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--- a/docs/assignments/week02.md
+++ b/docs/assignments/week02.md
@@ -2,6 +2,7 @@
**pronounce in Australian accent, quote by drag performer [Courtney Act](https://rupaulsdragrace.fandom.com/wiki/Courtney_Act)*
+*Final result, Loes Bogers*
For this weeks' assignment, I've done the research and practice work without separating them, to see if I can keep the thinking and doing more connected. I loved the week's theme of not thinking of the body as a white canvas, but instead understand how any perception of, or idea about bodies is already cultural and, if I may add: implicated in body politics. It resulted in three experiments and a realized physical model made out of paper. In summary I have:
@@ -25,11 +26,11 @@ More sources of inspiration (more conceptual) are found throughout the research
* Top left: Nick van Woert, bottom left: Dongwook Lee, center: Iris van Herpen en Studio Drift, and on the right: Charles Ray (2x)*
**About my model the rolemodel**<br>
-I decided quite quickly who I wanted to be the model for my mannequin. Alex is a super bright and wonderful person and friend, and also the mother of an amazing 8-year old boy. I've known her for almost a decade and we've worked and talked a lot on topics relating to the body, gender, politics. I would love to dedicate this assignment to her and hope I won't disappoint.
+I decided quite quickly who I wanted to be the model for my mannequin. It is modeled on a scan of Mixen: a super bright and wonderful person, friend and parent. I've known them for almost a long time. I love talked about topics relating to the body, gender, politics with them. Especially over a bowl of porridge, which they serve with peanut butter or apples caramelized in butter. I would love to dedicate this assignment to them and hope I won't disappoint.
-The way I've come to know her: she will only wear one label: that of *feminist killjoy* and she wears it with pride. I learn from her every day. She is able to create a welcoming space for everyone without making herself smaller for anyone, and I love that about her. That is why I want to model a torso based on her 3D scan that is fully lifesize, and not a mm smaller.
+The way I've come to know Mixen: the will only wear one label: that of *feminist killjoy* and they wear it with pride. I learn from them every day. They're able to create a welcoming space for everyone without making themselves smaller for anyone, and I love that about them. That is why I want to model a torso based on their 3D scan that is fully lifesize, and not a mm smaller.
-I would like to capture what I perceive to be the essence of my friend, how she stands, how she carries her body, the volume of it, its strength as a whole, without necessarily replicating her exactly.
+I would like to capture what I perceive to be the essence of Mixen, how they stand, carry their body, the volume of it, its strength as a whole, without necessarily replicating them exactly.
## Research 1: Are digital bodies standardized bodies?
@@ -69,14 +70,14 @@ In her book *Invisible Women: Exposing Data Bias in a World Designed for Men*, t
## Experiment 1: MakeHuman - an interface critique
Sexualized and racialized bodily stereotypes still abound and not only in fashion and product design. The world of technology and software development echoes many of the stale ideas around the female bodies, able bodies and bodies of color.
-I did not go into history there, but started exploring this week's tools. I figured that asking some critical questions about the imagery in splash screens, and labels and classification systems used to structure and add meaning to interfaces of the software is worth mentioning as part of the research. Interfaces have politics too? I'd say they do, yes! And it's quite interesting to unravel. If you want to try it out: helpful list of prompts and provocations to confront an interface with is listed in [Hangar's Interface Manifesto](https://interfacemanifesto.hangar.org/index.php/Main_Page). I created a powerful fictitious woman figure named *MakeHumanAngry* with MakeHuman, and she proudly wears her women's sports wear crop top, but she isn't amused...
+I did not go into history there, but started exploring this week's tools. I figured that asking some critical questions about the imagery in splash screens, and labels and classification systems used to structure and add meaning to interfaces of the software is worth mentioning as part of the research. Interfaces have politics too? I'd say they do, yes! And it's quite interesting to unravel. If you want to try it out: helpful list of prompts and provocations to confront an interface with is listed in [Hangar's Interface Manifesto](https://interfacemanifesto.hangar.org/index.php/Main_Page). I created a powerful fictitious person named *MakeHumanAngry* with MakeHuman, and they proudly wear a women's sports wear crop top, but they aren't amused...
*GIF by Loes Bogers via GIPHY, using screenshots of MakeHuman software*
**Imaginaries of the virtual** <br>
-The splash screen of the *MakeHuman* software is a typical "virtual" fantasy of three fit and slender human figures, bodies that I would associate with my own 14-year old body. They are in an embrace where the arms of the left and right figure covers that of the middle one's breasts, who is facing the camera. They/she do(es)n't have any primary sex organs however. Which aligns with the fact that after the splash screen, a trigger warning appears: be cautious as you might see bodies. And they might be..... NUDE! We would not want to offend anyone with unsollicited anatomical truthfulness. A correctness that the interface doesn't care so much about effectively as you will later have the option to blow up your avatars genitals as big as your fantasy requires.
+The splash screen of the *MakeHuman* software is a typical "virtual" fantasy of three fit and slender human figures, bodies that I would associate with my own 14-year old body. They are in an embrace where the arms of the left and right figure covers that of the middle one's breasts, who is facing the camera. They don't have any primary sex organs however. Which aligns with the fact that after the splash screen, a trigger warning appears: be cautious as you might see bodies. And they might be..... NUDE! We would not want to offend anyone with unsollicited anatomical truthfulness. A correctness that the interface doesn't care so much about effectively as you will later have the option to blow up your avatars genitals as big as your fantasy requires.
**Blumenbach's racial classification system, still here today**<br>
The interface also uses biological theorist Johann Friedrich Blumenbach's outdated and very problematic racial classification system from the 18th century. It's the one with categories like like "caucasian", and also the one underpinning the later *eugenics*, a branch of pseudoscience that was used to justify the Holocaust. **News flash**: they're not real. They signify nothing besides an imagined superiority of Western European/American white folks: it's a construct created to divide. As an interface design alternative, one might just observe and describe the features themselves, rather than grouping them according to a system that perpetuates racial stereotypes. Find out more about it in this nice article: [Why Do We Keep Using the Word "Caucasian?" by Jolanda Moses](https://www.sapiens.org/column/race/caucasian-terminology-origin/)
@@ -103,9 +104,9 @@ Download *MakeHumanAngry* (made with MakeHuman) here:
**Capture app for iOS**
-I used this nice app for iOS, that creates a point cloud from a scene you capture by slowly moving your phone. It didn't work on my good ol' iPhone SE, so I used my sister's newer model, thanks sis. I made a capture of myself and my nephew Faas on my lap. Of course he didn't really want to sit still (he's 11 months old). But you still get the idea. The .usdz file was a little hard to manipulate or even view. There's not so many tools yet for this Apple-native 3D file format, so it's still a bit hardcore. [This tutorial](https://medium.com/@alberto.taiuti/usd-z-deep-dive-for-arkit-part-one-11bcf24a3deb) explained a bit more about the filetype... I managed to view it by opening it with TouchDesigner though, it looks like this:
+I used this app for iOS, that creates a point cloud from a scene you capture by slowly moving your phone. It didn't work on my good ol' iPhone SE, so I used my sister's newer model, thanks sis. I made a capture of myself and my sister's child on my lap. Of course they didn't really want to sit still (11 months old). But you still get the idea. The .usdz file was a little hard to manipulate or even view. There's not so many tools yet for this Apple-native 3D file format, so it's still a bit hardcore. [This tutorial](https://medium.com/@alberto.taiuti/usd-z-deep-dive-for-arkit-part-one-11bcf24a3deb) explained a bit more about the filetype... I managed to view it by opening it with TouchDesigner though, it looks like this:
<br>
-*3D scan of myself and nephew made with Capture for iOS, Loes Bogers*
+*3D scan of myself and my sister's child made with Capture for iOS, Loes Bogers*
**SizeStream**
More useful to me was the [SizeStream SS20 body scanner and software](http://sizestream.com/ss20-classic/) we have at work. Colleagues at the Fashion Research and Technology group use this machine to create a database of measurements to optimize e.g. the design of uniforms. The process of scanning is so straightforward, it's a bit silly to document, but here are the steps and below is a video that shows how it's done. Even the voice instruction and music you hear is really how the interface guides you lol.
@@ -124,7 +125,7 @@ You get a 3D file and a textfile that holds the measurements defined in this par
Fortunately things like the file can still be repaired. A far cry from healing from centuries of patriarchy, sexism and body shaming under the guise of building generalizable knowledge but hey.
**Body language of the SizeStream**
-What is kind of nice I think, is that it requires you to grab the handlebars next to your hips. I think it's a nice and strong position to take, not taking any notice of the kind of desirable positioning a male gaze might require, lol. This position also suits the personality and body language of my model quite well.
+What is kind of nice I think, is that it requires you to grab the handlebars next to your hips. I think it's a nice and strong position to take, not taking any notice of the kind of desirable positioning that for example a male gaze might require, lol. This position also suits the personality and body language of my model quite well.
**Repairing the 3D file**
I repaired my file using the [Netfabb Service](https://service.netfabb.com/service.php) where you can upload your .obj or .stl and it tracks down naked edges and messy meshes and repairs them so you can print your 3D file nicely if you wanted to. And we're ready to go! My model is ready to be boxed in:
@@ -147,13 +148,13 @@ I immediately think of Marey and Muybridge's movement studies from the early 19t
What these two do quite interestingly is adding the factors of **time** and **space** to the capture of a body, rather than abstracting and decontextualizing it as if it existed in a vacuum. This is however still a rather positivist approach to understanding the body, that separates what can be known about the body from the experience of it. It also assumes that there is something of a god's perspective: an eye that can see at all times at ones, from all perspectives at once.
## Experiment 2: Time and Space in Rhino?
-To try out some of these ideas, I went into Rhino to refamiliarize myself with this lovely toolbox. With which commands do I command my model into shape? Or rather, with which commands do I allow myself to see her anew?
+To try out some of these ideas, I went into Rhino to refamiliarize myself with this lovely toolbox. With which commands do I command my model into shape? Or rather, with which commands do I allow myself to see them anew?
-The lovely person who modeled for my model cultivates 1001 angles on herself on a daily basis, to create a space for herself, enjoy herself and make her life manageable by lubricating intercultural communication, and (project a suggestion of) meeting the standards of herself, her son, housemates, friends, supervisor(s), neighbours, Danish friends and family, other Danish parents, herself, other English parents, English school staff, and so on.
+The lovely person who modeled for my model cultivates 1001 angles on themselves on a daily basis, to create a space to work and to enjoy and make life manageable by lubricating intercultural communication, and (project a suggestion of) meeting the standards of themselves, family, housemates, friends, supervisor(s), neighbours, school staff and so on.
-**Outcome: Multimom deserves a statue**
+**Outcome: you get a statue! You get a statue!**
-It sounds like this person deserves a statue for this. Here's what she ended up looking like:
+It sounds like this person deserves a statue for this. Here's what the object ended up looking like:
<div class="sketchfab-embed-wrapper">
<iframe title="A 3D model" width="400" height="200" src="https://sketchfab.com/models/73dbc0f8f4b8435b9719951812e66f0b/embed?autostart=1&camera=0" frameborder="0" allow="autoplay; fullscreen; vr" mozallowfullscreen="true" webkitallowfullscreen="true"></iframe>
@@ -197,7 +198,7 @@ This project is a virtual reality experience featuring 3d scans of drag queens &
<iframe width="560" height="315" src="https://www.youtube-nocookie.com/embed/vM9aJl2CrCw?controls=0" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
**Orlan's MesuRAGEs**<br>
-This artist does amazing work using her body as a material. In this series of art work, the artist measures streets or buildings using her own body physically and literally as a unit of measure: the ORLAN-corps, whilst raging against the male power that is represented in the way big institutions, like museums are built.
+This artist does amazing work using her body as a material. In this series of art work, the artist measures streets or buildings using her own body physically and literally as a unit of measure: the ORLAN-corps, whilst raging against the male power that is represented in the way big institutions such as museums are built.
<iframe width="560" height="315" src="https://www.youtube.com/embed/3F77c6sk95E" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
@@ -209,9 +210,9 @@ Somewhat related is designer Lucas Maassen's workshop [Meten is Weten](https://e
## Experiment 3: Beyond Numerical or Cartesian Accuracy, toward Material Truthfulness?
-To allow her to be unruly, I thought to think of a technique that prevent her from being captured with standardized measuring systems with any precision. How could I abstract her in a truthful way, without re-presenting her with the kind of razorblade precision that measure-controls her down to the mm? In the time I have left, with the limited skills I have, can I find a way of re-presenting a body by rendering it in a way that is clearly not meant to be realistic or truthful? Render the body in a way that points to its inherent artificiality, and showing the digital material it is made of?
+To allow them to be unruly, I thought to think of a technique that prevents them from being captured with standardized measuring systems with any precision. How could I abstract Mixen in a truthful way, without re-presenting her with the kind of razorblade precision that measure-controls her down to the mm? In the time I have left, with the limited skills I have, can I find a way of re-presenting a body by rendering it in a way that is clearly not meant to be realistic or truthful? Render the body in a way that points to its inherent artificiality, and showing the digital material it is made of?
-There's a nice challenge in finding some abstraction without losing all the personality. It's also somewhat convenient, because her scan was taken while she was wearing clothes and suspenders, which adds some details that are hard to recognize and therefor a bit distracting. What I ended up creating is a render of my 3D model that magnifies the fact that it is made up of connecting vertices at a resolution that may or may not trick the eye. This is the 3D design I ended the week on:
+There's a nice challenge in finding some abstraction without losing all the personality. It's also somewhat convenient, because the scan was taken while wearing clothes and suspenders, which adds some details that are hard to recognize and therefor a bit distracting. What I ended up creating is a render of my 3D model that magnifies the fact that it is made up of connecting vertices at a resolution that may or may not trick the eye. This is the 3D design I ended the week on:
<div class="sketchfab-embed-wrapper">
<iframe title="A 3D model" width="400" height="200" src="https://sketchfab.com/models/da7886cbd431414496b42399dcb04956/embed?autostart=1&camera=0" frameborder="0" allow="autoplay; fullscreen; vr" mozallowfullscreen="true" webkitallowfullscreen="true"></iframe>
@@ -322,24 +323,24 @@ I had to do another cuttest because I changed to the different machine and ended
Ohm this process was crazy. It already was intimate to make this 3D model of a friend, but it got real intimate right about now! Cutting took an hour, but assembling took me the whole rest of the day, another 8 hours.
-Armed with sticky notes, painting tape, duct tape, a ruler and a pen, I set off to assemble this design using the slicer app for reference to see where the panels were. When I got further into the assembling process I found myself also writing what body parts the were because it was getting really confusing really quick! I taped down all the little splices because they were easily damaged. I started with painting tape, because I wanted to be able to fix mistakes, but in the end duct tape was much better for this.
+Armed with sticky notes, painting tape, duct tape, a ruler and a pen, I set off to assemble this design using the slicer app for reference to see where the panels were. When I got further into the assembling process I found myself also writing which body parts they belonged to because it was getting really confusing really quick! I taped down all the little splices because they were easily damaged. I started with painting tape, because I wanted to be able to fix mistakes, but in the end duct tape was much better for this.
The tabs give guidance and hold the mannequin together to some extent, but they're always located in the middle giving little support to the edges. They were quite strong though as the tab is made slightly bigger than the hole, but it's also very easy to manipulate the paper too much (ugly!) because you have to pull at it a lot. So I ended up trimming them with tiny scissors.
**Order of assembly**<br>
-I made the separate limbs first and then put it together. The size of the mannequin was a little too big for the strength the paper could give. A smaller model would have been much sturdier. But in the end I filled it up with the left over paper from cutting and it's standing firmly now! Probably not fit to travel though. It was quite amazing how it went from very floppy (in the middle of the process) and feeling it gain coherence and structure as I advanced. It reminded me a lot of how confused I can get while sewing when you have to keep pulling things inside out. I find it easy to get confused about what body part I'm working on haha. I assembled in this order, constantly referring to the slicer 3D model to see which parts should connect:
+I made the separate limbs first and then put it together. The size of the mannequin was a little too big for the strength the paper could give. A smaller model would have been much sturdier. But in the end I filled it up with the left over paper from cutting and it's standing firmly now! Probably not fit to travel though. It was quite amazing how it went from very floppy (in the middle of the process) and feeling it gain coherence and structure as I advanced. It also reminded me a lot of how confused I can get while sewing when you have to keep pulling things inside out. I find it easy to get confused about what body part I'm working on haha. I assembled in this order, constantly referring to the slicer 3D model to see which parts should connect:
1. Left arm: 19, 20, 23, 24 and 25
2. Right side of belly: 1,3,14,21 and 21
-3. Boob/belly: 4, 5 and 12
+3. Chest/belly: 4, 5 and 12
4. Head: 13, 31 and 32
5. Back: 6, 7, 10, 11, 15 and 17
6. Right arm: 27, 28 and 29
7. Last bits:
* 9 = near left shoulder
- * 8 = near left boob
+ * 8 = near chest (left)
* 2 = underneath bottocks (I didn't use this)
* 16 = near right shoulder
* 30 = near chin/shoulder (I didn't use this)
@@ -350,7 +351,7 @@ I made the separate limbs first and then put it together. The size of the manneq
*Entirely consentual assembling going on*
**An ikea moment**<br>
-And..... done! With I had to stuff her a little with the left over paper, but here she is. Gorrrrrgeous. And surely there had to be some mystery leftover pieces! They can be placed at the head and neck but it doesn't really help. The slicer made some sub-optimal constructions for the neck. And there's also a hole in the back (which can be fixed easily by designing another vertex for it). I missed that when working on the flat designs.
+And..... done! With I had to stuff the mannequin a little with the left-over paper, but here they are. Gorrrrrgeous. And surely there had to be some mystery leftover pieces! They can be placed at the head and neck but it doesn't really help. The slicer made some sub-optimal constructions for the neck. And there's also a hole in the back (which can be fixed easily by designing another vertex for it). I missed that when working on the flat designs.
