User:Martin: Difference between revisions
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==<p style="font-family:helvetica">Special Issue 13</p> == | ==<p style="font-family:helvetica">Special Issue 13</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]]=== | ===[[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|Tense motion using screen recording of the webiste as visual imput source]] | |||
[[File:Wor(l)ds for the Future - Special issue 13 - Thumbnail.png|300px|thumb|right|Wor(l)ds for the Future - Special issue 13 - Thumbnail. Visual Identity conceived with Euna Lee and Jacopo Lega]] | |||
<br><br> | <br><br> | ||
For the Special Issue 13, I interpreted the essay TENSE (2018) by Simon(e) van Saarloos. With my interpretation, I amplified the author’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 for 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 | For the Special Issue 13, I interpreted the essay TENSE (2018) by Simon(e) van Saarloos. With my interpretation, I amplified the author’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 for 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 | ||
| Line 19: | Line 21: | ||
==<p style="font-family:helvetica">Special Issue 14</b> == | ==<p style="font-family:helvetica">Special Issue 14</b> == | ||
[[File:INTRO2.gif|300px|thumb|right|Special Issue 14 | [[File:INTRO2.gif|300px|thumb|right|Special Issue 14 Motion. Visual Identity conceived with Euna Lee and Jacopo Lega]] | ||
===[[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_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]]=== | ||
<br><br> | <br><br> | ||
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 publication’s launcher page. This launcher page allows the user to find coordinates of local Wi-Fi networks located within the city of The Hague. | 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 publication’s launcher page. This launcher page allows the user to find coordinates of local Wi-Fi networks located within the city of The Hague. | ||
| Line 28: | Line 30: | ||
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 project’s visual identity. | 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 project’s visual identity. | ||
<br><br><br><br> | <br><br><br><br> | ||
==<p style="font-family:helvetica">Special Issue 15</b> == | ==<p style="font-family:helvetica">Special Issue 15</b> == | ||
===[[SPECIAL_ISSUE_15_MARTIN_DAILY_BOARD|RESEARCH BOARD]] + [https://hub.xpub.nl/sandbot/~foucaut/SI15/martin.html WEB OSCILLATOR] === | ===[[SPECIAL_ISSUE_15_MARTIN_DAILY_BOARD|RESEARCH BOARD]] + [https://hub.xpub.nl/sandbot/~foucaut/SI15/martin.html WEB OSCILLATOR] === | ||
[[File:OscillatorGifWiki.gif|300px|thumb|right|Oscillator in use with pitch landmarks for performing]] | |||
<br><br> | <br><br> | ||
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]]. | 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> | <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 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 [https://hub.xpub.nl/sandbot/~foucaut/SI15/martin.html this link]. | Along these differents steps, I started to devellop locally a [https://hub.xpub.nl/sandbot/~foucaut/SI15/martin.html 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 [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><br><br> | |||
=<p style="font-family:helvetica">XPUB Bonus Project(s)</p> = | |||
==<p style="font-family:helvetica">Caution Weird Floor - XPUB Geocatching Game with Federico Poni for [https://thehaguecontemporary.nl/ The Hague Contemporary Art Weekend 2021]</b> == | |||
=== [https://martinfoucaut.com/CAUTION-WEIRD-FLOOR-RIGHT|Caution Weird Floor - XPUB Geocatching Game]=== | |||
[[File:Video1 CautionWeirdFloor MartinFoucaut FedericoPoni THC.gif|300px|thumb|right|Video 1/3 Post production]] | |||
[[File:Video2 CautionWeirdFloor MartinFoucaut FedericoPoni THC.gif|300px|thumb|right|Video 2/3 Post production]] | |||
[[File:Video3 CautionWeirdFloor MartinFoucaut FedericoPoni THC.gif|300px|thumb|right|Video 3/3 Post production]] | |||
[[File:THC MARTIN FOUCAUT FEDERICO PONI THUMBNAIL.png|300px|thumb|right|visual of the event]] | |||
<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 composeand 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. | |||
<br><br> | |||
For more information [https://martinfoucaut.com/CAUTION-WEIRD-FLOOR-RIGHT here], video [https://vimeo.com/martinfoucaut/weirdfloor here] | |||
=<p style="font-family:helvetica"> | =<p style="font-family:helvetica">Readings related to personal research</p>= | ||
===<p style="font-family:helvetica">Books</p>=== | ===<p style="font-family:helvetica">Books</p>=== | ||
<br> | <br> | ||
→ 1. [[L'art comme expérience — John Dewey]] (french) (yet to be filled)<br> | → 1. [[L'art comme expérience — John Dewey]] (french) ⚠️(yet to be filled)⚠️<br> | ||
publisher: Gallimard (1934)<br> | publisher: Gallimard (1934)<br> | ||
→ 2. [[L'œuvre d'art à l'époque de sa reproductibilité technique — Walter Benjamin]] (french<br> | → 2. [[L'œuvre d'art à l'époque de sa reproductibilité technique — Walter Benjamin]] (french<br> | ||
| Line 53: | Line 72: | ||
→ 4. [[Dispositif — Jean-Louis Baudry]] (french) <br> | → 4. [[Dispositif — Jean-Louis Baudry]] (french) <br> | ||
publisher: Raymond Bellour, Thierry Kuntzel et Christian Metz (1975)<br> | publisher: Raymond Bellour, Thierry Kuntzel et Christian Metz (1975)<br> | ||
→ 5. [[L’Originalité de l’avant-garde et autres mythes modernistes — Rosalind Krauss]] (french) (yet to be filled)<br> | → 5. [[L’Originalité de l’avant-garde et autres mythes modernistes — Rosalind Krauss]] (french) ⚠️(yet to be filled)⚠️<br> | ||
publisher: Macula (1993)<br> | publisher: Macula (1993)<br> | ||
→ 6. [[L'art de l'observateur: vision et modernité au XIXe siècle — Jonathan Crary]] (french)<br> | → 6. [[L'art de l'observateur: vision et modernité au XIXe siècle — Jonathan Crary]] (french)<br> | ||
publisher: Jacqueline Chambon (Editions) (1994)<br> | publisher: Jacqueline Chambon (Editions) (1994)<br> | ||
→ 7. [[Inside the White Cube, the Ideology of Gallery Space — Brian O'Doherty]] (english) (yet to be filled)<br> | → 7. [[Inside the White Cube, the Ideology of Gallery Space — Brian O'Doherty]] (english) ⚠️(yet to be filled)⚠️<br> | ||
publisher: Les presses du réel (2008)<br> | publisher: Les presses du réel (2008)<br> | ||
→ 8. [[Préçis de sémiotique générale — Jean-Marie Klinkenbeg]] (french) (yet to be filled)<br> | → 8. [[Préçis de sémiotique générale — Jean-Marie Klinkenbeg]] (french) ⚠️(yet to be filled)⚠️<br> | ||
publisher: Point (2000)<br> | publisher: Point (2000)<br> | ||
→ 9. [[Langage des nouveaux médias — Lev Manovitch]] (french) (yet to be filled)<br> | → 9. [[Langage des nouveaux médias — Lev Manovitch]] (french) ⚠️(yet to be filled)⚠️<br> | ||
publisher: Presses du Réel (2001)<br> | publisher: Presses du Réel (2001)<br> | ||
→ 10. [[L'empire cybernétique — Cécile Lafontaine]] (french)<br> | → 10. [[L'empire cybernétique — Cécile Lafontaine]] (french)<br> | ||
| Line 88: | Line 107: | ||
===<p style="font-family:helvetica">Articles</p>=== | ===<p style="font-family:helvetica">Articles</p>=== | ||
→ 1. [[Frederick Kiesler — artiste- architecte]] (yet to be filled)<br> | → 1. [[Frederick Kiesler — artiste- architecte]] ⚠️(yet to be filled)⚠️<br> | ||
(communiqué de presse) | (communiqué de presse) | ||
Centre pompidou; source : centrepompidou.fr (1996)<br> | Centre pompidou; source : centrepompidou.fr (1996)<br> | ||
→ 2. [[Oublier l'exposition]] (yet to be filled)<br> | → 2. [[Oublier l'exposition]] ⚠️(yet to be filled)⚠️<br> | ||
Artpress special numéro 21 (2000)<br> | Artpress special numéro 21 (2000)<br> | ||
→ 3. [[Composer avec l’imprévisible: Le questionnaire sur les médias variables]] (yet to be filled)<br> | → 3. [[Composer avec l’imprévisible: Le questionnaire sur les médias variables]] ⚠️(yet to be filled)⚠️<br> | ||
Jon Ippolito; source : variablemedia.net/pdf/Permanence (2003)<br> | Jon Ippolito; source : variablemedia.net/pdf/Permanence (2003)<br> | ||
→ 4. [[Esthétique du numérique : rupture et continuité]] <br> | → 4. [[Esthétique du numérique : rupture et continuité]] <br> | ||
Fred Forest; source : archives.icom.museum (2010)<br> | Fred Forest; source : archives.icom.museum (2010)<br> | ||
→ 5. [[La narration interactive]] (yet to be filled)<br> | → 5. [[La narration interactive]] ⚠️(yet to be filled)⚠️<br> | ||
Dragana Trgovčević source : ensci.com/file_intranet/mastere_ctc/etude_Dragana_Trgovcevic.pdf (2011)<br> | Dragana Trgovčević source : ensci.com/file_intranet/mastere_ctc/etude_Dragana_Trgovcevic.pdf (2011)<br> | ||
→ 6. [[Des dispositifs aux appareils - L'Espacement d'un calcul]]<br> | → 6. [[Des dispositifs aux appareils - L'Espacement d'un calcul]]<br> | ||
| Line 107: | Line 126: | ||
→ 2. Kluitenberg, Eric, ed. Book of imaginary media. Excavating the dream of the ultimate communication medium. Rotterdam: NAi Publishers, 2006. | → 2. Kluitenberg, Eric, ed. Book of imaginary media. Excavating the dream of the ultimate communication medium. Rotterdam: NAi Publishers, 2006. | ||
=<p style="font-family:helvetica"> | =<p style="font-family:helvetica">Works (media art)</p>= | ||
<br> | <br> | ||
→ 1. [[Incidences Médiatiques — Martin Foucaut]] (2018)<br> | → 1. [[Incidences Médiatiques — Martin Foucaut]] based on ''Exercices de Style'' from Raymond Queneau (2018)<br> | ||
→ 2. [[Media Spaces — Martin Foucaut]] (2019) | → 2. [[Media Spaces — Martin Foucaut]] (2019)<br> | ||
→ 3. [https://issue.xpub.nl/13/TENSE/ TENSE — Martin Foucaut (based on an essay from Simon(e) van Saarloos] (2020)<br> | |||
[[Category:Xpub]] | [[Category:Xpub]] | ||
Revision as of 23:14, 20 July 2021
Special Issues
Special Issue 13
RESEARCH BOARD + TENSE INTERPRETATION + VISUAL IDENTITY W/ EUNA LEE AND JACOPO LEGA
ds_for_the_Future_-_Special_issue_13_-_Thumbnail.png)
For the Special Issue 13, I interpreted the essay TENSE (2018) by Simon(e) van Saarloos. With my interpretation, I amplified the author’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 for 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-user’s point of view, I affect the reader’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 project’s visual identity, including the making of Web-to-print documents such as the blank map; bookcover and colophon.
Special Issue 14
RESEARCH BOARD + LAUNCHER + FOLDER INTERFACES + VISUAL IDENTITY
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 publication’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 project’s visual identity.
Special Issue 15
RESEARCH BOARD + WEB OSCILLATOR
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
XPUB Bonus Project(s)
Caution Weird Floor - XPUB Geocatching Game with Federico Poni for The Hague Contemporary Art Weekend 2021
Weird Floor - XPUB Geocatching Game
"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 composeand 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.
For more information here, video here
Books
→ 1. L'art comme expérience — John Dewey (french) ⚠️(yet to be filled)⚠️
publisher: Gallimard (1934)
→ 2. L'œuvre d'art à l'époque de sa reproductibilité technique — Walter Benjamin (french
publisher: Alia (1939)
→ 3. La Galaxie Gutemberg — Marshall McLuhan (french)
publisher: University of Toronto Press (1962)
→ 3. Pour comprendre les médias — Marshall McLuhan (french)
publisher: McGraw-Hill Education (1964)
→ 4. Dispositif — Jean-Louis Baudry (french)
publisher: Raymond Bellour, Thierry Kuntzel et Christian Metz (1975)
→ 5. L’Originalité de l’avant-garde et autres mythes modernistes — Rosalind Krauss (french) ⚠️(yet to be filled)⚠️
publisher: Macula (1993)
→ 6. L'art de l'observateur: vision et modernité au XIXe siècle — Jonathan Crary (french)
publisher: Jacqueline Chambon (Editions) (1994)
→ 7. Inside the White Cube, the Ideology of Gallery Space — Brian O'Doherty (english) ⚠️(yet to be filled)⚠️
publisher: Les presses du réel (2008)
→ 8. Préçis de sémiotique générale — Jean-Marie Klinkenbeg (french) ⚠️(yet to be filled)⚠️
publisher: Point (2000)
→ 9. Langage des nouveaux médias — Lev Manovitch (french) ⚠️(yet to be filled)⚠️
publisher: Presses du Réel (2001)
→ 10. L'empire cybernétique — Cécile Lafontaine (french)
publisher: Seuil (2004)
→ 11. La relation comme forme — Jean Louis Boissier (french)
publisher: Genève, MAMCO(2004)
→ 12. Le Net Art au musée — Anne Laforêt (french)
publisher: Questions Théoriques(2011)
→ 13. Narrative comprehension and Film communication — Edward Branigan (english)
publisher: Routledge (2013)
→ 14. Statement and counter statement / Notes on experimental Jetset — Experimental Jetset (english)
publisher: Roma (2015)
→ 15. Post Digital Print — Alessandro Ludovico (french) ≈
publisher: B42 (2016)
→ 16. L'écran comme mobile — Jean Louis Boissier (french)
publisher: Presses du réel (2016)
→ 17. Design tactile — Josh Clark (french)
publisher: Eyrolles (2016)
→ 18. Espaces de l'œuvre, espaces de l'exposition — Pamela Bianchi (french)
publisher: Eyrolles (2016)
→ 19. Imprimer le monde (french)
publisher: Éditions HYX et les Éditions du Centre Pompidou (2017)
→ 20. Version 0 - Notes sur le livre numérique (french)
publisher: ECRIDIL (2018)
Articles
→ 1. Frederick Kiesler — artiste- architecte ⚠️(yet to be filled)⚠️
(communiqué de presse)
Centre pompidou; source : centrepompidou.fr (1996)
→ 2. Oublier l'exposition ⚠️(yet to be filled)⚠️
Artpress special numéro 21 (2000)
→ 3. Composer avec l’imprévisible: Le questionnaire sur les médias variables ⚠️(yet to be filled)⚠️
Jon Ippolito; source : variablemedia.net/pdf/Permanence (2003)
→ 4. Esthétique du numérique : rupture et continuité
Fred Forest; source : archives.icom.museum (2010)
→ 5. La narration interactive ⚠️(yet to be filled)⚠️
Dragana Trgovčević source : ensci.com/file_intranet/mastere_ctc/etude_Dragana_Trgovcevic.pdf (2011)
→ 6. Des dispositifs aux appareils - L'Espacement d'un calcul
Anthony Masure source : anthonymasure.com (2013)
To read
→ 1. Joost Rekveld 2007, Mental Spaces, viewed 15 October 2018, <http://www.joostrekveld.net/wp/?page_id=590>
→ 2. Kluitenberg, Eric, ed. Book of imaginary media. Excavating the dream of the ultimate communication medium. Rotterdam: NAi Publishers, 2006.
Works (media art)
→ 1. Incidences Médiatiques — Martin Foucaut based on Exercices de Style from Raymond Queneau (2018)
→ 2. Media Spaces — Martin Foucaut (2019)
→ 3. TENSE — Martin Foucaut (based on an essay from Simon(e) van Saarloos (2020)