� falling without depth [perspective] : unfalling

[[Rosa Menkman. up to down: Tornado Alley, Lookout Mountain, Hydroelectric Power Station at Raccoon Mountain, 2113]]

As of late I am using the photosynth app quite a bit; photographing synthesized realities and dimensions, building spaces that are open to (perspective) directions. It is beautiful to me. A couple of discontinuous though/stories: 

During my Accessibility [CMD+R] residency I met Cosby Lindquist, an American Photographer who uses a self build [not-slit scan] rig that stitches many photos from almost exactly the same perspective together into a collage. Through this technique, Cosby's collages favor an objective mechanic view over the normally singularly 'framed' perspective of a traditional photographer. 
Looking at these panoramas, I miss a sense of depth of field; these panoramic photos use the third dimension in a way that I can't see nor understand; ...maybe there is no depth of field at all. Standing in front of his huge print, I wish I could fall inside of it. Because when there is no depth of field, I will never hit the ground, I will forever be un falling, never getting hurt. 
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I always come back to architecture for some reason, though I am not even sure what architecture means anymore at all, or maybe just to me. In conversation with Pablo Garcia last week during the SAIC MFA graduate show, I learned about the distinction between architecture as a manipulation of space or architecture as a creation of form. Thinking of architecture as a way to manipulate space (instead of building a form) means to build an environment of open to contextualizations, a space that exists through experience. 
As a visitor I am reading the space; in other words, as navigator I am running space (space here is a data to which I bring my own algorithms). Space is more fluid and depends on the perspective chosen, whereas form is more static, maybe 
.. or is it just the other way around? 

[[Rosa Menkman Raccoon Mountain Hydroelectric Power Station, 2113]]

 
[[photo by Cosby Lindquist, exhibition overview]] 

Right now these photos are on display in Cleveland, Tennessee in the Cleveland State Community College, right next to Cosbys photo as part of the Accessibility CMD+R residency show. 
Accessibility is an artist residency located on the campus of Cleveland State Community College in South East Tennessee.  For two weeks, March 23 – April 6,  4 artists (me too!) had been invited to create new work that dealt primarily with the use of new media and technology. 
Many thanks to Mark Mcleod who organized the residency and who I know made a huge effort to get everything organized as well as he did. 

╱̷∕╲∖╱╲∕∖̸╲̷╲̸╱̷∕╲Empirical magazine

I did an interview with Empirical magazine, a US based magazine that was just selected by Library Journal as one of the ten best new magazines of 2012. The interview was followed by 6 (!) pages showing my various modes of work as photographer and glitch artist. Its a funny mix of stuff, sometimes a bit random, but really nice non the less.

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Wired (ger) reviews Compress Process (Xilitla)

A Spot on review by WIRED (Germany) of my work Compress Process / Videoscapes in their piece "Chaos und Codes":

"Als VideoSpiel wäre 'Compress Process' ein Flop. Zu irritierend, geradezu verstörend ist die Erfahrung" 

(trns.: videogame wise, Compress Process is a failure, its annoying).

(ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̐litch) Art Genealogies

Opening and Performance by Rosa Menkman: 

Saturday 16.03.2013, 20:00

Exhibition:

19.03.-23.03., 14:00-20:00 Tue-Sat
Opening performance 16.03.2013 21:00 by Rosa Menkman

with works by 

Kim Asendorf,  Nick Briz,  jonCates, Kevin Carey, Bill Etra by Anton Marini,  Emilio Gomariz, JODI, Nick Kegeyan, Alex Myers, Phil Morton, A Bill Miller,  Brenna Murphy,  no_carrier,  noteNdo,  Julian Oliver,  Bryan Peterson, Sabrina Ratté,   jon.satrom,  Rick Silva,  Yoshi Sodeoka, Miyö Van Stenis, 

Genealogy is the study of lines of descent and origin; the development of families and the tracing of their lineages and history. (glitch) Art however, does not exist as a linear history or as some kind of glitch continuum. Following Foucault, the aim of a genealogy here is not to analyse a subjects history from a singular perspective or to try to form a narrative where one event impacts on the next, but to recognise the complexities and processes of its many affiliated histories.

(glitch) Art does not follow the traditional forking family tree-form. Rather there are many, parallel, interconnected non-linear, fragmented and overlapping histories which impact each other in many directions. This (glitch) genealogy does not focus on Glitch Art from a singular viewpoint, nor does it attempt to give some all encompassing overview. The exhibition instead focuses on the different threads that interconnect generations of the different communities of visual (glitch) artists and their working methods, conceptual themes and problematics.

(glitch) Genealogies fragments Glitch history into multiple (historical) categories, such as ‘NES-Aesthetics’, ‘GUI Politics’, ‘literacy’, ‘Authorship’ and ‘3D glitch Reality’. 

In discussing the issue of Glitch genealogies our aim is not to create a historical review or (re)create a ‘total’ archive or inclusive overview; instead we attempt to look at these genealogies with the aim of understanding Glitch Art in the present. 

Curated by Kim Asendorf, Daniel Franke, John McKiernan and Rosa Menkman

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Lab for Electronic Arts and Performance

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