{date: 211217}

amendment: the cap sensors actually work by using one GPIO out pin, and one GPIO in pin, working with a delay calculation; so they don't sit on ADCs. Multiple sensors can be driving with a single out pin IIRC, so for eight caps one would need 9 GPIO pins.

{hhr 211219}

I have done many sketches and doodles in the past months, sadly I wasn't persistent with dating them, and they appear now in a slightly random order.

{hhr 220109}

In a way, the piece takes inspiration from the 2018 objects Körper α and Körper β. We always intended to create more instances in a series, and there are some materials (containers, wires, rods) here in the studio that were meant for Körper ɣ, but it never materialised. Already back then, I had thought about exploring conductive sensing, and we made some preliminary tests; but we never followed up on it. In Rogues, the plural is important (or will be important, when things take form), also the more open-ended (and slower) process.

hand approaching (but not touching) the object, which has a circular “eye” oriented towards the audience.
pattern; testing German prefixes; patterning, surveying…
protective circle; open circle; object on a pedestal (rather small); interior of object, showing heavy glass lens, transducers mounted to hull; a motorised socket that can tilt a screen mounted below the glass lens.

{hhr 211219}

I started reading Yuk Hui's new book in August. There is this nice passage (p. 76):

“Technological determinism means first of all surrendering thinking to a narrow technocracy, limiting the way the world is understood and operated to a particular understanding of technology and its future, while that same technology meanwhile promises that everything is possible.”

{date: 211219}

the object could be a multiple, like making an “edition". We found a metal stand that could perhaps hold the ceramics. If you have a multiple, then humans could be requests to pass something from object to objects, a nutrient, a form of communication, a fragment of a map. The human becomes the rogue (traveller), the human is engaged in phoresy.

{date: 211219}

how could one carry something from one object to the other? using a piece of (magnetised?) wire, or a “cassette”, “disk", a “seed”. Something that can be embedded in a non-electronic shell, that can be readable and writable from a certain distance by the objects.

Naya came up with the association of shark eggs, which are really fascinating and weird things. They could store a piece of information exchanged, coming from the “dungeon” that is the interior world model of one object, which in turn also feeds the visual and sonic actuators, and which is built or transformed by sensing the immediate environment, a form of contact-making. The egg would permit two more remote objects to share parts of their world views.

The visual actuator showing a sort of planetary system, a rotation of onion layers, a gyroscope.

detailing the making of the "dungeon” inner world model. How does an agent move through the dungeon? Tetragonal and hexagonal grid. A microphone is indicated as an independent sensory input that guides the agent's movement, whereas touch and proximity guide the map generation.

World A and B may share part of their topology, including perhaps NPCs and objects, but the agents would transparently interpenetrate without ever “meeting” each other; except perhaps for their traces.; the traces would age, and their mutual discovery would produce significant visual or sonic responses, so that the human action of exchanging data is honoured. Each instance has a unique id for its “rogue”.

How large is the world? (is it circular?) An “endless house”, a Möbius strip.

Four sources of world experience: sound/mic, light/vision, touch, exchange. Two actuations: sound/transducer, video, (kinetic?)

cracks, glue. atmosphere. Schichten (layers). topo|ogy | Prozessform. objects (objecthood). mensch-mensch-machine (human-human-machine). swap space.

‘a prototype / a test case’


different individuals ‘filling the same structure’

Bitte nehmen Sie Ihre Plätze ein (please take your seats / please occupy your locations)

from solipsism to sociality (variation of an illustration of extimacy by Gabriel Tupinambá, used with permission)



quantum leaps





dinstance. proximity

ingesting, remixing

swap space (--- enantiomorph). turn taking. vacancy. fill in


schwaermen: wie jemandem etwas ueberlassen? "Ein Handel" (Tauschhandel)



asynchronous (proper temporalities)


(un|non) selection


incompatibility (life at vastly different scales): M.Maeder, listening to soil

{date: 211219}

Possible relations between different composers, and audience, in a collaborative setup. There could be two or four composers/artists, for example composer A creating a sonic and a visual structure within the same instance (object), AS and AV, and a composer B doing the same for a second instance. Or they could swap, so composer A creates the sonic structure of instance A and the visual structure of instance B, and composer B creates the visual structure of instance A and the sonic structure of instance B, so their compositions would have to coexist within the same object. And the “world building” and “agent model” composition or layer could come from either of the two, or a separate third composer/artist M. The audience would perceive the instances, and shape them through the deliberate gesture of moving the shell that carries the data fragments.
inviduation, asynchronicity, holobiont, multi-agent, multiple, ecology
What is the process between AS and AV?
intentions could be generated iteratively as
M → AS/AV → M → … ?
a “personal music” ?
This carries the danger of reificiation, but could also bear its subversion?
Think about Braidotti's use of the concept of “glue”
agents that “live with” people
as “guests”
as “art'o'thek”
as “library items”
(in what state do you return the object?)
(the object could be “continuously learning”)
perhaps the objects are more dissimilar in terms of their sensorial layers (one could have a tablet or a scanner, etc.)

{date: 211219}

Thoughts on the borrowing of instances, them travelling forth and back to and from private spaces. When you give them out, how do the objects ‘reunite’? Perhaps in iterations: going to different private places A, B, C, for a time, then coming together in a public display, as assemblage within one exhibition, articulating what they have “learned”, how they have adapted while in the other spaces. Prospective adopters could pick objects in this public display and take them again to private spaces. Social media could be one form. Adopters could be engaged with researchers from other disciplines (than artistic researchers).
Some adopters could be prospective composers (adopters being rather from the peer group of artistic researchers)
Some objects could be experienced in shop-like windows, during lock-downs or for extended periods when the studios are occupied. In such situations, the objects could be built such that parts of them could be taken “off” and placed on the window, e.g. the transducer that produces now sound on the window pane.