​

​

​

​

​

​

​

​

                                                                                                   

​

 

 

[Hammer] Cube Rubick Tool that continues sculpting the stone Interface.

INTERFACE AND AUTONOMOUS MODEL

Now is the time to present an interface that is actually the source of the notation provided in the previous video piece whose ideas of structure and operation were rephrased in the stone obtaining the same algorithm ramdon method to generate a notation or a certain Situation to be interpreted.

The generative function of the stone as interface is given from the previous work where I use the rubick cube as algorithmic interface and autonomous model or method of chance for patterned improvisation and other types of eventualities. The idea of ​​this cube as an interface given its nature as an autonomous model gives rise to the same generative idea of ​​algorithms in the "Stone Oracle" interface applied in the stone, thus conceiving the idea of ​​the digitized stone in order to visualize in real time A generative result when rubbing or touching the physical stone.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

​

 

 

 

 

 

 

 

 

 

 

 

 

[By drawing the rubik's cube veneers on the computer screen I could internalize the idea of ​​algorithmic rotation in the stone].

Initially, this method was thought of as an exit, at a time when I literally felt fed up with the computer as the only tool available for ordering and creating. But also immersed in a sociocultural technological context in which I, as a person trained in the arts, thinking entity and actor of a social community that builds us, I agree with the passing of the years and now more than in any other. I feel the need to consider it as a fundamental piece of what this proposal will be at the technological-human level.

STOCASTIC MODEL

In principle I will present the physical object, which could be said to be an autonomous vehicle that functions as an algorithmic interface, a roasting method and a learning tool of all kinds, especially the most important thing is that the interface is physical and tangible. In the same way, I have set myself the task of guiding him perhaps naively and speculatively towards a technocratic antithesis. Later I mention how this tool could become a very important matrix for heuristic and Pataphysical practical knowledge in different fields of arts and human expressions from sound art and contemporary music.

Rubik's cube. Short story.

Our main objective here is not to build the cube or achieve the goal set by its creator, but to use it as an autonomous model given its nature. In any case, it is important to know its structure and operation, which I will review briefly below.

Rubik's Cube is a three-dimensional mechanical puzzle invented by Hungarian sculptor and architecture professor Erno Rubik in 1974.

Permutations
The original Rubik's cube (3 × 3 × 3) has eight vertices and twelve edges. There are (40 320) ways to combine the vertices of the cube. Seven of these can be oriented independently and the orientation of the octave will depend on the previous seven, which gives (2187) possibilities. In turn, there are (239 500 800) ways of organizing the edges, since a parity of the corners also implies a parity of the edges. Eleven edges can be flipped independently and the twelfth rotation will depend on the previous ones, giving (2048) possibilities. In total, the number of possible permutations in Rubik's Cube is: = 43 252 003 274 489 856 000 That is, forty-three billion two hundred fifty-two thousand three billion two hundred seventy-four thousand four hundred eighty-nine million eight hundred fifty and six thousand permutations. 24 The riddle is often promoted by having only "billions" of positions, since larger numbers are not very familiar to most people.

Algorithms
In the terminology of the Rubik's cube fan, a memorized sequence of movements that has a desired effect on the cube is called an algorithm. This terminology derives from the mathematical use of the algorithm, a pre-written set of well-defined, orderly and finite instructions or rules that allow you to perform an activity through successive steps. Each method to solve the cube uses its own set of algorithms, along with the descriptions of the effect of the algorithm and when it can be used to bring the cube to a state closer to resolution.
Many algorithms are designed to transform only a small part of the cube without disassembling other parts already resolved so that they can be applied repeatedly to different parts of the cube until they are resolved. For example, there are algorithms to exchange three vertices or change the orientation of two vertices without changing the rest of the puzzle.
Some algorithms have a desired effect on the cube (for example, exchanging two vertices) but may have side effects (such as exchanging two edges). Such algorithms are often simpler than others without undesirable effects and are most commonly used at the beginning, when most of the puzzle has not been solved and the side effects are not important. Towards the end of the solution, more specific (and generally more complex) algorithms are used to avoid mixing parts of the cube that have already been resolved.

Notation:
David Singmaster, creator of the "Singmaster notation".
Many Rubik cube enthusiasts use a notation developed by David Singmaster to denote a sequence of movements, called "Singmaster notation." 26 Their relative nature allows the algorithms to be written in a way that can be applied regardless of which side the top is designated or how the colors are organized in a particular cube, the letters come from the name of their position in English, it is saying

X (rotate): rotate the entire cube in R
And (rotate): rotate the entire cube in U
Z (rotate): rotate the entire cube in F
When a letter is followed by a cousin, it indicates a counterclockwise movement, while a letter without a cousin indicates a clockwise movement. A letter followed by a 2 (occasionally superscript, 2) indicates two turns, or a 180 ° turn.
For methods that use mid-layer twists (particularly the first vertex method, developed by Ernő Rubik), an extension of the notation called "MES" is generally accepted, where the letters M, E and Sindicate middle-layer movements. It is used, for example, in the algorithms of Marc Waterman. 27
· M (medium): vertical inner layer in the "l" direction.
· E (equator): horizontal inner layer with the rotation in the "u" direction.
· S (position): upper (central) inner layer moved in the "f" direction.
The 4 × 4 × 4 cube and other larger cubes use extended notation to refer to the additional intermediate layers. In general, capital letters (F B U D L R) refer to the outer parts of the cube (called faces). Lowercase letters (f b u d l r) refer to inner parts of the cube (called slices). An asterisk (L *), a number in front of the letter (2L), or two layers in parentheses (Ll), mean to rotate two layers at the same time.

BW (two layers back): the opposite side to the front and the corresponding intermediate layer
UW (two layers above): the upper side and the corresponding intermediate layer
· DW (two layers below): the lower side and the corresponding intermediate layer
· LW (two layers on the left): the left side of the front and the corresponding intermediate layer
· RW (two right layers): the right side of the front and the corresponding intermediate layer
X (turn): rotate the entire cube in R
· Y (turn): rotate the entire U-cube
· Z (turn): rotate the entire cube in F
When a letter is followed by a cousin, it indicates a counterclockwise movement, while a letter without a cousin indicates a clockwise movement. A letter followed by a 2 (occasionally superscript, 2) indicates two turns, or a 180 ° turn.
For methods that use mid-layer turns (particularly the first vertex method, developed by Ernő Rubik), an extension of the notation called "MES" is generally accepted, where the letters M, E and Syndicate middle layer movements. It is used, for example, in the algorithms of Marc Waterman.27
· M (middle): vertical inner layer in the "l" direction.
· E (Ecuador): horizontal inner layer with rotation in the "u" direction.
· S (position): upper (middle) inner layer moved in the "f" direction.
The 4 × 4 × 4 cube and other larger cubes use extended notation to refer to the additional intermediate layers. In general, uppercase letters (F B U D L R) refer to the outer parts of the cube (called faces). Lowercase letters (f b u d l r) refer to the internal parts of the cube (called cuts). An asterisk (L *), a number in front of the letter (2L), or two layers in parentheses (Ll), means rotating two layers at the same time. 

 

​

 

 

 

​

​

​

​

​

​

​

​

 

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

Personal note)
The cube is a memory of a stage of my life between childhood and adolescence, one day my older sister brought it home with the hope of solving it, it did not solve it and returned it to its owner, but it was the first time that I had contact with him. I was 9 years old and I was resounding, I tried to get one several times but it was not so easy to find it, then at 19 I returned through an acquaintance, I put it together this time and I did it. different algorithmic methods, after that I tattooed it inside the right arm and after a couple of years the physical cube disappeared but the tattoo remained. One day, at 28, I was thinking about things that I had learned throughout my life that allowed me to concentrate, abstract to the point of stopping the world, that is, stop thinking (a little influenced by Carlos Castaneda for several years). ) Didactic since playing an instrument or assembling the cube, this is how he came back while studying mastery in sound art and tried to escape from the computer asking me to give him so much time and do almost everything with him. In addition, I was looking for new algorithmic compositional systems that would allow me to involve new languages ​​in a composition thinking especially in a relational context from the playful. This is how several of my first-hand needs joined in this magic cube at that time in my life.

Exercise control over technology.

For some time, I have been thinking that for this same reason it becomes a progressive body mutation that continues to occur beyond what we can perceive, eutony (body discipline) led me to understand that there is a discipline of consciousness about the human body and Each of the atoms that compose it while simply inhabiting everyday life in the way it is taught, formed, perhaps violated from Western, cultural, family, religious, academic or, in other words, westernized construction That one is until he realizes. It is there, then, that thought has the form of a multi-sided mirror whose crystal shines to the extent that one is aware of each of the aspects that make up the positioning of the surrounding reality to be human as a corresponding microcosm in all measure and proportion to the macrocosm that would be the universe.
The idea stems from a dislocation to the digital machine and questions the use of new technologies that in turn contribute more and more to the dehumanization of art and the control of technology over our daily activities, also taking into account the slow mutation, the progressive and unconscious suffering. from our corporeality, our senses and our thinking can perceive a form of violence exerted from the needs created by the capitalist system to be able to establish and sell an idea of ​​progress understood by society in terms of high quality, better quality or more speed of processing without subjecting to a forced reality based on technocracy where the criteria and the capacity of observation to inhabit a work of critics is reduced and determined by a systematic anchoring to the capitalist system such as computer science and the use of "avant-garde" new technologies.

This object is considered as a profound return to the physicality of the playful and didactic of a tool designed to teach geometry making it a method of chance, indeterminacy and randomness for contemporary composition, free or programmed improvisation and creative learning in general.
We can understand geometry as the beginning of everything, shapes, number lines and colors as the codes that make up the world we inhabit. From there, human thought is configured according to what he sees, what he hears, touches, etc.

A womb in the hands.

A womb in the hands.

Disintegrate and unite, pirating the usual way of understanding the cube whose goal is total assembly and then move on to other configurations and shapes that include contrasts in the color palette. The same may be true of the thought and the unconscious and conscious schemes that constitute these thoughts. The cube is the physical representation of the mind or the matrix that must be shaped. The common mind remains in continuous activity as a radio that does not stop transmitting simultaneously on several frequencies. The consciousness that observes and shapes this activity of the mind here are the hands, whose function would be to put order in order but without thinking of a single established order, since what is ordered is a progressive mutation that occurs in the measure in which in which the interface is activated, that is, to the extent that one has the ability to observe the activity of the mind, there is the possibility of selecting what one wants to think about or what one prefers to discard by placing the action of thinking in a way to be controlled by consciousness.

Then, in this order of ideas, the cube or interface would change from being a simple object of linguistic identification to being a metaphysical platform of sensitive reflection where unusual communication channels converge that also seek to conspire the languages ​​of the unconscious creation the object is a metaphor of whose order or chaos depends on a point of equilibrium between the control and the non-control of the possibilities within our reach to codify an action or final result by means of a determined or indeterminate algorithm.

Start a live process of inhabiting the language from another place, a first tool to accomplish this task is the one that is contextualized here, for example, a first dynamic would be the deconstruction of the alphabet through the cube taking into account the components of the Aksnina language Perrene Mixing gestures or movements "ideophones" accompanied by letters, sounds, words or articulations in a semiotic system that we will invent from the given elements

Science of imaginary solutions.

One of the main objectives would be to deconfigure and reconfigure semiotic environments to generate a multiplicity of expressions that combine different languages ​​and contexts (musical, gestural, bodily, literal, abstract, performative relational, etc.) that can inhabit a contemporary environment. expressions such as composition, improvisation, performance and specifically human relationships that would become another of the main objectives of this interface object.
Then I begin to think about the object of the musical context more specifically of improvisation and composition as an interface or generative instrument, analogous, synthesizer of symbols and signs corresponding to any semiotic system that you want to sign there in the cube boxes, which although it is perfectly possible to interpret the unique color or the void of a box in multiple ways without having to assign anything additional, you can also ignore it by assigning the desired sign system with the desired parameters, it can be complexed or strengthened in multiple ways. You can use a cube for an instrument specifically or more than one cube if you want to expand the spectrum of possibilities by generating operations that determine other operations, etc.

From here I look for all possible ways to use not only one but several cubes involved with different semiotic systems written on it. I cover the cube with paper tape and write letters and numbers in a previously messy cube, the color becomes a much clearer cake that remains even as a determinant or fundamental in the definitive sign, that is why this object interface is already in this point. with several elements whose forms to codify are multiple depending on the activity or the contexts in which it is wanted to emphasize for the use of the interface. Then comes a first prototype that contains only repeated consonant vowels, some additional characters, empty spaces and, in principle, is in disorder. Another with numbers from 1 to 9 that occupy a face, three faces occupy the 27 letters of the alphabet, a face assigned to different rhythmic cells of no more than three notes and some musical notation signs such as the calderón (.) And some characters that they would correspond to extended techniques for an instrument in this case the clarinet.

As I said The possibilities of creating with this tool are multiple depending on the context in which you want to use. You could write a complete text in the cube and deconfigure it by rewriting again from the results thrown once the algorithms randomized or determined by some position of the cube that can be combined and multiplied into actions and interpretations corresponding to the context at stake.