de fragmentation, etc.
« Nous pensons que les relations entre l’homme et les choses qui l’entourent sont brisées. Emprisonnées d’un monde qui veut que tout soit prédéterminé dans le moindre détail, les expériences d’aujourd’hui se muent en statistiques pour l’avenir. Leurs valeurs médianes sont calculées en intégrant toutes les marges d’erreur, ce qui ne laisse plus aucune place à l’imprévu. La vie humaine est condensée en données temporelles. Par conséquent, l’objet et le sujet ne sont plus liés par la même dynamique – ils sont tous les deux traités sur un pied d’égalité, comme des données pour la consommation future. Les relations à la consommation nous définissent comme des sujets tournés vers les services. Notre rôle de sujets nous amène à devoir toujours trouver le juste équilibre entre notre subjectivité et la demande des services proposés. La vie elle-même prend l’aspect d’un bien offert comme service, et l’immortalité se mue en durabilité qui fait abstraction du sujet.
Dans une ère de transition entre un monde qui veut savoir et prévoir ce que lui réserve l'avenir, et un monde où le futur est déjà dessiné, où la réalité prend une nouvelle forme, la prise de conscience est le point de départ ».
:mentalKLINIK_Statement 2009
Dans cet atelier, vous n’êtes pas censés concevoir un nouvel objet. Vous êtes plutôt invités à vous promener dans la jungle des relations confuses entre sujet et objet. Sur ce terrain incertain, elles sont réduites à des données qui doivent être réinterprétées au sein du réseau dont nous sommes déjà les acteurs.
Cet atelier « Objet obscur » s’articule autour d’une question centrale : « Comment donner de la visibilité à une expérience réelle dans les enchevêtrements de l’objet déterminé qui fait office d’interface » ?
Dans la mesure où elle s’attache au transfert du processus plutôt qu’au résultat, cette œuvre n’impose aucune limite aux méthodes et aux modes de présentation. Elle se fonde sur l’extension du processus créatif, quel que soit le résultat. Plutôt que le transfert de recherches et d’informations, le mode de transfert du processus doit être une abstraction issue des activités d’observation, de compréhension, de convergence, d’opération, de fragmentation, etc.
dimanche 27 septembre 2009
:mentalKLINIK////Haptic perception
Haptic perception
From Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Haptic_perception
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Haptic perception is the process of recognizing objects through touch. It involves a combination of somatosensory perception of patterns on the skin surface (e.g., edges, curvature, and texture) and proprioception of hand position and conformation.
People can rapidly and accurately identify three-dimensional objects by touch[1]. They do so through the use of exploratory procedures, such as moving the fingers over the outer surface of the object or holding the entire object in the hand[2].
Gibson[3] defined the haptic system as "The sensibility of the individual to the world adjacent to his body by use of his body". Gibson and others emphasized the close link between haptic perception and body movement: haptic perception is active exploration. The concept of haptic perception is related to the concept of extended physiological proprioception according to which, when using a tool such as a stick, perceptual experience is transparently transferred to the end of the tool.
Haptic perception relies on the forces experienced during touch[4]. This research allows the creation of "virtual", illusory haptic shapes with different perceived qualities[5] which has clear application in haptic technology[6].
Loss of the sense of touch is a catastrophic deficit that can impair walking and other skilled actions such as holding objects or using tools [7].
:mentalKLINIK////produsage
In Produsage concept, Content generally occurs in a network environment that replaces the boundaries between producers and consumers with all participants who are to be users as well as producers of knowledge and information – this may be defined with a hybrid role of produser for which usage is necessarily productive. Rather than conventional content production, “producers” are involved in produsage through which they build and extend existing content.
http://produsage.org/
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