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[[File:Introduction MartinFoucaut.gif|thumb|right|Work ๐Ÿกข [https://martinfoucaut.com Martin Foucaut]]]
[[File:Introduction MartinFoucaut.gif|thumb|right|Work ๐Ÿกข [https://martinfoucaut.com Martin Foucaut]]]
<div style="position:fixed;">[[File:Logo wiki martinfoucaut-02-02.png|100px|left]]</div>
<div style="position:fixed;">[[File:Logo wiki martinfoucaut-02-02.png|100px|left]]</div>
<div style="position:relative;">[[File:Logo wiki martinfoucaut-02-01.png|100px|left]]</div>
<div style="position:relative;">[[File:Logo wiki martinfoucaut-02-01.png|100px|left]]</div>
<br><br><br><br><br><br>
<div><span style="color:black ;font-size:30px ;">Special Issue [[SPECIAL_ISSUE_13_MARTIN_BOARD|13]] / [[SPECIAL_ISSUE_14_MARTIN_BOARD|14]] / [[SPECIAL_ISSUE_15_MARTIN_DAILY_BOARD|15]] / [[XPUB2_Research_Board_/_Martin_Foucaut|Graduation Research]] / [[Martin_(XPUB)-thesis|Thesis]] / [[User:Martin/Final_presentation|Project Presentation]]</span></div>
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<br><br><br><br><br><br><br><br>
=<p style="font-family:helvetica">XPUB1 Special Issues</p>=


=<p style="font-family:helvetica">Prototyping</p>=
==<p style="font-family:helvetica">Special Issue 13</p> ==
ย 
===<p style="font-family:helvetica">With Pyhton</p>===
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โ†’&nbsp;1.&nbsp; [[Generating 100 000 billions of poems]]<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; from ''100 000 milliards de poรจmes'' โ€” Raymond Queneau (1961)
<br>
โ†’&nbsp;2.&nbsp; [[Trump speeches words occurences counter]]
<br>
โ†’&nbsp;3.&nbsp; [[Computer assisted licensing]]
<br>
โ†’&nbsp;4.&nbsp; [[Making a Gradient Patch]] (Coordinated by Manetta and Michael)
<br>


===<p style="font-family:helvetica">With Processing</p>===
===[[SPECIAL_ISSUE_13_MARTIN_BOARD|RESEARCH BOARD]] + [https://issue.xpub.nl/13/TENSE/ TENSE INTERPRETATION] + [[SPECIAL_ISSUE_13_MARTIN_BOARD#SPECIAL_ISSUE_VISUAL_DESIGN|VISUAL IDENTITY W/ EUNA LEE AND JACOPO LEGA]]===
[[File:Martin Foucaut Tense V3.gif|300px|thumb|right|Special issue 13 - Wor(l)ds for the Future<br> Tense screen recording montage of <i>Tense</i>]]


โ†’&nbsp;1.&nbsp; [[Learning Processing]]<br>
For the Special Issue 13, I interpreted the essay TENSE (2018) by Simon(e) van Saarloos. With my interpretation, I amplified the authorโ€™s discourse on descriptive language by exaggerating the use of <b>meta-descriptions</b> through the form of HTML-tags. Normally, a HTML <tag> acts as a <b>descriptive container</b>, it is <b>invisible from the Web-user point of view</b> as it is only made to be read and interpreted by the computer in order to arrange the structure of the Web-page


=<p style="font-family:helvetica">Thematic Projects</p>=
By looking for ways to make these meta tags visible and readable from a Web-userโ€™s point of view, I affect the readerโ€™s interpreation of the essay and also perception of the document accessed. Additionally to the Web, I made my three HTML documents (essay, artistic response and map) printable from the Web and included them in the Special Issue 13 book.


===<p style="font-family:helvetica">Workshops</p>===
As part of the design team of the Special Issue 13, I collaborated with two XPUB1 students to make the projectโ€™s visual identity, including the making of Web-to-print documents such as the blank map; bookcover and colophon.
<br><br>
Experimental: โ˜…โ˜…โ˜…โ˜…โ˜†
Publishing: โ˜…โ˜…โ˜…โ˜…โ˜†
<br><br><br><br><br><br><br><br><br><br>


'''Collaboration, Conflict & Consent with Eleanor Greenhalgh'''
==<p style="font-family:helvetica">Special Issue 14</b> ==


โ†’&nbsp;1.&nbsp; [[2020 xpub1 Collaboration, Conflict & Consent | Workshop page]]<br>
===[[SPECIAL_ISSUE_14_MARTIN_DAILY_BOARD|RESEARCH BOARD]] + [https://issue.xpub.nl/14/index.html LAUNCHER] + [https://hub.xpub.nl/sandbot/PrototypingTimes/HOTSPOTS/1%20PNF/index.html FOLDER INTERFACES] + [[SPECIAL_ISSUE_14_MARTIN_BOARD#Communication|VISUAL IDENTITY]]===
โ†’&nbsp;2.&nbsp; [[freeze|Freeze]]<br>


===<p style="font-family:helvetica">Special Issue 13</p>===
[[File:INTRO2.gif|300px|thumb|right|Special Issue 14:<br> I don't know where we are going but....<br>Visual identity conceived with Euna Lee and Jacopo Lega]]
<br><br>
For the Special Issue 14, I wished to <b>explore, detect, and implement unconsidered Web events</b> and situations in my own pinball game. Later on, this work evolved into a city-based pinball game, eventually becoming the publicationโ€™s launcher page. This launcher page allows the user to find coordinates of local Wi-Fi networks located within the city of The Hague.


'''Words for the Future'''
In addition to the launcher, I created a series of pinball inspired folder interfaces. Each of them allow visitors, who are connected to one of the local Wi-Fi network locations, to access content created and shared by XPUB1 students. This content can be games, texts or codes embedded within compositions of clickable pinball bumpers.
[[Category:WordsfortheFuture|Words of the Future]]


Words/publications to read/annotate : Tense, Practical Vision, Eco-Swaraj
In order to connect the launcher page with a total of five folder interfaces as part of a more unified navigation and visual system, I was working in the design team of the Special Issue 14 with three other students and together we assembled the projectโ€™s visual identity.
<br>
Team: Pon, Floor & Martin
<br><br>
<br><br>
โ†’&nbsp;1.&nbsp;[[TENSE_ISSUE13|TENSE]] [https://git.xpub.nl/XPUB/S13-Words-for-the-Future-materials/src/branch/master/pdfs-small/Words-for-the-Future---TENSE---ESSAY-resampled.pdf PDF] [https://pad.xpub.nl/p/TENSE PAD][https://www.figma.com/file/QFNnwDTXWSxFIjZQC65pcr/Tense?node-id=0%3A1 MAP]<br>
Experimental: โ˜…โ˜…โ˜…โ˜…โ˜…
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Simon(e) van Saarloos / from [https://www.nienkescholts.com/words-for-the-future Words of the Future] - Nienke Scholts (2017)
Publishing: โ˜…โ˜…โ˜…โ˜…โ˜… ย 
<br>
<br><br><br><br><br><br><br><br><br>
โ†’&nbsp;2.&nbsp;[[Practical Vision_ISSUE13|Practical Vision]] [https://git.xpub.nl/XPUB/S13-Words-for-the-Future-materials/src/branch/master/pdfs-small/Words-for-the-Future---PRACTICAL-VISION---singles-resampled.pdf PDF][https://pad.xpub.nl/p/Practical_Vision_Jalada PAD]<br> ย 
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Moses Kilolo / from [https://www.nienkescholts.com/words-for-the-future Words of the Future] - Nienke Scholts (2017)
<br>
โ†’&nbsp;3.&nbsp;[[Eco-Swaraj_ISSUE13|Eco-Swaraj]] [https://git.xpub.nl/XPUB/S13-Words-for-the-Future-materials/src/commit/e7e3b5038a5781f790072462aa3da051cd6086d0/pdfs/Words-for-the-Future---ECO-SWARAJ---FINAL-SINGLES.pdf PDF] [https://pad.xpub.nl/p/Eco_swaraj%E2%80%93Ashish_Kothari PAD]<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Ashish Kothari / from [https://www.nienkescholts.com/words-for-the-future Words of the Future] - Nienke Scholts (2017)


'''Licensing'''
==<p style="font-family:helvetica">Special Issue 15</b> ==


โ†’&nbsp;1.&nbsp; [[Writting a General License]] - group work with [[User:Flo| Floor]], [[User:Federico| Pon]] & [[User:Camilo| Camillo]] (in Progress) [https://pad.xpub.nl/p/we_don PAD] <br>
===[[SPECIAL_ISSUE_15_MARTIN_DAILY_BOARD|RESEARCH BOARD]] +ย  [https://hub.xpub.nl/sandbot/~foucaut/SI15/martin.html WEB OSCILLATOR] ===
โ†’&nbsp;2.&nbsp; [[License to Sub-License]] - individual work (in Progress) [https://pad.xpub.nl/p/Make_your_own PAD]<br><br>


'''Mapping readings'''
[[File:OscillatorGifWiki.gif|300px|thumb|right]]


โ†’&nbsp;1.&nbsp; [[Mapping the map]] - group work with XPUB1 / coordinated by Steve [https://pad.xpub.nl/p/XPUB113-9-20 PAD]<br>
<br><br>
โ†’&nbsp;2.&nbsp; [https://pzwiki.wdka.nl/mediadesign/File:A3_WORDSOFTHEFUTURE_TEST_V1.pdf A3 MAP TEMPLATE (FOR PRINT TEST)]<br>
During the Special Issue 15, I had [[SPECIAL_ISSUE_15_MARTIN_DAILY_BOARD#Broadcast_2_with_Louisa|fun]] with Louisa with [https://musiclab.chromeexperiments.com/Song-Maker/song/6595644437823488 Musiclab], then got quiet familiar on SonicPi making interpolation and sample [[SPECIAL_ISSUE_15_MARTIN_DAILY_BOARD#Streching_audio_space.2Ftime_perception_.28with_sample_interpolation.2C_overlap.2C_looping_and_echoing.29|looping, overlaping ann streching in time and space]] before getting more seriously involved with P5sound.js library. I hosted one [[SPECIAL_ISSUE_15_MARTIN_DAILY_BOARD#Broadcast_5_-_Caretaking_with_Euna|radio show with Euna Lee]], worked with Naami and Jacopo on [[SPECIAL_ISSUE_15_MARTIN_DAILY_BOARD#Nami.2FPongie.2FMartin_Description|sound spacing]].
<br><br>
Along these differents steps, I started to devellop locally a [https://hub.xpub.nl/sandbot/~foucaut/SI15/martin.html Web Oscillator] responding to the <b>User Inserface mouse X/Y and screen size</b>. After adding some visual landmarks, I could finally perform with this instrument for the very last radio show hosted by Louisa and Federico in a garden! A live performance is being prepared for September at Page Not Found (The Hague) with other XPUB students and almunis. Be aware that because of the specific focus on the development of this instrument, most my research on this subkect transited from this my wiki to [https://hub.xpub.nl/sandbot/~foucaut/SI15/martin.html this link]. [https://www.youtube.com/watch?v=9eL35O7BAzw&list=PLDBIRMMxLGqPOXqc919Y-Qbr9qtZm4SCH&index=2 VIDEO]
<br><br>
Experimental: โ˜…โ˜…โ˜…โ˜…โ˜…
Publishing: โ˜…โ˜†โ˜†โ˜†โ˜†
<br><br><br><br><br><br><br><br><br>


'''The Map of maps'''
=<p style="font-family:helvetica">XPUB Bonus Project(s)</p> =


โ†’&nbsp;1.&nbsp; [https://pzwiki.wdka.nl/mediadesign/File:A3_WORDSOFTHEFUTURE_TEST_V1.pdf|MAP TEMPLATE]<br>
==<p style="font-family:helvetica">[https://martinfoucaut.com/CAUTION-WEIRD-FLOOR-EN Caution Weird Floor - XPUB Geocatching Game]<br> with Federico Poni for [https://thehaguecontemporary.nl/ The Hague Contemporary Art Weekend 2021]</b> ==
โ†’&nbsp;2.&nbsp; [https://pad.xpub.nl/p/28_10_20_SPECIAL_ISSUE_13_IDEAS PAD FOR "MAP OF THE MAPS" GUIDELINES / QUESTIONS / DEADLINES]


'''Meta-map'''
[[File:Video2 CautionWeirdFloor MartinFoucaut FedericoPoni THC.gif|300px|thumb|right|Caution Weird Floor - XPUB Geocatching Game<br>Video 2/3 Post production]]
ย 
Making a image that describe itself as an image, a map that describes itself as a map, by using Ascii aalibย  (Keywords: reflexivity; embodied aesthetic; meta-cognitive; representation; sublime; attention; paradox; mise en abyme;)<br>
โ†’&nbsp;1.&nbsp; [https://www.tandfonline.com/doi/full/10.3402/jac.v6.23009ย  The meta as an aesthetic category] Bruno Trentini (2014)<br>
โ†’&nbsp;2.&nbsp; [[File:RMZ ARTIST WRITING(2).pdf|left|[[thumb]]Rosa Maria Zangenberg ]] The eye tells the story by Rosa Maria Zangenberg (2017)<br>
โ†’&nbsp;3.&nbsp; [https://brill.com/view/title/2075 Leonardo Da Vinci - Paragone by Louise Farago]
ย 
'''Design department Special ISSUE XIII'''
ย 
โ†’&nbsp;1.&nbsp; [https://hotline.xpub.nl/Designteam HOTLINE]<br>
โ†’&nbsp;2.&nbsp; [https://pad.xpub.nl/p/Design_Team_WFTF PAD]
ย 
'''Tense Communication'''
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โ†’&nbsp;1.&nbsp; [[Tense Web/Motion Experiments|Tense Web/Motion experiments]]
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===<p style="font-family:helvetica">Special Issue 13</p>===
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[[MARTIN_JACOPO_PINBALL_RESEARCH|RESEARCH]]
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=<p style="font-family:helvetica">Reading Notes (based on personal interests/research)</p>=
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===<p style="font-family:helvetica">Books</p>===


<br><br>
<i>"The city as glistening greasy icy perilous polished silky unstable wet floor.<br>
The THC Art Weekend's locations as foothold niche perch toehold crevice hold footing device"</i>
<br><br>
Federico and I developed a Web app allowing the visitiors of The Hague Contemporary Art Weekend 2021 to compose and generate custom routes across the different contemporary art locations of the city. These routes are generated from a series of combined words picked by the player, creating <b>speculative poetry</b> and offering many ways to explore the diverse manifestations from the 23 partners of the festival. During the Art Weekend, you could derive through The Hague catching the Weird Yellow Signboards around the locations and generate Weird Slippery Poems based on the imput description of each events. <b>The signs are the result of a Web to Print process of the game interface itself</b>.
<br>
<br>
โ†’&nbsp;1.&nbsp; [[L'art comme expรฉrience โ€” John Dewey]] (french) (yet to be filled)<br>
For more information [https://martinfoucaut.com/CAUTION-WEIRD-FLOOR-RIGHT here], video [https://vimeo.com/martinfoucaut/weirdfloor here]
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Gallimard (1934)<br>
<br><br>
โ†’&nbsp;2.&nbsp; [[L'ล“uvre d'art ร  l'รฉpoque de sa reproductibilitรฉ technique โ€” Walter Benjamin]] (french<br>
Experimental: โ˜…โ˜…โ˜…โ˜…โ˜†
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Alia (1939)<br>
Publishing: โ˜…โ˜…โ˜…โ˜…โ˜†
โ†’&nbsp;3.&nbsp; [[La Galaxie Gutemberg โ€” Marshall McLuhan]] (french)<br>
<br><br><br><br><br><br><br><br><br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: University of Toronto Press (1962)<br>ย 
โ†’&nbsp;3.&nbsp; [[Pour comprendre les mรฉdias โ€” Marshall McLuhan]] (french)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: McGraw-Hill Education (1964)<br>ย 
โ†’&nbsp;4.&nbsp; [[Dispositif โ€” Jean-Louis Baudry]] (french) <br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Raymond Bellour, Thierry Kuntzel et Christian Metz (1975)<br>ย 
โ†’&nbsp;5.&nbsp; [[Lโ€™Originalitรฉ de lโ€™avant-garde et autres mythes modernistes โ€” Rosalind Krauss]] (french) (yet to be filled)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Macula (1993)<br>
โ†’&nbsp;6.&nbsp; [[L'art de l'observateur: vision et modernitรฉ au XIXe siรจcle โ€” Jonathan Crary]] (french)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Jacqueline Chambon (Editions) (1994)<br>
โ†’&nbsp;7.&nbsp; [[Inside the White Cube, the Ideology of Gallery Space โ€” Brian O'Doherty]] (english) (yet to be filled)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Les presses du rรฉel (2008)<br>
โ†’&nbsp;8.&nbsp; [[Prรฉรงis de sรฉmiotique gรฉnรฉrale โ€” Jean-Marie Klinkenbeg]] (french) (yet to be filled)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Point (2000)<br>
โ†’&nbsp;9.&nbsp; [[Langage des nouveaux mรฉdias โ€” Lev Manovitch]] (french) (yet to be filled)<br>ย 
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Presses du Rรฉel (2001)<br> ย 
โ†’&nbsp;10.&nbsp;[[L'empire cybernรฉtique โ€” Cรฉcile Lafontaine]] (french)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Seuil (2004)<br>
โ†’&nbsp;11.&nbsp; [[La relation comme forme โ€” Jean Louis Boissier]] (french)<br>ย 
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Genรจve, MAMCO(2004)<br>
โ†’&nbsp;12.&nbsp; [[Le Net Art au musรฉe โ€” Anneย  Laforรชt]] (french)<br>ย 
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Questions Thรฉoriques(2011)<br>
โ†’&nbsp;13.&nbsp; [[Narrative comprehension and Film communication โ€” Edward Branigan]] (english)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Routledge (2013) <br>
โ†’&nbsp;14.&nbsp;[[Statement and counter statement / Notes on experimental Jetset โ€” Experimental Jetset]] (english)<br>ย 
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Roma (2015)<br>
โ†’&nbsp;15.&nbsp;[[Post Digital Print โ€” Alessandro Ludovico]] (french) โ‰ˆ<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: B42 (2016)<br>
โ†’&nbsp;16.&nbsp;[[L'รฉcran comme mobile โ€” Jean Louis Boissier]] (french)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Presses du rรฉel (2016)<br>
โ†’&nbsp;17.&nbsp;[[Design tactile โ€” Josh Clark]] (french)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Eyrolles (2016)<br>
โ†’&nbsp;18.&nbsp;[[Espaces de l'ล“uvre, espaces de l'exposition โ€” Pamela Bianchi]] (french)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: Eyrolles (2016)<br>
โ†’&nbsp;19.&nbsp;[[Imprimer le monde]] (french)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: ร‰ditions HYX et les ร‰ditions du Centre Pompidou (2017)<br>
โ†’&nbsp;20.&nbsp;[[Version 0 - Notes sur le livre numรฉrique]] (french)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;publisher: ECRIDIL (2018)<br>


===<p style="font-family:helvetica">Articles</p>===
==<p style="font-family:helvetica">[https://window.xpub.nl/open/ XPUB Festival: window.open] + Civil Entertainment Sirens (audiovisual performance)</b> ==
<br><br>
[[File:CivilEntertainmentSirens1.png|300px|thumb|right|Civil Entertainment Sirens Capture]]
[https://window.xpub.nl/open/#CivilEntertainment window.open()] is an interface for the XPUB program to communicate with the public inside and outside of the physical space. We adjust, using windows in the street and in the browser in order to be able to communicate. Through this dialogical interface attitudes, perspectives, backgrounds and situations are explored together in a program consisting of presentations, workshops, publication launches, conversations and performances which take place both online and offline. The full program can be found on our event page.
<br><br>
Civil Entertainment Sirensยฎ is the performance attempt I did in [https://page-not-found.nl/ Page not Found] at the very end of the event. It consists of a series of polyphonic textures (drone) performed from a Web oscillator instrument (developped with P5.sound.js) , running offline. This audiovisual performance is willing to explore different combinations of sound frequencies, echoed in time and recreating sirens. Warning: Civil Entertainment Sirensยฎ models are beta versions and have not yet been submitted or/and approved by any local agency or government.
<br><br><br><br><br><br><br><br><br>


โ†’&nbsp;1.&nbsp;[[Frederick Kiesler โ€” artiste- architecte]] (yet to be filled)<br>
=<p style="font-family:helvetica">XPUB2</p> =
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(communiquรฉ de presse)
==<p style="font-family:helvetica">[[XPUB2 Research Board / Martin Foucaut|XPUB2 Research Board]]</p>==
Centre pompidou; sourceโ€‰: centrepompidou.fr (1996)<br>
<br><br>
โ†’&nbsp;2.&nbsp;[[Oublier l'exposition]] (yet to be filled)<br>
[[File:Simu part 02.gif|right|800px|thumb]]
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Artpress special numรฉro 21 (2000)<br>
My project is a data collection installation that monitors people's behaviors in public physical spaces while explicitly encouraging them to help the algorithm collect more information. An overview of how it works is presented here in the project proposal and will be subject to further developments in the practice. ย 
โ†’&nbsp;3.&nbsp;[[Composer avec lโ€™imprรฉvisible: Le questionnaire sur les mรฉdias variables]] (yet to be filled)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Jon Ippolito; sourceโ€‰: variablemedia.net/pdf/Permanence (2003)<br>
โ†’&nbsp;4.&nbsp;[[Esthรฉtique du numรฉriqueโ€‰: rupture et continuitรฉ]] <br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Fred Forest; sourceโ€‰: archives.icom.museum (2010)<br>
โ†’&nbsp;5.&nbsp;[[La narration interactive]] (yet to be filled)<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Dragana Trgovฤeviฤ‡ sourceโ€‰: ensci.com/file_intranet/mastere_ctc/etude_Dragana_Trgovcevic.pdf (2011)<br>
โ†’&nbsp;6.&nbsp;[[Des dispositifs aux appareils - L'Espacement d'un calcul]]<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Anthony Masure sourceโ€‰: โ€‰anthonymasure.com (2013)<br>


=<p style="font-family:helvetica">References (based on personal interests/research)</p>=
The way the device is designed doesnโ€™t pretend to give any beneficial outcomes for the subject, but only makes visible the benefits that the machine is getting from collecting their data. Yet, the way the device visually or verbally presents this collected data is done in a grateful way, which might be stimulating for the subject. In that sense, the subject, despite knowing that their actions are done solely to satisfy the device, could become intrigued, involved, or even addicted by a mechanism that deliberately uses it as a commodity. In that way, I intend to trigger conflictual feelings in the visitorโ€™s mind, situated between a state of awareness regarding the operating monetization of their physical behaviors, and a state of engagement/entertainment /stimulation regarding the interactive value of the installation.


===<p style="font-family:helvetica">About questioning the exhibition space</p>===
<br><br>
Close from the concept of "algorythmic curatingย ยป mastered by online platforms such as Amazon, Facebook or Netflix, the data collected from the monitored behaviors will be ultimately translated into speculative suggestions such as ยซย you may like [โ€ฆ]; you might know [โ€ฆ]; suggested message/visual: [โ€ฆ] that the visitor will be able to print out while exiting the space.
<br><br><br><br><br><br><br><br><br>


โ†’&nbsp;&nbsp;[https://vanabbemuseum.nl/en/collection/details/collection/?lookup%5B1673%5D%5Bfilter%5D%5B0%5D=id%3AC969 Prouns Spaces โ€” El lissitzky] (1920)<br>
=<p style="font-family:helvetica">Personal Works (Media Studies/Art/Archeology)</p>=
โ†’&nbsp;&nbsp;[https://thecharnelhouse.org/2013/11/19/frederick-kiesler-city-of-space-1925/ City in Space โ€” Frederick Kiesler] (1920)<br>
โ†’&nbsp;&nbsp;[https://fr.wikipedia.org/wiki/Air-Conditioning_Show The air conditionning Show โ€” Terry Atkinson & Michael Baldwin](1966-67)<br>
โ†’&nbsp;&nbsp;[https://www.google.com/search?q=Sans+titre+%E2%80%94+Michael+Asher&client=firefox-b-e&sxsrf=ALeKk002R7DoF2Y8QZ5Dp0GCnNVIJLEs5w:1603360434290&source=lnms&tbm=isch&sa=X&ved=2ahUKEwiDzIeJ98fsAhXxyIUKHUB-DVUQ_AUoAXoECAQQAw&biw=1406&bih=759 Sans titre โ€” Michael Asher] (1973)<br>
โ†’&nbsp;&nbsp;[https://www.centrepompidou.fr/cpv/resource/cXjGAE/rREaz7 Serra Corner prop nยฐ7 (for Nathalie) Richard Serra] (1983)<br>
ย 
===<p style="font-family:helvetica">About nothingness</p>===
ย 
โ†’&nbsp;&nbsp;[https://www.youtube.com/watch?v=JTEFKFiXSx4 4โ€™โ€™33โ€™ โ€” John Cage] (1952)<br>
โ†’&nbsp;&nbsp;[https://www.saatchigallery.com/artists/artpages/tom_friedman_8.htm Untitled - A Curse โ€” Tom Friedman] (1965)<br>
โ†’&nbsp;&nbsp;[https://fr.wikipedia.org/wiki/Air-Conditioning_Show The air conditionning Show โ€” Terry Atkinson & Michael Baldwin](1966-67)<br>
โ†’&nbsp;&nbsp;[https://www.google.com/search?q=Sans+titre+%E2%80%94+Michael+Asher&client=firefox-b-e&sxsrf=ALeKk002R7DoF2Y8QZ5Dp0GCnNVIJLEs5w:1603360434290&source=lnms&tbm=isch&sa=X&ved=2ahUKEwiDzIeJ98fsAhXxyIUKHUB-DVUQ_AUoAXoECAQQAw&biw=1406&bih=759 Sans titre โ€” Michael Asher] (1973)<br>
ย 
===<p style="font-family:helvetica">About enhancing the media</p>===
ย 
โ†’&nbsp;&nbsp;[https://www.youtube.com/watch?v=JTEFKFiXSx4 4โ€™โ€™33โ€™ โ€” John Cage] (1952)<br>
โ†’&nbsp;&nbsp;[https://www.guggenheim.org/artwork/9537 TV Garden โ€” Nam June Paik] (1974)<br>
โ†’&nbsp;&nbsp;[https://re-voir.com/shop/en/michael-snow/71-michael-snow-presents.html Presents โ€” Michael Snow] (soon to be translated) <br>
โ†’&nbsp;&nbsp;[https://www.experimentaljetset.nl/archive/lostformats Lost Formats Preservation Society โ€” Experimental Jetset] (2000) <br>
โ†’&nbsp;&nbsp;[https://www.experimentaljetset.nl/archive/lost-formats-winterthur Lost Formats Winterthur โ€” Experimental Jetset] (2000) <br>
ย 
===<p style="font-family:helvetica">About flags</p>===
ย 
โ†’&nbsp;&nbsp;[https://www.guggenheim.org/artwork/10703 Netflag โ€” Mark Napier] (2002) <br>
โ†’&nbsp;&nbsp;[https://019-ghent.org/flags/flagpole/sd025/ 019 - Flag show] (2015)
ย 
===<p style="font-family:helvetica">About the Internet points of view</p>===
ย 
โ†’&nbsp;&nbsp;[http://whatyouseeiswhatyouget.net/ What you see is what you get โ€” Jonas Lund] (2012) <br>
ย 
===<p style="font-family:helvetica">About media time</p>===
ย 
โ†’&nbsp;&nbsp;[https://www.youtube.com/watch?v=aLNfUB7JtA4&list=PLDBIRMMxLGqOnvwJGO5kge8RMESFmA0MX&index=3 Present Continuous Past โ€” Dan Graham's] (1974)
ย 
===<p style="font-family:helvetica">About interactive cinema</p>===
ย 
โ†’&nbsp;&nbsp;[https://www.youtube.com/watch?v=x1TLcz3UFg8&list=PLDBIRMMxLGqOnvwJGO5kge8RMESFmA0MX&index=10 KINOAUTOMAT โ€” Radรบz ฤŒinฤera] (1967)
ย 
===<p style="font-family:helvetica">About interactive music</p>===
ย 
โ†’&nbsp;&nbsp;[https://www.youtube.com/watch?v=d-yHULQ2V5c&list=PLDBIRMMxLGqOnvwJGO5kge8RMESFmA0MX&index=11 DIMI Ballet โ€” Erkki Kurenniemi] (1971)
ย 
===<p style="font-family:helvetica">About experimental cinema</p>===
ย 
โ†’&nbsp;&nbsp;[https://re-voir.com/shop/en/michael-snow/71-michael-snow-presents.html Presents โ€” Michael Snow] (soon to be translated) <br>
โ†’&nbsp;&nbsp;[https://www.youtube.com/watch?v=bMDr_CFFgWE&list=PLDBIRMMxLGqOnvwJGO5kge8RMESFmA0MX&index=4 Displacements โ€” Michael Naimark] (1980)
<br>
<br>
โ†’&nbsp;&nbsp;[https://www.youtube.com/watch?v=J2-VQFPYftM&list=PLDBIRMMxLGqOnvwJGO5kge8RMESFmA0MX&index=5 BE NOW HERE โ€” Michael Naimark] (1995)
โ†’&nbsp;1.&nbsp;[[Incidences Mรฉdiatiques โ€” Martin Foucaut]] based on ''Exercices de Style'' from Raymond Queneau (2018)<br>
โ†’&nbsp;2.&nbsp;[[Media Spaces โ€” Martin Foucaut]] (2019)<br>
โ†’&nbsp;3.&nbsp;[https://issue.xpub.nl/13/TENSE/ TENSE โ€” Martin Foucaut] (based on an essay from Simon(e) van Saarloos (2020)<br>
โ†’&nbsp;4.&nbsp;[https://hub.xpub.nl/sandbot/~foucaut/SI15/martin.html Web Oscillator โ€” Martin Foucaut] (2021) Work in Progress<br>
<br><br>
Graphic design [https://martinfoucaut.com/ martinfoucaut.com]


===<p style="font-family:helvetica">About unusual Web interfaces</p>===
[[Category:Xpub]]
ย 
ย 
โ†’&nbsp;&nbsp;http://eliaskurth.net/projects/broken-spaces-are-more-likely
<br>
โ†’&nbsp;&nbsp;https://iad-lab.ch/
<br>
โ†’&nbsp;&nbsp;https://www.powerhouse-company.com/
<br>
โ†’&nbsp;&nbsp;https://nonymous.com/
<br>
โ†’&nbsp;&nbsp;https://www.samyrio.fr/
<br>
โ†’&nbsp;&nbsp;https://noplans.show/
<br>
โ†’&nbsp;&nbsp;https://springkids.gucci.com/
<br>
โ†’&nbsp;&nbsp;http://www.danielsannwald.com/
<br>
โ†’&nbsp;&nbsp;https://neuhaus.world/
<br>
โ†’&nbsp;&nbsp;https://carolinedussuel.com/
<br>
โ†’&nbsp;&nbsp;http://www.wir-publizieren.ch/
<br>
โ†’&nbsp;&nbsp;http://www.jayapelupessy.com/
<br>
โ†’&nbsp;&nbsp;http://differentrecordings.com/
<br>
โ†’&nbsp;&nbsp;http://www.maximilienpellegrini.com/
<br>
โ†’&nbsp;&nbsp;https://www.thomasdemonaco.com/
<br>
โ†’&nbsp;&nbsp;http://dexternavy.com/
<br>
โ†’&nbsp;&nbsp;http://act.mit.edu/cavs
<br>
โ†’&nbsp;&nbsp;http://torquetorque.net/
<br>
โ†’&nbsp;&nbsp;https://lewonder.com/
<br>
โ†’&nbsp;&nbsp;https://data-orbit.ch/
<br>
โ†’&nbsp;&nbsp;https://thexx.info/home/
<br>
โ†’&nbsp;&nbsp;https://uncannyvalley.studio/
<br>
ย 
=<p style="font-family:helvetica">Personal Works (Media Art)</p>=
<br>
โ†’&nbsp;1.&nbsp;[[Incidences Mรฉdiatiques โ€” Martin Foucaut]] (2018)<br>
โ†’&nbsp;2.&nbsp;[[Media Spaces โ€” Martin Foucaut]] (2019)


[[Category:Xpub]]
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Latest revision as of 21:54, 12 June 2022

Work ๐Ÿกข Martin Foucaut
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XPUB1 Special Issues

Special Issue 13

RESEARCH BOARD + TENSE INTERPRETATION + VISUAL IDENTITY W/ EUNA LEE AND JACOPO LEGA

Special issue 13 - Wor(l)ds for the Future
Tense screen recording montage of Tense

For the Special Issue 13, I interpreted the essay TENSE (2018) by Simon(e) van Saarloos. With my interpretation, I amplified the authorโ€™s discourse on descriptive language by exaggerating the use of meta-descriptions through the form of HTML-tags. Normally, a HTML <tag> acts as a descriptive container, it is invisible from the Web-user point of view as it is only made to be read and interpreted by the computer in order to arrange the structure of the Web-page

By looking for ways to make these meta tags visible and readable from a Web-userโ€™s point of view, I affect the readerโ€™s interpreation of the essay and also perception of the document accessed. Additionally to the Web, I made my three HTML documents (essay, artistic response and map) printable from the Web and included them in the Special Issue 13 book.

As part of the design team of the Special Issue 13, I collaborated with two XPUB1 students to make the projectโ€™s visual identity, including the making of Web-to-print documents such as the blank map; bookcover and colophon.

Experimental: โ˜…โ˜…โ˜…โ˜…โ˜† Publishing: โ˜…โ˜…โ˜…โ˜…โ˜†









Special Issue 14

RESEARCH BOARD + LAUNCHER + FOLDER INTERFACES + VISUAL IDENTITY

Special Issue 14:
I don't know where we are going but....
Visual identity conceived with Euna Lee and Jacopo Lega



For the Special Issue 14, I wished to explore, detect, and implement unconsidered Web events and situations in my own pinball game. Later on, this work evolved into a city-based pinball game, eventually becoming the publicationโ€™s launcher page. This launcher page allows the user to find coordinates of local Wi-Fi networks located within the city of The Hague.

In addition to the launcher, I created a series of pinball inspired folder interfaces. Each of them allow visitors, who are connected to one of the local Wi-Fi network locations, to access content created and shared by XPUB1 students. This content can be games, texts or codes embedded within compositions of clickable pinball bumpers.

In order to connect the launcher page with a total of five folder interfaces as part of a more unified navigation and visual system, I was working in the design team of the Special Issue 14 with three other students and together we assembled the projectโ€™s visual identity.

Experimental: โ˜…โ˜…โ˜…โ˜…โ˜… Publishing: โ˜…โ˜…โ˜…โ˜…โ˜…








Special Issue 15

RESEARCH BOARD + WEB OSCILLATOR

OscillatorGifWiki.gif



During the Special Issue 15, I had fun with Louisa with Musiclab, then got quiet familiar on SonicPi making interpolation and sample looping, overlaping ann streching in time and space before getting more seriously involved with P5sound.js library. I hosted one radio show with Euna Lee, worked with Naami and Jacopo on sound spacing.

Along these differents steps, I started to devellop locally a Web Oscillator responding to the User Inserface mouse X/Y and screen size. After adding some visual landmarks, I could finally perform with this instrument for the very last radio show hosted by Louisa and Federico in a garden! A live performance is being prepared for September at Page Not Found (The Hague) with other XPUB students and almunis. Be aware that because of the specific focus on the development of this instrument, most my research on this subkect transited from this my wiki to this link. VIDEO

Experimental: โ˜…โ˜…โ˜…โ˜…โ˜… Publishing: โ˜…โ˜†โ˜†โ˜†โ˜†








XPUB Bonus Project(s)

Caution Weird Floor - XPUB Geocatching Game
with Federico Poni for The Hague Contemporary Art Weekend 2021

Caution Weird Floor - XPUB Geocatching Game
Video 2/3 Post production



"The city as glistening greasy icy perilous polished silky unstable wet floor.
The THC Art Weekend's locations as foothold niche perch toehold crevice hold footing device"


Federico and I developed a Web app allowing the visitiors of The Hague Contemporary Art Weekend 2021 to compose and generate custom routes across the different contemporary art locations of the city. These routes are generated from a series of combined words picked by the player, creating speculative poetry and offering many ways to explore the diverse manifestations from the 23 partners of the festival. During the Art Weekend, you could derive through The Hague catching the Weird Yellow Signboards around the locations and generate Weird Slippery Poems based on the imput description of each events. The signs are the result of a Web to Print process of the game interface itself.
For more information here, video here

Experimental: โ˜…โ˜…โ˜…โ˜…โ˜† Publishing: โ˜…โ˜…โ˜…โ˜…โ˜†








XPUB Festival: window.open + Civil Entertainment Sirens (audiovisual performance)



Civil Entertainment Sirens Capture

window.open() is an interface for the XPUB program to communicate with the public inside and outside of the physical space. We adjust, using windows in the street and in the browser in order to be able to communicate. Through this dialogical interface attitudes, perspectives, backgrounds and situations are explored together in a program consisting of presentations, workshops, publication launches, conversations and performances which take place both online and offline. The full program can be found on our event page.

Civil Entertainment Sirensยฎ is the performance attempt I did in Page not Found at the very end of the event. It consists of a series of polyphonic textures (drone) performed from a Web oscillator instrument (developped with P5.sound.js) , running offline. This audiovisual performance is willing to explore different combinations of sound frequencies, echoed in time and recreating sirens. Warning: Civil Entertainment Sirensยฎ models are beta versions and have not yet been submitted or/and approved by any local agency or government.








XPUB2

XPUB2 Research Board



Simu part 02.gif

My project is a data collection installation that monitors people's behaviors in public physical spaces while explicitly encouraging them to help the algorithm collect more information. An overview of how it works is presented here in the project proposal and will be subject to further developments in the practice.

The way the device is designed doesnโ€™t pretend to give any beneficial outcomes for the subject, but only makes visible the benefits that the machine is getting from collecting their data. Yet, the way the device visually or verbally presents this collected data is done in a grateful way, which might be stimulating for the subject. In that sense, the subject, despite knowing that their actions are done solely to satisfy the device, could become intrigued, involved, or even addicted by a mechanism that deliberately uses it as a commodity. In that way, I intend to trigger conflictual feelings in the visitorโ€™s mind, situated between a state of awareness regarding the operating monetization of their physical behaviors, and a state of engagement/entertainment /stimulation regarding the interactive value of the installation.



Close from the concept of "algorythmic curating ยป mastered by online platforms such as Amazon, Facebook or Netflix, the data collected from the monitored behaviors will be ultimately translated into speculative suggestions such as ยซ you may like [โ€ฆ]; you might know [โ€ฆ]; suggested message/visual: [โ€ฆ] that the visitor will be able to print out while exiting the space.








Personal Works (Media Studies/Art/Archeology)


โ†’ 1. Incidences Mรฉdiatiques โ€” Martin Foucaut based on Exercices de Style from Raymond Queneau (2018)
โ†’ 2. Media Spaces โ€” Martin Foucaut (2019)
โ†’ 3. TENSE โ€” Martin Foucaut (based on an essay from Simon(e) van Saarloos (2020)
โ†’ 4. Web Oscillator โ€” Martin Foucaut (2021) Work in Progress


Graphic design martinfoucaut.com

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