04.02.2012: 16:00 – 17:30: In/compatible aesthetics: Unstable & Vernacular: Vulgar & Trivial Articulations of Networked Communication

In/Compatible Vernaculars: Vulgar and Trivial Articulations of Networked Communication panel
with Florian Cramer, Olia Lialina, Camille Paloque-Berges, Dragan Espenschied.
Moderated by Rosa Menkman (nl)

04.02.2012: 16:00 – 17:30

Over the last decade, the history of the web and all its “common” qualities, its digital folklore, has become a growing field of study. The role of the user giving form to his medium (its materials, customs, ideologies and aesthetic structures, which are closely connected to visual, textual and audio cultures) has become key to this research. Moreover, these coarse or unrefined DIY-fabrications have become (re-)appraised treasures or relics of amateur culture. This panel will reflect on different on/offline (dead and alive) DIY-networks focusing on their vulgar vernaculars, ideologies and customs, and on how we came to appraise them, taking us from geocities, to hyves and 4chan, from old to new networked vernaculars.

03.02.2012: 16:00 - 17:30: in/compatible aesthetics: Tactics, Glitches, Archeologies.

In/Comaptible Aesthetics: Uncorporated Subversion. (Transmediale.de)

Panel with: Michael Dieter (au/nl), Jussi Parikka (fi/uk), Julio D'Escrivan (ve/uk) and jon.satrom (us). Moderated by Rosa Menkman (nl).03.02.2012: 16:00 - 17:30"Today, the average user is obliged to stay on top of the technological curve, thrust into a vortex of consumer myths, riding waves of both euphoria and disappointment. This has prompted artists and theorists alike to break these assured flows of media, for instance by zooming into the otherwise transparent Human Computer Interface and turning its limiting, characteristic blueprints into a revolting yet delightful spectacle. On other occasions, artists bend particular devices, or even create completely new technologies. Through these subversive tactics artists show the governing filters of not only noise, but also “unwanted functionalities”, and how limiting these shiny black-boxed commodities have become. This panel will pay special attention to nostalgic problems, subversive tactics (like glitch) and media archeology as an artistic practice." 

Dazed and Confused interview

REMAINS IN THE END TIMES. With YOSHI SODEOKA, ROSA MENKMAN, DANIEL MENCHE, JK KELLER, CRISTOPHER CICHOCKI. December 2, 2011 — January 5, 2012, Florida, US. 
Dazed and Confused interview. 


Tell us about your upcoming group exhibition, ‘Remains in the End Times’. What work are you including in the show? Is it all new pieces?
In "Remains In the End Times" I will show my work next to some respected friends and colleges. The exhibition is about what Zizek has described as "the myth of the end of the world" - the myth of the total collapse. According to Zizek, in fact, we are already there; the movements triggered by the collapse are moving slow and fast at the same time: meltdowns, the development of 'better' pepper sprays, standardized sweatshop models, corporate dark fiber scraping and ionospheric research facilities are just some examples of this.
At the same time massive, drifting occupational movements, favela chic and new glitch genres and communities are growing 'urban' practices; celebrating the collapse and showing or celebrating the new perspectives they could bring.
Everything is two-sided, the collapse is not the end - this is what I try to reflect on in my work. In Remains in the End Times I show two videos and two photos. They all involve broken technological flows. Most of the works are new and have never been shown before, one is older.  




Your work focuses on accidents in digital media, what is it about this subject in media that appeals to you?
We are in a time that nothing and nobody is good enough. We change governments every year, fire people that don't work as fast as the hyper active 25 year olds and we only eat food that is flavor enhanced. We have our relations through brightly lid pixel screens and we commit pixel genocide when one of our pixels defects. In general, I think live has turned very superficial; everything is moving so fast that we need for instance technologies to be easy, polished and transparent. 
By working with accidents in digital media, I get to see the unpolished, inner flows and breakages of the media. I get to know the materials, the fibers of what now gives form to my day to day life. I feel there is some kind of deeper engagement with the powers that more or less control my day to day life. It also makes me feel more confident in expressing myself through these media.




How has your work developed compared to when you first started, has further advances/trends in technology influenced your work at all? What’s your process in making a visual piece from these glitches and accidents etc.?
Yes, they always influence me, whether I want it or not. I used to photograph a lot with my analogue camera. At some point I was high-school photographer, high-school dj and high-school newspaper writer. Good thing my high-school wasn't huge!
Growing up, new schools, hardwares, computers and softwares take opportunities away and bring new possibilities forward. I try not to get stuck on one technology, school, etc. I am just like these flows, constantly moving - at least thats how I wish to see myself… This is also why there is not one way of working. I like to work with a bottle of wine or with very strong coffee. Sometimes I work for months and sometimes I am done in 5 minutes. Sometimes I have a desk full of wires and sometimes my desk is a mountain of old paper collections. When I work abroad I usually only have my computer - which has been the case for most of the last year.

< 2012 ------> 8BIT: NL, FR, FR, DE, DE, DE, DE, DE ---> RUN! >>

░░░***here is some funky stuff! 

13 January - Eindbaas at EKKO, Utrecht .bloppie visual set for my old and new micromusic friends ; - ) 

(with Meneo, Henry Homesweet, $Kodek and a dj set by Computadora)

25 Januar at la Gaîté lyrique in Paris: artist talk.

26 January at Le phénix in les Valenciennes: artist talk. 

31-5 February - Transmediale 

The Transmediale extended me the honor of curating and moderating three in/compatible esthetics panels, to do a performance and present my book in a 15 min intervention talk. Here is the program, soon I will post more infos!

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1 Feb: I will present @ reSource Methods in/compatible research practices, my publication "The Glitch Moment(um)".

2 Feb: 21:00 – 22:30 I will perform @ The Ghosts in the Machine: The Glitch Moment(um).

3 Feb: 16:00 – 17:30 I will moderate: in/compatible aesthetics symposium: Uncorporated Subversion: Tactics, Glitches, Archeologies | panel with Jussi Parikka, jon.satrom, Michael Dieter, Julio d'Escrivan.

4 Feb: 16:00 – 17:30 I will moderate: in/compatible aesthetics symposium: Unstable & Vernacular: Vulgar & Trivial Articulations of Networked Communication | panel with Florian Cramer, Olia Lialina, Camille Paloque-Berges, Dragan Espenschied. 

4 Feb: 18:00 – 19:30 I will moderate: Knotty Problems in the Fables of Computing | keynote by Matthew Fuller.

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/ 2011 < ! - - ALERT - - > 2012

I am not sure if I can translate 2011, full of ups and downs, highs and lows - personal, politically, professional:3ps.stress.. lows, lows, highs highs, dudu, lala, ...sleeplessness... but right now, from where I stand, it looks like most people sang some version of the 2011-torch songs anyway so I dont think I have to sing that song anymore... or... actually, I did already anyway.


After all, here is my stubborn, only positive, egocentric breakdown:
3 solo exhibitions (Order and Progress, The Vernacular of File Formats and Collapse of PAL)
2 Months of Brasil, 1,5 months of Vienna, a little less then a month of US, 4 months of home, the rest at the side of knowhere,
My face on the cover of a catalogue, some dead-tree publications (1,2,3,4,5,6,7,8,9)
The Collapse of PAL reviewed by Jussi Parikka
I won a "Best practice" award


Besides that, the things I made: I organized the Filtering Failure exhibition, together with Julian van Aalderen (which involved my own eurotrash beer!)
and did some collaborations: Glitch Art Spheres Organized with Esther Weltevrede,
Extrafile vs. Vernacular of File Formats feat. Kim Asendorf and a collaborative performance w. oa. Rafaël Rozendaal and Isan for NovaRojo Rio.
I released the open source software Monglot together with Johan Larsby
followed by a Floppy vacuum cleaner release "The Low Times of HI-FI" together with GOTO80
I Performed the Collapse of PAL Sao Paolo with Bernhard Fleischmann and Optical Machines
Organized the 24 hour no password party as part of the GLI.TC/H/BOTS
Laid the GLI.TC/H/4040404040404 Easteregg (with Jodi, jon.satrom and Nick Briz)
and released some videos: Torch Song epilogue (w/ Aron Birtalan), Into the Tulgey Woods, Dark Waters
And of course there was the back to back to back GLI.TC/H/Monster - oef that was a big one, it still hurts my bone!
An array of loose publications, interviews reviews, exhibitions, performances, artist talks and workshops. (1,2,../booh!, I dont know where to start and this would just be a boring list).
I also popped up in a couple of master thesis'.. thank you very much! But what does it matter, glitch art is still theoretically "disputed" - haha, more like: a grosly not accepted academic subject (more to come). KWK me.

This is why, finally, a dent in the teeth of that monster, or, my 2011 hit the wall with a bang: I am (co-)responsible for 2 physical glitch-art book publications that are also downloadable: copying/sharing is encouraged/appreciated!

Rosa Menkman, The Glitch Moment(um). Network Notebooks 04, Institute of Network Cultures, Amsterdam, 2011. ISBN: 978-90-816021-6-7.
GLI.TC/H READER[ROR] 20111 editors: Nick Briz, Evan Meaney, Rosa Menkman, William Robertson, Jon Satrom, Jessica Westbrook. Publisher: Unsorted Books, Japan. GLITCH@GLI.TC ISBN: 978-4-9905200-1-4. 11-11-11 / ? User Agreement: GLI.TC/H READER[ROR] 20111 is distributed under the "CopyRight" license