S̈́̎͐ͮ̃̅ͧͯͣ̀ͬ̀̑ͩͥͤ͒̎͡҉̛͉̬̜̩͚̗͎̱̰͎̺̰͙͙̻̥͘͜u̴̴̸̥̤̯̮̘̩̓ͩͨ̽̊̂͢n̒ͮshine in my throat ░░░░░░░░░

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

2012-01-24T23:35:00.014+01:00

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.

2012-01-24T23:13:00.004+01:00

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

2012-01-10T21:47:00.003+01:00

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! >>

2012-01-09T22:11:00.017+01:00

░░░***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!

░░░░░░░░░░░░░░░░░░░░TRANSMEDIALE SCHEDULE░░░░░░░░░░░░░░░░░░░░░░░░

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.

░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░

/ 2011 < ! - - ALERT - - > 2012

2012-01-01T11:40:00.028+01:00

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

-empyre- soft_skinned_space “Glitched, Cracked, and Dirty Media”

2011-12-02T15:48:00.001+01:00

In retrospect to GLI.TC/H and as a preview to the future conversations on glitch art (amongst them the conversations that I will chair during the Aesthetics panels taking place at 2012 Transmediale), Patrick Lichty just kicked of a month long Empyre mailinglist conversation on "Glitched, Cracked, and Dirty Media". Guests include the GLI.TC/H/BOTS (jon.satrom, Nick Briz and me), Caleb Kelly, Theo Darst (co-curator of the video screening of GLI.TC/H), jonCates (lecturer at the New Media at The School of the Art Institute of Chicago), Marisa Olsen (artist/writer), and last but definitely not least, Curt Cloninger (Glitch linguistix researcher).

//Remains in the End Times :: Opening tomorrow!

2011-12-01T23:53:00.023+01:00

YOSHI SODEOKA
ROSA MENKMAN
DANIEL MENCHE
JK KELLER
CRISTOPHER CICHOCKI

░░░░░░░░░░░░░░░░░░░░░░░░░░

December 2 - December 30, 2011

REMAINS IN THE END TIMES, San Francisco, US.

held in a city notorious for devastating earthquakes and the pioneering of early psychedelia, presents a paradigm of apocalyptic hallucinations and "tech-gnosis" contrasting modernity with ruination. The show title, partially derived from Slavoj Žižek's 2010 opus Living in the End Times, expands the proposition that there is no pending big bang, no End of Days — on the contrary, society is already immersed in this so-called Doomsday. As a result, a slow transformation has drifted us into a world where smog-ridden skies became the most beautiful sunsets imaginable and the white noise of a television lulls us to sleep at night.

Utilizing disposable technology, deteriorated media, and derelict landscapes as a conceptual foundation, these artists have transformed ruination into mature experiential works that unearth a new psychedelia. Rather than illustrating drug experiences, as in the case of hypnotic works of the 1960s, these works mesmerize and overwhelm the senses by way of reshaping the entropy and chaos of techno-inundated modern life — both helping us escaping our reality while firmly planting ourselves in it.

DeFunct/ReFunct exhibition catalogue

2011-11-28T21:39:00.041+01:00

I finally received the DeFunct/ReFunct exhibition paper/catalogue of last August in Dublin, Ireland. Its looking very nice - thanks to all the hard work of Benjamin Gaulon, who curated and organized the event (which was really good as you can see by these photos). The paper also includes texts by Jussi Parikka, Alessandro Ludovico, Eduardo Navas, Phillip Stearns and me.
Download the full exhibition catalogue here!

//GLI.TC/H :: THE GREATEST TRICK

2011-11-26T14:45:00.010+01:00

THE GREATEST TRICK THE GLI.TC/H EVER PULLED WAS CONVINCING THE WORLD HE DIDN'T EXIST.

THAT WAS HIS POWER.

.
.

.
.
.

AND LIKE THAT, ... HE'S GONE.

This year, GLI.TC/H was an amazing monster:

3 countries, 2 continents, 450 submission from 20 countries and finally 100 involved artists from 12 countries, 146 backers (kickstarter donators), 2 books, 2 broken limbs (one elbow and one leg), 2 missed trains, 2x1 missed airplane, 10 people staying in my apartment in Amsterdam (no its not that big) and one GLI.TC/H/BABY, are just some numbers I can spit out right now.

I never wrote it down like this. Kind of amazing, now I know why I am so tired and why I am so behind on everything (sorry, I am playing ketchup right now!_)

GLI.TC/H the gathering/festival/conference/ is 'finished' for this year, but... We might do some wrap-up on the empyre mailing-list from early December on, if you are interested, sign up!

[~FLUID BLOCKS:: TEXT.ART // CONTEXT:: CARRIER. FONT. ZOOM *\]

2011-11-24T20:25:00.002+01:00

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[~FLUID BLOCKS:: TEXT.ART // CONTEXT:: CARRIER. FONT. ZOOM *\]

2011-11-24T19:45:00.004+01:00

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2011-11-24T02:35:00.002+01:00

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2011-11-24T02:31:00.006+01:00

̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
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̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠
̶̶̡̛͕̜̩̝̣͉̪̖͇̼͇̓̅͛̑̒͆̿̀ͨ̂ͩͅͅ⃝͐̓͌͆ͯ̈́̓̂ͭ͌̄ͭͥ̄̾̈́̓̊҉͚̺̲͇̗͓͖͙̩̩̪̖̳͟ͅ ̣͍̼̣͑̊̂ͫ͐̍̀̽̓͂͢͡⃝̴̩̺͉̜̺̦̤̳ͫͪ́̎̐͠

⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝

2011-11-24T02:25:00.005+01:00

⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝

▄┘─▀┐─▄── Never to do again.

2011-11-23T22:28:00.009+01:00

For the list of never to try again high-scores: Last weekend I played with Áron Birtalan and my broken elbow at STRP. Quite an adventure, playing at one of the biggest festivals that has Amon Tobin and Aphex Twin on the same bill, yet one handed and kind of handicapped made it also feel kind of funny[*~retarded].

█████████ Anyhow, soon I hope to be rid of this blue monster around my arm and in
█████████ full glory! Keep your eyes open for some more dates here
█████████ [once typing is 'possible', I will start updating again].

█████████████████████

The Glitch Moment(um)

2011-11-06T20:25:00.002+01:00

My book, published by the Institute of Network Cultures. Freely available as physical copy (from next week on) or as pdf!

Background blurp:

In this book, Rosa Menkman brings in early information theorists not usually encountered in glitch’s theoretical foundations to refine a signal and informational vocabulary appropriate to glitch’s technological moment(um) and orientations. The book makes sense of recent glitch art and culture: technically, culturally, critically, aesthetically and finally as a genre.

The glitch takes on a different form in relation to noise, failure or the accident. It transitions between artifact and filter; between radical breakages and commodification processes. Menkman shows how we need to be clearer about the relationship between the technical and cultural dimensions of glitch culture. Honing in on the specificities of glitch artifacts within this broader perspective makes it possible to think through some of the more interesting implications of glitched media experience. Using a critical media aesthetic orientation, Menkman addresses the ongoing definitional tensions, paradoxes, and debates that any notion of glitch art as a genre must negotiate, rather than elude.

GLI.TC/H READER[ROR] 20111 RELEASE

2011-11-06T00:32:00.006+01:00

Today we released the GLI.TC/H 20111 READER[ROR], a publication edited by the GLI.TC/H/BOTS. The READER[ROR] can be downloaded as PDF here.

GLI.TC/H READER[ROR] 20111 editors: Nick Briz, Evan Meaney, Rosa Menkman, William Robertson, Jon Satrom, Jessica Westbrook.

Publisher: Unsorted Books

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, copying/sharing is encouraged/appreciated.

GLI.TC/H full, provisional program!

2011-11-03T05:49:00.013+01:00

[Download the pdf here]

—————————————–—————————————–—————————————–

Online components

Online Gallery — curated by fa-g.org

Extrafile — created by Kim Asendorf

glitch safari — instigated by Antonio Roberts and Jeff Donaldson

T.RASHB.IN — by jon.satrom and Jake Elliott

404 — Jodi and the GLI.TC/H/BOTS

Ben Baker Smith — infinite glitch

—————————————–—————————————–—————————————–

Physical Components

GLI.TC/H READER[ROR] 20111. editors: Nick Briz, Evan Meaney, Rosa Menkman, William Robertson, Jon Satrom, Jessica Westbrook, Japan: Unsorted Books, 2011. ISBN: 978-4-9905200-1-4.

The Glitch Moment(um). Rosa Menkman, Amsterdam: Institute of Network Cultures, 2011. ISBN/EAN 978-90-816021-6-7.

//Rhizome.org Artist profile!

2011-11-02T18:00:00.002+01:00

Age?

I was born one year before dystopia; before the The Party started ruling, the first Macintosh was released and "the individual was forever subordinated to the state".
In another language: 01001001 00100000 01100001 01101101 00100000 00110010 00111000 00101110.

Location?QW1zdGVyZGFt

How long have you been working creatively with technology? How did you start?

I had my own photo camera before I was 10 years old, my mother would buy me one roll of film for special occasions; holidays, parties and when we moved.
Later, I took developing courses in the local 'creativity club', where we also made our own cardboard cameras, and so on.
I also remember my friend sending me 14 faxes for my 14th birthday and me sending her 14 faxes back. My father got really angry because faxing (paper) was expensive at that time.
When I was 16 I was part of the technical commission at high school - I was one of the high school djs and one of the directors of the school paper.
I also played soccer on district level (middle Netherlands) but I guess thats another form of technique and creativity.

Where did you go to school? 

When I graduated at the University of Amsterdam in the subject of new media, I wanted to try my luck in art school. After 3 weeks I was so annoyed that when I accidentally dropped my 'art' on the train tracks it seemed to be a sign from heaven to leave it there and never come back.
Right now I am doing a phd on the subject of digital artifacts (anywhere from compression to glitch).

What traditional media do you use, if any? Do you think your work with traditional media relates to your work with technology? 

I don't really care to make a difference between digital and analogue (or traditional and non traditional) media, right now I am kind of trapped by technology, but I like to pick up a pencil and paper too and I still have plenty of analogue cameras lying around.
I just wished I could play the piano.

Are you involved in other creative or social activities?

Over the last year I considered going into politics, but when I attended a real debate I realized that my vision of politics is different from what happens in reality. High-end politics seems nothing more than corruption - which would actually in speaking terms make sense for me as a career choice ...
Besides this, I am a co-organizer of the GLI.TC/H festival, together with jonSatrom, Nick Briz and Evan Meaney. This years festival will have a triple installment (in Chicago, Amsterdam and Birmingham - of which the latter is run by Antonio Roberts). I also curate other exhibitions, performances… I do as many things as time gives me opportunity… 

What do you do for a living? 

I am not making a lot of money, but everything I put energy in (besides my friends) has something to do with my artist-theorist practice.

Who are your key artistic influences? 

I would like to leap like Yves Klein, contemplate like Virilio, have the humor of Lewis Caroll, the vision of Edward Lorenz, be as strong as Bob Flanagan, as Romantic as Caspar David Friedrich and as active as Rosa Luxemburg.
Besides that I would use my camera as David Lynch, circuits like Gijs Gieskes, bend your expectations like Jodi and play like Kim Gordon.
I would also be interested in having tea with them. 

Have you collaborated with anyone in the art community on a project? 

I like to collaborate, but I also find it very hard or sometimes impossible.
To list some 'collaborations'  (chronologically)
Kim Asendorf: Vernacular of File Formats expandedRafael Rozendael: Flash vs. avi CinepakJohan Larsby: Monglot Live performances: Goto80, Extraboy, Failotron, Bernhard Fleischmann, Isan, Vade and Pixelnoizz
Govcom.org: under the leading of Alexander Galloway: "ipbrowser"
Digital Methods Initiative, August 2007: 'Diagnosing the state of Iraq: The web view'

When did you become interested in focusing your practice around the glitch? 

Glitch first came into my life in 2005, when I visited the WORLD WIDE WRONG exhibition by the Dutch/Belgium artist collective Jodi (Joan Heemskerk and Dirk Paesmans) at MonteVideo/Time Based Arts in Amsterdam (now known as the NIMK, Netherlands Media Art Institute). An introductory text on the work of the artists by Annet Dekker went a long way in articulating the artists’ deconstructive methods. However, the work that made the biggest impression on me, Untitled Game (1996-2001), which was a modification of the videogame QUAKE 1, seemed the most incomprehensible. I could only understand it as irrational and void of meaning, and so I walked away from it, confused. In hindsight, I learned about myself in that moment - about my expectations and conceptions of how a videogame should work. The strange game seemed only to return me to my own perspectives and expectations around the medium that it was failing to be. A second text by Josephine Bosma usefully outlined Jodi’s active deprogramming of computers, and the paradoxes and tensions inherent to their working method. Even still, Untitled Game in particular remained for me under-articulated in theory, which increased my curiosity about this kind of art practice. I did not realize it then, but my taste for glitch, and for its potential to interrogate conventions through crashes, bugs, errors and viruses, was spawned by that initial and persistent critical evasion of Untitled Game from my theoretical grasp - which finally inspired me to write this long thesis.  

Glitch more fully entered my practical work when I began an artistic collaboration with the musician Goto80 (Anders Carlsson) in 2007. He explained to me how he exploited the Commodore 64 sound chip (the SID chip) for the creation of music. The bugs Goto80 used gave a very specific texture to the sound (the result of noise artifacts) and I began to develop and recognize visual equivalents to this process. I found more and more artifact-based correspondences between audio and visual technologies, such as compressions, feedback and glitches, in my (at that time) mostly online art practice. Then in early 2008, Geert Lovink invited me to the Video Vortex conference for a visual live performance (which was quite a challenge since I had never stood onstage before) and in 2009 put me in touch with Matthew Fuller, an artist, author and lecturer in London, which later turned out to be two key turning points, artistically and theoretically. I began performing and more strongly theorizing what I was then calling my Acousmatic Videoscapes. I explained to Fuller my observations of compressions, feedback and glitches in sound and their correspondences to the visual sphere, who pointed me to the early information theory of Claude Elwood Shannon and Warren Weaver. Their work proved most useful to my project of developing a technology-driven framework for theorizing these usually unwelcome, increasingly exploited noise artifacts in which my practice was so invested. More about this can be read in my in November to be released INC Notebook: "The Glitch Moment(um)" - which will be freely distributed in both digital and analogue (physical!) form.

Is the community primarily online or offline? Do you help each other by sharing techniques and artworks?

By organizing festivals like GLI.TC/H, I hope the glitch community grows more strong both online and offline, indeed by sharing techniques, concepts and observations (which I think is already a very integral part of the glitch community). Since the last GLI.TC/H festival in Chicago, I have been noticing glitch networks growing more and more tight. This observation was reinforced for me after May 18, 2011, when JamesBWatson deleted the ‘Glitch Art’ article on Wikipedia. Some strong reactions to this deletion within the online glitch scene were aroused when I (re-)posted an image of this moment on my blog. This made me reflect more deeply upon the implicit organization of glitch artists on the internet, as a complex community of specific inter-influencing actors and objects. This notion inspired me to attempt to map the difficult-to-represent online existence and associations of glitch art practices and culture. 

I invited Esther Weltevrede, a PhD candidate at the humanities department of the University of Amsterdam working on internet sphere mapping and analysis, to assist me in some modest experiments towards this end. There are a number of problems that immediately arise in mapping web spheres. First of all, we had to choose a bias - some starting points from which to ‘search’ - because there is no way to create the ‘integral map of glitch art’ without starting points (and also no way of representing all possible starting points). There is bias in the tools used to do the mapping, in the web platforms that the researcher chooses to focus upon (where tags are scraped from), and in the depth and level of mapping assumed to glean useful levels of detail and degrees of understanding from the larger data set acquired by the process. 

More info on these graphs can be found on my blog

Through your academic research you’ve developed an intimate understanding and typology of the glitch. You even refer to glitches as a “wonderful interruption that shifts an object away from its ordinary form and discourse, towards the ruins of destroyed meaning.” Do you think that the rarity of glitches gives them a greater significance amidst the endless improvements and sleekness of new technologies? Are there any issues around the production and the exhibition of new media art that you are concerned about? 

Naturally, working with and researching glitches, a concept that etymologically refers to an unstable moment(um) makes me reflect on related issues on a regular basis. In glitch art, where the glitch has been lifted from its technological or informational basis into a social context), the glitch often breaks the expectations of the user, the viewer or maker and as such, infuses a specific momentum with a different or new meaning.

Glitch art is often something to reflect on, a momentum that depends on informational input, technology, time, context and the actors (audience) role or perspective. I like to ask questions like: what are the materials of a particular work of digital glitch art? And from which perspectives should I describe it (from the makers point of view, an art historical or technological point of view or a viewers perspective). What is the (technological) process or referenced process behind the glitch? Problems of conservation and preservation I think are equally interesting - although in certain cases a negative answer (glitches don't need to be preserved) can be sufficient. I think the answer to these questions depends on the particular work of art; there is not one unequivocal answer.

I don't think glitches are rare; every medium has its glitches, its fingerprints of imperfection that can be exploited by artists. What is rare today is to reflect upon the media we use (not in the arts but in general). Today, the black box is often totally accepted as impenetrable - which could actually make them the perfect acousmatic instrument, both for audio and for visuals. The post-procedural essence of glitch art is opposed to conservation; the shocking perception and understanding of what a glitch is at one point in time cannot be preserved for a future time. The artist tries to somehow demonstrably grasp something that is by nature unstable and ungraspable. Their commitments are to an unconventional utopia of randomness, chance and idyllic disintegrations that are potentially critical. The core of a work of glitch art is therefore best understood as the momentary culmination of a history of technological and cultural movements, and as the articulation of an attitude of destructive generativity. In short, glitch art practices are invested in processes of non-conforming, ambiguous re-formations. At the same time, however, many works of glitch art have developed into archetypes and even stereotypical models, and some artists do not focus on the post-procedural dialectics and complexity of glitch at all. They skip the process of creation through destruction of a flow and focus only, directly, on the creation of new formal designs for glitch, either by creating the final imagistic (or sonic) product, or by developing shortcuts to recreate the latest-circulated glitch re-formation. Purposive, design-driven efforts at glitch can be created in plug-ins, filters or ‘glitching software’ that automatically emulate, simulate or mimic a particular glitching method. These tools tend to surrender ‘affect’ (the shocking moment(um) of glitch) in favor of ‘effect’.

Searching for naturally occurring glitches in different media types takes time and energy. In your extensive experience with glitches have you developed any practical methods for glitch hunting and is there any particular software or hardware you prefer working with?

My favorite software is Quicktime. My favorite compressions are Cinepak (for moving image) and gif (for static images).A software I would suggest to any beginning glitch artist is Monglot - developed by Johan Larsby and me (unfortunately we did not have the time and knowledge to make this cross platform - it only works on mac osx something). Glitch-wise, what works for me is late nights and a glass of wine. And learning not to be afraid to break something.

Your recent performance “Collapse of PAL” at Art in Amsterdam memorialized the disappearance of PAL (Phase Alternating Line) the analogue video encoding system. How strongly do you feel narrative concepts play into your work with glitches and do these narratives relate to your own relationship to the technologies you use?

Medium reflexivity sometimes kind of feels a bit like beating a dead horse; although every medium has its own language or medium specificities  and its own medium languages -- artists and audience by now have been so trained at this language and the misappropriation thereof, that the works based on these tricks often feel a bit one dimensional. I am trying to find ways to play with medium reflexivity and at the same time, to take this way of working one step further. I am looking for new ways of doing research, new stories I want to tell. Sometimes they are about techniques, and sometimes they are more personal.

Viktor Shklovsky, the Russian theorist from the early 20th century who pioneered the theory of de-familiarization, was quoted saying “The purpose of art is to impart the sensation of things as they are perceived and not as they are known.” Do you feel this idea is closely related to the objectives you outline for Glitch Studies in your manifesto? How would you describe Glitchspeak’s relationship to your theories?

Let me explain a theory of Glitchspeak: Within the constructed ruins of glitch, new possibilities and new meanings can arise. There is something more than just destruction: new understandings lie just beyond the tipping point. The glitch generates new understandings of techno-culture through the gestations of Glitchspeak, glitch’s constantly growing vocabulary of new expressions. I use the term ‘Glitchspeak’ in opposition to George Orwell’s ‘Newspeak’. For Orwell, Newspeak is a language whose political goal it is to shrink its vocabulary and grammatical nuance over time, so as to render any alternative thinking - which he referred to as ‘thoughtcrime’, or ‘crimethink’ - impossible. The final goal of Newspeak is to construct a society in which only politically approved (dominant and conventional) statements can be articulated, at the expense of the possibility of free expression, rebellion, and so on. Fighting Newspeak, Glitchspeak contests the obfuscated limitations of language created by proprietary technology, to capture the constant transformation and growing wealth of glitch artifacts and their meanings. Glitchspeak explains the utterances that do not fail to be heard, yet at the same time exist outside of knowledge.

http://rhizome.org/editorial/2011/oct/20/artist-profile-rosa-menkmen/

▄▄─Going Beyond the collapse of pal in The Collapse of PAL

2011-10-30T18:06:00.002+01:00

It was a really good experience to collaborate with Optical Machines - they play with a midi synced shadow play instrument (and self build audio synthesizers), which takes the history of PAL actually way back beyond its coming about. This gave me the opportunity to think about the history of PAL starting with shadow play, then growing into pal and other analogue glitching (we exploited syncing issues (by putting signals together) and with the circuit bent AVE-3m, and finally connected these methods to digital glitch.

In the end (the climax) of the performance I invited Defi (Argentina), to destroy the screens by the black strokes of his paint brush (breaking the image somehow and getting the kids really upset - they tried to stop him!).

It was a good battle of the screens wrapped up in one big performance.

▄┘─▀┐─▄──▄─Interview: Time Out Sao Paolo

2011-10-29T22:42:00.000+02:00

Interview with Dom Philips for time out Sao Paolo

▄┘─▀┐─▄──█─▀─▌█▀┐█┐┐─▄──GLI.TC/H 20111

2011-10-23T00:59:00.020+02:00

▄┘─GLI.TC/H 20111!▀▀┐─▀

24 HOUR NO PASSWORD GLI.TC/H PARTY

2011-10-07T02:24:00.002+02:00

yestaerday the gli.tc/h/bots organized a no password party. these are some of the beautiful results.

█─▀─▌█▀GLI.TC/H kickstarter final hours

2011-09-26T10:18:00.001+02:00

█─▀─▌█▀┐█┐┐─▄PLEDGE $48 OR MORE
The last hours of the GLI.TC/H Kickstarter have broken! One of the incentives of the Kickstarter is one my Voided posters, earlier used as the poster for for instance the Observatori festival in Spain.
█─▀─▌█▀┐█┐┐─▄█─▀─▌█▀┐█┐┐─▄

Collapse Collapse of PAL - The Torch song epilogue.

2011-09-08T18:16:00.001+02:00

Collapse Collapse of PAL - The Torch song epilogue. 

Rosa Menkman (video) and Áron Birtalan (music)

For Gogbot 2011

▄┘─▀┐─▄──█─▀─▌█▀┐█┐┐─▄──MAKE GLI.TC/H 20111 HAPPEN!

2011-08-30T22:34:00.034+02:00

┘─▄┘─make GLI.TC/H happen!▀▀┐─▀

//Collapse of PAL at Cinemateca Brasileira, Sao Paolo.

2011-08-30T16:26:00.007+02:00

Artists: 20:00 // Saturday // 15/10/11 //
FOYER Cinemateca Brasileira, Sao Paolo, BR.██─▀─▌█
Rosa Menkman, Optical Machines, B.Fleischmann, DEFI.─██─▀─▌█

Trailer: Music by little-scale─██─▀─▌█
I am super excited to announce that the Collapse of PAL will be part of Rojo Nova cinematic installations - in which it will feature Optical Machines and B. Fleischmann! (some of you might know I have been a fan of Fleischmann soundscapeyy-music for years so its an absolute honor to work on this project together with him).
The Optical Machines will bring an analogue-installation component to the whole. ─██─▀─▌█

The fourth “cinematic installation” to happen at the BNDES Foyer inside Cinemateca Brasileira. A technological set-up… all “collapsing” with the many analogical ways of generating the information, the music, the story telling. A session where you will read, listen, watch, but most of all, you will be surprised on how the whole installation is generated.─██─▀─▌█

Plot: Collapse of PAL tells the story of the PAL signal and its termination. This death sentence, although executed in silence, was a brutally violent act that left PAL disregarded and obsolete. While it might be argued that the PAL signal is dead, it still exists as a trace left upon the new, ‘better’ digital technologies. PAL can, even though the technology is terminated, be found here as a historical form that newer technologies build upon, in- herit or have appropriated from. Besides this, the Angel also realizes that the new DVB signal that has been chosen over PAL is different, but at the same time also inherently flawed.─██─▀─▌█

Rosa and Áron Birtalan // Collapse of PAL // longtailtour

2011-08-29T18:20:00.000+02:00

<p>&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;div style="background-color: #827967;"&amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;▌██▌█▀─██─▀─▌█▀┐██▌█▀─██▌█▌█▀─██▄┘─█┐█▄┘─▀┐─▄┘─█┐█▄┘─▀┐─▄┘─█┐█▄┘&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;</p>

Here is a video of me and Áron playing at the glitch gallery show in Budapest. If you are not happy about quality, you better come and see us for real!┘─▀┐─▄┘─
The Collapse of PAL will have a couple of installments in NL before the big show in Brazil and to make it more more beautiful I invited Áron Birtalan to join me. Áron and I have played some of the most traumatic shows I have ever been through in my life, not just musically... and its really good to have him at my side.█▄┘─▀┐─▄─ 

Áron Birtalan [HUN] is a musician / media artist from Budapest, Hungary, currently living in The Hague, NL. His works and interests primarily focus on minimalist music, sonic environments, failure aesthetics, DIY ethics, romanticism, religious art and music, medievalism, Greek and South- East Asian mythology and lo-fi electronic media.▌█▌█▀─██▌█─▌ 

† 19.11.11 - with Áron @ TBC, STRP - Eindhoven, NL

† 24.09.11 - with Áron @ TodaysArt - The Hague, NL

† 09.09.11 - with Áron @ Gogbot - Enschede, NL

At Gogbot I will also do some visuals in the church and some vj-ing with Eavan Aiken aka Roborant.██▄┘─█
▌██▌█▀─██─▀─▌█▀┐██▌█▀─██▌█▌█▀─██▄┘─█┐█▄┘─▀┐─▄┘─█┐█▄┘─▀┐─▄┘─█┐█▄┘ 

GLI.TC/H 20111 ONLINE!!!

2011-08-29T05:01:00.007+02:00

GLI.TC/H20111 is online! Apply now to the call for works at GLI.TC/H
Or help by donating through Kickstarter█▌█▀─██─▀─▌█▀┐██▌

█▄┘DO iT TO_GATHER!┘─█┐█▄┘─▀┐─▄─██▌▌█▀─██▌▌█

GLI.TC/H was a simple  idea that was hatched upon the notion of folks gathering together and  engaging/chatting/debating the issues/theories/concerns of failure,  systems, art, && glitches.▄┘┐█▄┘─█┐█▄┘─▀┐─▄┘─

We were able to realize this gathering last year in Chicago. GLI.TC/H  2010 brought people together for five days of glitchy art,  hacking/coding workshops, discussions, screenings, lectures, and  realtime audio/video performances. All events were free & open to  the public and ended up exposing an extremely diverse, amazingly deep,  somewhat quirky community.

The community is growing and this year we are hoping (and planning)  to do it again! From the beginning, we consciously adopted a free &  open ethic for GLI.TC/H. We believe that exorbitant entrance fees and exclusive passes create obstacles between "actor" and "audience."─█▌█▌█▀─██▌█─▌

It takes considerable resources and energy execute an exciting event like GLI.TC/H. Folks have donated We're reaching out to you (and your networks) in an effort to help amplify these efforts and make GLI.TC/H 20111 a reality.

Some  generous artists have donated exciting incentives to this Kickstarter  campaign. Please check them out; of course, the biggest incentive of  this campaign is actually making GLI.TC/H 20111 happen.

▀─█┐GLI.TC/H IS GROWING LIKE A VIRUS █▌▌█▌██▌██▌██▌█▀─█▌

GLI.TC/H is spreading from the web to Chicago: US; to Amsterdam: NL; and Birmingham: UK; GLI.TC/H will launch in Chicago on NOV: 4TH, 5TH, & 6TH. Amsterdam will commence on NOV: 11 -> 12. Birmingham: UK; will follow on NOV: 19.

GLI.TC/H  is both a physical and virtual event with always-on online games,  galleries, easter-eggs, downloadable artware, scavenger hunts, APIs, and  loads of other experimental components. These activities will continue  through-out and beyond the physical events.

We hope that branching and forking the gathering/festival/conference  will mesh && mosh conversation(s) with local happenings,  multiple perspectives, and allow for more individuals to participate.

This  year, we are opening frameworks and structures to involve the community  at core levels including curation and organization. For example, Kim  Asendorf (fa-g.org & gifmarket.net) is curating an online component and Antonio Roberts (AKA hellocatfood) initiated and is leading the Birminham: UK; component. Many more artists and curators are investing their talents.

We can't do this alone. Let's make this gathering happen together!

Executing GLI.TC/H takes  considerable resources. Your donation will be use for the acquisition,  construction, and transportation of materials and artwork for the  exhibitions. It will allow us to support the local independent venues  that we have partnered with. It will help supply materials for workshops  and provide resources for the printing and pressing of festival data  for dissemination at and before the events.

█┐█▄┘─▀┐─▄┘─█┐█▄┘─▀┐─▄──█─▀─▌█▀┐█┐┐─▄──█─▀─█▄┘─▄  ┘THNX!

We will continue to update this Kickstarter page with details/announcements/activities.

Please help by donating and spreading the word by liking/sharing/linking/tweeting/posting EVERYWHERE!

─▄┘─

█┐█▄┘─▀┐─▄┘─█┐█ ...

▄┘.

>word.doc error<

EOF?=gli.tc/h/bots

♥

//Exhibitions///Screenings

2011-08-24T03:30:00.008+02:00

•☁•☁•☁•☁•☁•☁•☁•☁•☁•☁•☁•••☁•☁•☁•☁•☁•☁•☁•☁•☁•☁•☁•☁•☁•☁•

•10/09/2011 -> 15/010/2011 - exhibtion Telenesia, Newport, UK.•

•23/09/2011 -  opening Vernacular of File Formats @ 't Hoogt during Dutch Film Festival/NFF.• 
•03/09/2011 - Screening at Ateneo de Valencia, Venezuela.• 
•03/09/2011 - Speedshow: Chicks on Speed, Linz, Austria.•.

•26/08/2011 - Screening @ Experimentación Mediática, San Juan, Puerto Rico.• 
•23/08/2011 -> 28/09/2011 - exhibition Vernacular of File Formats@ 't Hoogt, Utrecht, NL.•. {exhibition ft. Kim Asendorfs extrafile} 
for the other shows see my other list
  

//Vernacular of File Formats for Re:Visie/NFF

2011-08-23T16:57:00.003+02:00

[Sorry I copied only the Dutch text!] 

Яosa Menkman (NL) Vernacular of File Formats, 2010/2011 (ft. Kim Asendorfs Extrafile) 
Expositie dinercafé ’t Hoogt 23 augustus t/m 30 september.

Het  Nederlands Film Festival maakt zich met het programma Beeldenstorm op  voor de toekomst en wil een wegwijzer zijn in een sterk veranderend  medialandschap waarin film, de Nederlandse film, van substantiële  betekenis is. Programmaonderdeel re:visie stelt de conventies, esthetiek  en verschijningsvorm van het filmmedium aan...  de orde. Hedendaagse kunstenaars met verschillende achtergronden en  werkterreinen (experimentele filmmakers, videokunstenaars, beeldend  kunstenaars, ontwerpers) onderzoeken de mogelijkheden en beperkingen  ervan en maken de balans op. Re:visie is niet uit op herdefiniëring van  het filmmedium, maar benadrukt de eindeloze variëteit ervan, reagerend  op telkens wisselende omstandigheden. Niet de inhoud staat centraal,  maar de materie. Re:visie laat het publiek kennismaken met kunstuitingen  waarin de kijker gedwongen wordt op een andere manier beeld te  ondergaan.
In het kader van re:visie toont dinercafé ’t Hoogt werk  van kunstenares Rosa Menkman dat bestaat uit een video-installatie en  prints. Vernacular of File Formats staat daarmee voor het eerst op  Nederlandse bodem. 

In het werk van Rosa Menkman speelt het falen  en toeval binnen digitale media een belangrijke rol. Compressie,  artefacten, beeldstoringen… Menkman maakt dankbaar gebruik van alles wat  we liever negeren binnen de digitale technologie. In haar onderzoek  naar de ruis van het beeld, brengt Menkman de onzichtbare maar altijd  aanwezige technologie in beeld. Het digitale, het ongrijpbare, het  vluchtige, en daarmee ook het onvoorspelbare. Het digitale beeld is als  een onstuitbare acrobaat die tot alles in in staat lijkt te zijn. Maar  waar kijken we eigenlijk echt naar, en waarom? Menkman laat ons de  grenzen van het medium ervaren. Dit proces van creëren, comprimeren en  converteren is voor Menkman een manier om de oneindige digitale stroom  van beelden op een andere manier te bekijken en de geaccepteerde  conventies over schoonheid en esthetiek te herdefiniëren. 

Sunshine in my Throat officially dangerous in Chicago coffee cafe.

2011-08-17T18:28:00.009+02:00

Someone curated my work and I liked his selection. So I stole it. now I am going to sleep

2011-08-17T03:42:00.004+02:00

glitch art spheres organized (graphs in collab w./ Esther Weltevrede)

2011-08-16T06:05:00.006+02:00

An organization of glitch artists // bookmarkers perspective

Research Question: bookmarking on delicious is an act of curating; the organizing and including (or excluding) of links.

To what extend do the ”glitch”+ ”artist” -tagged bookmarks form (a) networked websphere(s) and what spheres are part of this glitch-artist bookmark network?

The glitch blogosphere // the bookmarkers perspective

Research Question: bookmarking on delicious is an act of curating; the organizing and including (or excluding) of links.

To what extend do the ”glitch”+ ”blog”+ ”art -tagged bookmarks form (a) networked websphere(s) and what spheres are part of this glitch-artist bookmark network?

Glitch actors organized // The Twitter perspective

Research Question: making twitter lists is an act of social organizing; it entails the active including (or excluding) of contacts within a particular stream or network.

But do the”glitch”-listed actors and their websites form (a) networked websphere(s) and if so,

what sphere(s) can be distinguished?

General remarks:

- I deleted sites like myspace, twitter, flickr, vimeo and creativecommons because they distorted the graphs, while they are not interesting for the autcome. However, I do think that these nodes could have been interesting for platform focused research

- There are some bugs in the mapping software that caused some nodes to show up twice. It seemed impossible to merge the nodes automatically or by hand so I deleted the smallest ones - I do believe that overall, this did not matter much and the graphs still give a trustworthy overview of the spheres.

- did not index the twitter lists that were based on glitch the game (this is completely trivial)

- A node will only appear if there are at least 2 in or outlinks.

Preliminary (Cross-)spherical findings

* The Delicious graph based on the "glitch" + "artist"-tags and the Delicious graph based on the "glitch" + "blog" + "artist"-tags show two very similar, complex networks. After observation, I recognize how the graphs reveal the location of the glitch art community in relation to other web-based/digital arts communities. The key players (or hubs) of these spheres are for insrtance tools (Processing, openframeworks, Puredata, arduino), digital art community-blogs with (such as Rhizome, 319scholes and the NewMuseum, Neural and Furtherfield) and festivals (Transmediale, bentfestival and GLI.TC/H).

Vagueterrain seems to function as a pre-eminent center-hub that is greatly responsible for connecting the different communities . However, the hub is also disproportionately small (which means that Vagueterrain does not receive many inlinks from the community, whereas Rhizome does - this could be a case of authority).
The Rosa-menkmans website (my site) is both big and colored, which means that the crawler indexed both inlinks and outlinks to the blog, marking it both as an authoritative and active hub within the researched spheres. This also means that the blog is actively shaping the mapped community, which is on the one hand an important problem to keep in mind during analysis and on the other hand not very surprising since its me who is asked these questions - they are what my blog and generally all my research is centered around.

Personal blogs and artists pages such as Goto80, designingimperfection, beigerecords, Gieskes, jonsatrom and jodi seem not to link-out to the glitch community, while at the same time receiving many inlinks from their peers. This could either be a sign of status, or the crawler encountering a problem fetching the outlinks).

Vades website has many different nodes (syphon, Vade.info, v002, abstrakt.vade.info, etc). Because of these nodes it is not completely clear what the 'status' of the website within the network is, but it is clear that this repository/artist blog must be a key hub within the glitch sphere (given the different colors and many outlinks). Both Vade and Pixelnoizz take an interesting place being connected between the more generative side of the graph and the more procedural side of glitch art).

* There are two independent Twitter glitch-listed actor spheres:

the first is centered around glitch.fm, the glitchhopforum and a couple of other glitchmusic related sites.

The second sphere is a bigger, diffused sphere that locates and maps the genre of glitch art.

Within this sphere sites like 8bitpeoples (an chiptune/8bit/lofi community), GLI.TC/H (the glitch art festival), Vagueterrain (the Digital Art / Culture / Technology blog), slowelectronics (where the music label slowelectronics is located) and personal blogs act as hubs inbetween the different communities.

It is striking to me how many of the personal sites are connected with multiple hubs, indicating a bigger trend of possible crossbreeding and networking between the different digital art communities.

Some more observations:

I think of all three graphs the "glitch" + "artist" graph gives the best repository of glitch art nodes for starting glitch-art researchers.

Location

- I had expected the Chicago school of glitch to have a more pronounced, heavily interlinked presence. While there is definately an disproportionate amount of Chicago based artists in all of the graphs, they do link socially to other geographically nodes.

- The presence of a Dutch community (Gieskes, Karlklomp, rosa-menkman, Jodi, Impakt, mu, v2 and wormweb) is also interesting.

- There are only western nodes in the graphs. Actos like UCNV are missing. I think this is because non-western glitch artists do not write in English and are thus not linked-into the network . However, they could have formed their own network, which also did not happen - Glitch art must (still) be a very western discourse

Many of the in IDN magazine featured glitch artists/projects (Quayola, Kimasendorf, clementvalla) who are new to the glitch scene have found a place in the delicious networks. This means that the network is fresh.

Obviously communities are often build on top of friendships. The graphs also show this - I know many people within these graphs know eachother personally.

The circuitbending 'community' seems under-represented. Possible reasons for lack of nodes could be that this community is not social within these particular glitch spheres (ie. are not linking or out), or is not tagged as glitch or as art.

QuartzComposer does not have a node on the graphs (for as far as I can see). This must be because its 'inside' of the apple OS. It makes me wonder about where the Quartz community is based.

Music:

The 8bit/chiptune music scene is notably connected to the glitch scene. keyplayers in this interlinkage are: Goto80, Notendo, Nullsleep, no-carrier and the 8bitpeoples music label.

click and cut/microsound musicians dont keep blogs but are tagged as glitch artists.

The Glitch.fm community (glitch music) is not tagged as art or artists in delicious (there is no delicious presence).

Extrafile vs GLI.TC/H vs. A Vernacular of File Formats

2011-08-15T04:11:00.027+02:00

████

████For his graduate research into the role of the digital File Formats in the arts, Kim Asendorf developed Extrafile: "New image file formats for artistic purposes". The Extrafile software gives artists and designers the opportunity to create exclusive file formats to personalize works of art.

Extrafile offers an escape from the pandemonium of licensed image file formats (standards), the proprietary protocols that are under the rule of the International Organization for Standardization (ISO), who authors, dictates and judges standardization laws since 1947 (way before 1984!). ISO, the part-time big brother of codecs, developed some of the most important encoding protocols in the digital realm, amongst whom for instance JPG.

Extrafile could thus also be read as a critique and employed as a rebellion against an image-dictator that has been in power for over 60 (!) years.

Kim invited a group of databending/glitch artists to use the Extrafile software, to exhibit some of the results in his graduation show. I was proud to be one of invited artists and finally adopted the software to use it in collaboration with Monglot. Next week 3 of my favorite outcomes will be exhibited in Het Hoogt in Utrecht, as part of Re:Visie and the NFF, alongside the original prints of the Vernacular of File Formats. But here is a digital spoiler (the exhibition will last for a month and a half and the official opening will be on the 23th of September).

As guestcurator for the online gallery component of GLI.TC/H 2011, Kim open(sourc)ed the Extrafile software, which is since this night available for the public. You are invited to use Extrafile to develop bumpers, banners and posters for the GLI.TC/H festival which is confirmed to take place in the autumn of 2011, on different locations, on two different continents! Wohoo!

if (a == b && b == Paris Batofar cancelled && c == new shows confirmed) { // do something }

2011-08-13T01:18:00.004+02:00

18/11/2011 - GLI.TC/H, Birmingham, UK.

10/11/2011 -> 12/11/2011 - GLI.TC/H, NL.

02/11/2011 -> 06/11/2011 - GLI.TC/H, Chicago, US.

21/10/2011 - TBC Telenesia, UK.

24/09/2011 - TodaysArt, The Hague, NL.

14/09/2011 -> 21/09/2011 - TBC ISEA 2011 Istanbul, Turkey.

23/08/2011 -> 28/09/2011 - A Vernacular of File Formats vs. Extrafile (feat. Kim Asendorf) @ het Hoogt, Utrecht, NL, 

for Re:Visie and Dutch Film festival.

Official opening: 23/09 opening during Dutch Film Festival.

09/08/2011 - TBC Performance @ Gogbot, Eindhoven, Nl.

02/08/2011 -> 20/08/2011 - DeFunct /ReFunct exhibition, Rua Red, Dublin, IE.

Most Likely You Go Your Way (And I'll Go Into the Tulgey Woods)

2011-08-09T21:30:00.001+02:00

_____________________________________________________________________________________________________________________________________________________________________________________________________

music & video by me _________________________________________________
______________________________________________________________________________________
Previously screened at The New Psychadelia, Enschede, NL and Bent Festival, New York. ______________________________________________________________
______________________________________ _______________________________________________the video will play very VERYYYY leggy if you dont buffer it first!

DeFunct / ReFunct exhibition @ GLITCH festival, Rua Red, Dublin, IRL.

2011-08-09T17:17:00.000+02:00

I just came back from the most beautiful exhibition I have seen and been part off for a long time "DeFunct / ReFunct", curated by Benjamin Gaulon (Ireland). Here are some photos of the setup.

//Observatori Valencia

2011-08-09T17:04:00.011+02:00

Observatori Valencia Used my image as their poster-image for the festival. Here some photos.. 

▐▐▐▐▀▀▀▀▀▀▄▄▀▀▀▀▀▀▌▌▌▌ ▐▐▐▐▐▀▀▀▀▀▄▄▀▀▀▀▀▌▌▌▌▌  ▐▐▐▐▐▐▀▀▀▀▄▄▀▀▀▀▌▌▌▌▌▌ ▐▐▐▐▐▐▐▀▀▀▄▄▀▀▀▌▌▌▌▌▌▌ ▐▐▐▐▐▐▐▐▀▀▄▄▀▀▌▌▌▌▌▌▌▌  ▐▐▐▐▐▐▐▐▐▀▄▄▀▌▌▌▌▌▌▌▌▌
▐▐▐▐▐▐▐▐▐▄▀▀▄▌▌▌▌▌▌▌▌▌ ▐▐▐▐▐▐▐▐▄▄▀▀▄▄▌▌▌▌▌▌▌▌  ▐▐▐▐▐▐▐▄▄▄▀▀▄▄▄▌▌▌▌▌▌▌ ▐▐▐▐▐▐▄▄▄▄▀▀▄▄▄▄▌▌▌▌▌▌ ▐▐▐▐▐▄▄▄▄▄▀▀▄▄▄▄▄▌▌▌▌▌  ▐▐▐▐▄▄▄▄▄▄▀▀▄▄▄▄▄▄▌▌▌▌

//______________________________________________________________dates

2011-07-18T15:00:00.016+02:00

17/07/2011 -> 22/07/2011 - Screening TCP (old version) @ Transcosmic Geometry, AUSTX, US. (feature in SF weekly)

19/07/2011 ->  22/07/2011 - Screening TCP (old version) @ File, Sao Paolo, Brasil.

04/08/2011 ->  06/08/2011 - Glitch Festival RUARED w/ Recyclism, Karl Klomp, Gijs Gieskes, TokTek and LoVid. Dublin, IE.

09/08/2011 - TBC Performance @ Gogbot, Eindhoven, Nl.
09/08/2011 -> 15/09/2911 - Telenesia, Quay Arts – Newport, UK.

Worm Space museums Quartier Vienna

2011-07-16T12:40:00.001+02:00

Since last month the WORM space at Electric Avenue, Museums Quartier, Vienna has been occupied by the Collapse Of PAL, A Vernacular of File Formats and Artbombing (together with Annette Wolfsberger). During this time I have also been working on a new version of the Collapse of PAL, for which the deadline is in ... November! Nurture your PALs and stay tuned!

ABOUT:_____________________________________________

2011-06-30T20:26:00.001+02:00

FILL IN HERE

//Opening TCOP electric avenue, Museums Quartier with _̲̲̲̲̲̅̅̅_ _̲̲̲̲̲̲̲̲̲̅̅̅̅̅̅̅_̲̲̲̲̲̲̲̲̅̅̅̅̅_̲̲̅ ̲__̲̅̅̅̅_̲̅_─ ̲̲̲̲̲̲͋̅̅̅̅_̲̅

2011-06-14T21:28:00.002+02:00

This friday the Collapse of PAL will be opened at the WORM_space at Electric avenue, in the Museums Quartier in Vienna. There will be some wine ~~and possible surprise concert~~ .... @#^&*()_

//Hibaművészeti kiállítás (HU) and Bent Festival (US)_̲̲̲̲̲̅̅̅_ _̲̲̲̲̲̲̲̲̲̅̅̅̅̅̅̅_̲̲̲̲̲̲̲̲̅̅̅̅̅_̲̲̅ ̲__̲̅̅̅̅_̲̅_─ ̲̲̲̲̲̲͋̅̅̅̅_̲̅

2011-06-07T00:30:00.008+02:00

While The New Psychadelia just ended today, some new exhibitions and festivals with my work are having openings this month. Two exhibitions are extra special. First of all, there is Hibaművészeti kiállítás (HU) ["It was just a glitch" in Budapest, Hungary], where me and Áron Birtalan will perform for the premature closing party on the 15th - so next week!

Besides that, there is Bent Festival in NY (Brooklyn, June 23rd – 25th). I am very proud to be part of Bent, a festival that I have been looking up to for inspiration for many years. This year, I am in the super good company of, amongst many others, Benjamin Gaulon, Karl Klomp and Gijs Gieskes - (spoiler: with whom I will also appear later in Ireland, at RuRed, woohoo!). 

Besides that, there will be some stuff going on in the museums quarter in Vienna, more to follow soon!
_̲̲̲̲̲̅̅̅_̲̲̲̅_̲̲̲̲̅̅̅_̲̲̲̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̅̅̅_ _̲̲̲̲̲̲̲̲̲̅̅̅̅̅̅̅_̲̲̲̲̲̲̲̲̅̅̅̅̅_̲̲̅ ̲__̲̅̅̅̅_̲̅_─ ̲̲̲̲̲̲͋̅̅̅̅_̲̅_̲̲̲̲̲̅̅̅_̲̲̲̅_̲̲̲̲̅̅̅_̲̲̲̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̅̅̅_ _̲̲̲̲̲̲̲̲̲̅̅̅̅̅̅̅_̲̲̲̲̲̲̲̲̅̅̅̅̅_̲̲̅ ̲__̲̅̅̅̅_̲̅_─ ̲̲̲̲̲̲͋̅̅̅̅_̲̅_̲̲̲̲̲̅̅̅_̲̲̲̅_̲̲̲̲̅̅̅_̲̲̲̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̲̲̅̅̅̅_̲̲̲̲̲̅̅̅_ _̲̲̲̲̲̲̲̲̲̅̅̅̅̅̅̅_̲̲̲̲̲̲̲̲̅̅̅̅̅_̲̲̅ ̲__̲̅̅̅̅_̲̅_─ ̲̲̲̲̲̲͋̅̅̅̅_̲̅

//Two posts by Steven Ball at Or-Bits

2011-06-02T14:53:00.004+02:00

______ I just re-found these two posts by Steven Ball about the glitch studies manifesto and glitching, on the or-bits blog. On that note, I wanted to share once again the 'new' Glitch Studies Manifesto (this time with selectable text, so advanced!) and the still growing glitch studies wiki. ________________________

ĩͫ͋̓ͭ̈ͧ͊ͬ̚͏̶̧̼͇̫̼̯͙͓̣̝̹͢͜n̷̛̦̳̘͈͉͔̣̺̳͉̄ͪ̉̋ͯͪ͂̎ͣ̍ͤ͑͗͋͠ ̸͍̮̰̼̟̦̜̲͕̣̥̭̮̭̳ͦ̉ͪ̓̔̕͘̕͘ͅV̡̪̘̣̲̬̖̤̱̻̮̓̽̒͊̑͊̈̏͊̒͟͝į̶̳̭̲̹ͬ͒ͫͬ̒ͧ̄ͭ̃̂̐͂ͯͦ̈͊̽͑̚͞e̷̡̯̞̞͖̗̱̜̲̲͈͂̌̍ͭ͊̏̋ͨ́͢͜n̨̛̝͓̻̳̝̺̼̪͒͛̎̌̆̎͒̿ͤͫ̐̎̂́͢n̡̾̐͐̾ͩ͋̔ͯ́̓̃͡҉̬̻̝̲̠͎̬̯͔̼̻̣̠͙͈̥̞͟ͅa̷͔̤̪͍̼͎̮͍̘̜͙̼͍͉͔̮ͭ͆ͥͭ̿̐̏̊̎͑̊̄̉ͩ́͟͝__

2011-06-01T22:52:00.008+02:00

(skype images from a gli.tc/h meeting between jon satrom and me, more info to come!)

ROJO®nova Rio de Janeiro second week: Flash vs. avi Cinepak

2011-05-17T17:02:00.006+02:00

Last month, I prolonged my stay in Rio for one week, during which I got the chance to work together with Rafaël Rozendaal, ISAN, Evan Voytas, Elen and Jeffers Egan. It is pretty hard (if not impossible) to develop a 70 minute performance in 5 days, with a group of people you have never met before; working methods, perspectives, aesthetics and aims differ per artist. This is why the artist talks that were given at Parque Lage, were (albeit a bit late into the week) very useful for me. 

During his lecture, Rafaël noted: "normally we are used to interactivity as a goal, but I am more interested in interactivity without a goal." A conceptual use of meaninglessness that kick-started my wish to connect my methods with Rafaëls work.

Rafaël also said that for our performance, he wanted to use already existing flash work, because "Flash works are both scalable without quality loss and have a very small file size" - which he described as some of the most important material qualities of his work (and which reminded me of some neo-demoscene-gen). Besides this, the development of a new concept and a new work would take much to long. 

Normally I also take a long time for the creation of a work, but given the purpose of ROJO®nova, I decided I wanted to take the chance and make something new. Rafaëls talk inspired me to base all the visuals for the final performance on badly compressed remixes of his work (to counter his arguments for flash use and to show my favorite digital material - the avi Cinepak compression). Our visuals  were on either side of the screen of the performance, framing Jeffers  projections, to try and let the whole visual element of the performance  come together. 

Here are some gifs of the remix-visuals I made and above is an excerpt of the final performance.

Flash vs. Cinepak pugilism T.K.O. 

 TowardsAndBeyond.com by Rafaël Rozendaal (flash), compressed by Rosa Menkman (avi cinepak 256 greys).

From the Rafaël Rozendaal remixes I made during our residency in Rio de Janeiro. 

original: 90kb, interactive, scalable and endless, now: 1.7mb, linear, scalability limited, and looped.

beefchickenpork.com by Rafaël Rozendaal (flash), compressed by Rosa Menkman (.mov animation 1000 colors).

From the Rafael Rozendaal remixes I made during our residency in Rio de Janeiro. 

original: 12kb, scalable, interactive and endless, now: 1.7mb, linear, scalability limited, and looped.

beefchickenpork.com by Rafaël Rozendaal (flash), compressed by Rosa Menkman (gif with dither).

From the Rafael Rozendaal remixes I made during our residency in Rio de Janeiro. 

original: 12kb, scalable and endless, now: 3.9mb, linear, scalability limited, and looped.

aestheticecho.com by Rafaël Rozendaal (flash), compressed by Rosa Menkman (avi cinepak 256 greys).

From the Rafael Rozendaal remixes I made during our residency in Rio de Janeiro. 

original: 74kb, scalable and endless, now: 1.6mb, linear, scalability limited, and looped.

electricboogiewoogie.com by Rafaël Rozendaal (flash), compressed by Rosa Menkman (avi cinepak 256 greys).

From the Rafaël Rozendaal remixes I made during our residency in Rio de Janeiro 

original: 16kb, scalable and endless, now: 1.9mb, linear, scalability limited, and looped.

//Residency at MuseumsQuartier in Vienna (Wͦͪ̓̈̓͒ͭ̏̏҉͎̲̲̣̜͙͚͉̯̱̙͇̣̝̦̰̀ORM moddr_lab in Vienna)

2011-05-16T21:32:00.009+02:00

The coming month (june) I will be living in Vienna, where I will work on the Collapse of PAL (spoiler alert - the form will change dramatically in the coming 6 months) and some more. If you are in the neighbourhood, drop a line!
Duration: June 1 to July 7th, daily 10:00-22:00
Location: WORM_space, Electric Avenue, Vienna.
Free admission!

Collapse of PAL at Xrt Xmsterdxm, 2011.

2011-05-14T18:00:00.029+02:00

Here are 13 mins of excerpts of my performance during Xrt in Xmsterdxm 2011, at Trouw. It was a funky night, some friends and family came and I really had a great time seeing them. Thanks mom for making the video.

For the performance I used two screens; on the left side there is an emphasis on analog glitching and on the right side is on digital glitching. This way, I tried to show that the two ways of video broadcasting (PAL vs. DVB and its different file formats) both have different but still kind of similar glitches. I have also developed the story line further (it now consists of 7 chapters, instead of 5):

1. Introduction to PAL
2. Eulogy (but a revised version) 
3. Into the Tulgey Woods (which you can see at the new psychadelia @ MU & some stills are here)
4. Spoils of the Hype Cycle (based on the Vernacular of File Formats) 
5. Requiem for the Planes of Phosphor (but this one has the pieces of the glitch studies manifesto in it)
6. Dear mr PAL (based on Dear mr compression but with another poem)
7. Shouts outs to NTSC, SECAM, Karl Klomp and Walter Benjamin. 


In the end, 2nd, the 5th and the 6th (partially) were still old, the other chapters were completely new (I deleted a couple of old ones...). In the future I aim to incorporate the Glitch Studies Manifesto more and make the Angel of Histories hypotheses and conclusions more clear. 
 

So yea, the Collapse of PAL is still developping and I think this time it had grown from what I showed at Transmediale - although I was nervous (cause of the friends and family), and made a lot more mistakes because of that, especially in the beginning, ha! 
Next time, glitches are going to be perfect!

//Tomorrow: The Collapse of PAL @ Art in Amsterdam.

2011-05-14T11:50:00.000+02:00

Tomorrow during Art in Amsterdam at the Trouw Building I will perform the Collapse of PAL (from 22:50 – 23:20), a solo AV show about the television signal PAL and its demise. 

TCP was first developed as a live television broadcast, that I did a year ago in Denmark. Besides this, a small reference to the TCP was published with my Glitch Studies Manifesto in the Video Vortex 2 reader. After the television broadcast I was asked to develop the screening into a live performance, which I performed last at the Transmediale in Berlin and which was reviewed as "the media archaeological highlight of Transmediale" by Jussi Parikka.

Tomorrow will be a special event, because for me (working practice and theory based) it has at times been hard to come from a university in the Netherlands and get any kind foothold at or in-between the art institutions here (atleast, up until recently). It seems that art and Science are still very much separated. Besides that, I am working with glitch, which often did not make my case easier either. 

During my University career I never expected to develop a solo performance that I would get to show in the places that I am. It kind of happened by chance and it still feels like a roller coaster ride that is not safety-guaranteed at all - its actually sometimes very frightening. 

Now for the first time I get to show the Collapse of PAL in the Netherlands. I am not sure if I am ready for it because its a huge step to stand in front of people that I might actually know and whose opinions matter, both personally and professionally - but since it is this special occasion for so many different reasons, I wanted to invite you. To celebrate PAL and other (potentially) lost relations and opportunities. 

I hope to see you there if you can make it (its only 7,50 euros, ahmmnnnn.,,) 

warmly, 

Rosa

Monglot opensourced!

2011-05-03T18:44:00.022+02:00

Download Monglot // Monglot source code at Gitorious
This is a part 2 of the powerpoint presentation I gave two weeks ago during my workshop "A Vernacular of File Formats" at Steim. In this workshop I taught about the basic characteristics of the different most commonly used file formats and how these characteristics can be exploited (by for instance altering or glitching the hex code), to make glitch design. Most of the images can also be generated with the use of Monglot, a glitch software me and Johan Larsby developed last December.

Johan and I  opensourced the code of Monglot. Yeay! 

Monglot is made to standardize the Vernacular of File Formats. If you never heard about Monglot before you can read some more about it here

 