📡 Resolution Patch 7.0

 

Blogging seems to have lost its shine. Still. BUT I STILL DO KEEP A MAILINGLIST!!!

365 Perfect Decalibration for TELEMATIC

Publication: Beyond Resolution (2020)

 

Blogging seems to have lost its shine. 

Well, actually, 2020 has become a year in which everything turns to dust, shreds, broken, unflattering stinky piles of mess and this is just another excuse as to why I have been finding it hard to keep this place updated. But I do want to keep a log of all the things I have been doing and working on, so I am gonna try to get back here more regularly. 

So here we go: first off, In February, I publised this second follow up booklet from Glitch Moment/um, titled "Beyond Resolution". I am incredibly proud of this work that compiles 4 years of research and practice and I think it is definitely worth a second of your time. I hope in the future to find a way to make it also available in hardcopy, but for now it is just available as PDF...  

About Beyond Resolution 
In Beyond Resolution, Menkman insists on an extended formulation of resolution. A resolution is not just a trade-off between settings that manage speed and functionality, while considering materials affordances. A resolution also always involves the inherent compromise of other ways of rendering. And it is through these other ways - or  not (yet) implemented or supported resolutions - that we need to train to see, run and formulate our alternatives.

Through the example of the genealogy of the color test cards, Menkman offers an exemplary way to make such latent and biased power structures more apparent. Menkman proposes that these standard images, trapped in the genealogies of our technologies, should become part of the public domain. These narratives could then be used to illustrate and illuminate the biases and governing powers structures that are inherent and pervasive in our contemporary technologies, something she calls “the white shadows that govern the outcomes of our image processing technologies”.

She argues that their genealogies belong in high school textbooks: “the latent violence coded within such norms should be studied as part of standard curricula to inform a future generation of engineers of compromises made in the past”. This independently published book consists of a collection of different types of texts ranging from short stories, to an introduction into basic optics, and a manifesto like text. The publication is accompanied by a collection of artworks that Menkman developed during a triptych of solo shows (institution of Resolution Disputes, Behind White Shadows and Shadow Knowledge), all geared towards introducing and developing the concept: "Resolution Studies". 

Resolution Patch 2020.2 is out! ッツヅジ

March 2020_Resolution Update 3.0 

This patch:

0000 Beyond Resolution
0010 Les Inconnues
0011 The Massage interview0011 The Massage interview

0001 Shadow Knowledget

Resolution Patch 2020.1 is out! ッツヅジ

JAN2020_Resolution Update 2.0 

This patch:
0000 CERN: Impossible Images
0001 AXIS // Transmediale 2020: Whiteout
0010 Resolution Studies
0011 Solo show at SJSU (San Jose) : Shadow Knowledge
0100 Miscellaneous updates

RESOLUTION PATCH 2119.I ッツヅジ

The physical version of RESOLUTION PATCH 2119.I is now about to be shipped. ッツヅジ  

Refuse to let the Syntaxes of (a) History Direct our Futures

 
Yeay! 

I finally received my copy of 'Fragmentation of the Photographic Image in the Digital Age' (ed. by Daniel Rubinstein, Routledge, 2019) with my chapter "Refuse to let the Syntaxes of (a) History Direct our Futures". The chapter starts with a treatment of Jon Satrom's QTzrk. One of my favourite off-standard artworks ever.

I feel very lucky to be part of this book. Its important because in a time when photography, its images, apparatus and subjects are completely changing. Users as well as makers have started to approach images with different vernaculars, levels of trust and expectations, yet, the definition of photography remains quite narrow.

The discourse of Photography is still stuck in tradition and its great to get the chance to push the lens a bit. 
An opportunity for which I am grateful.

Lune magazine Issue 03: Display

Lune magazine Issue 03: Display, Guest Edited by Nathan Jones is out! It features a contribution by me ;)

My first week at CERN

 
Before I came here, I must admit, I never really considered the differences between a theoretical particle physicist, an experimental particle physicist or an applied physicist. During my first week at CERN I visited 3 out of 4 major experiments taking place at CERN connected to the Large Hadron Collider (the LHC particle accelerator), taking place in specially designed detectors (ATLAS, CMS, ALICE and LHCb). These experiments follow resolutions set following compex processes considering not just an objective but maybe more importantly, the condtions and affordances brought by physics, engineering, code and finances. 

After one week of running from one experimental site to the next, and meeting the fauna connected to all the different categories and more, I am still not sure how to make sense of it all. To be honest, I am maybe more confused about what it all means - and what all these people are doing here, exactly?

It has become clear to me though, that at CERN not all scientists belief in all of the same things, laws or actions. A lot of their work has to do with trying to figure out what to do (next). To a certain extend, most of them seem not entirely sure (I hope I got that right and I am not sounding disrespectful here, the fact is, the uncertainties are very high). In a nutshell, here is what I do understand after a week at CERN.

From the website: At CERN, our work helps to uncover what the universe is made of and how it works. We do this by providing a unique range of particle accelerator facilities to researchers, to advance the boundaries of human knowledge.
The Laboratory, established in 1954, has become a prime example of international collaboration. CERN is thus a laboratory; in fact, it is the biggest laboratory in the world. Its main mission seems to be tied to unravelling the basic questions about into existence and the universe (on a side not: I have not heard the word 'consciousness' yet). 

95% of the universe is unknown to both us laymen but also to these scientists. We can only observe 5% of the universe and the other 95% of what surrounds us is unknown. Unknowable, immeasurable, imperceivable, invisible and clearly indescribable. And the experiments by which the scientists wish to 'tackle' (or rather infer and deduct) this unknown, dark universe (consisting of dark energy and dark matter) are many and diverse. 

Of course the start of any such inference starts with a question, so here are just a few I collected so far:
Why is the universe so big?
What is our cosmic DNA?
Are there additional dimensions to space?
What is the nature of matter?
Why do things weigh?
Do gravitons exist?
Does anti matter fall up or down?
Is there super symmetry, or is the next breakthrough to be found in string theory?
What is time and does time even exist?

To me, for (almost) all of those questions it is even hard to explain what they mean - they come with layers of understanding and languages (lets not even mention the jungle of acronyms they have created here) that sound familiar but mean very little to me. They even drove me to read and finish A Very Short Introduction to Particle Physics (a little book or cliffnotes about particle physics by Frank Close) earlier this week.

A special moment happened this week when I listened to a string theorist say: "time and space dit not exist before the Big Bang. That is something I can accept because of the equations, but I dont understand these equations myself. For the sake of my research, I just ignore time altogether." I could have hugged him because for a moment my imposter syndrom vanished and I felt more free, But then again of course the man had obtained his candid senses due to the years of studying and hugging him seemed .. a solution from another dimension.

It seems that CERN is a place for ideas that are hard to think, ideas that even scientist have trouble with. And while some of them are looking for new, divergent vanishing points, others belief that the path to possible future knowledge can simply be found in more measurements: "Now is not the time for new theories; new insights and knowledge will come when there is more research done".

So here I am, an artist roaming on the planes touching the edges of the hard sciences. And still, I feel not completely out of place. Once felt inspired by the ways in which snakes see warmth and bees smell pollen. In the same vain, here I see how scientists grow new senses to see, smell, hear and touch, mapping their universe through charts and prisms.

I, too, am always looking for new ways to approach the world, to shed new light on (archtypal) principles and to make translations. Moreover, for a long time now, I too struggle and play with the principle: the more heavily encoded the image, the harder it is to read. I do beleive their is a valuable balance to strike between collecting new ways of seeing (artists), and solving puzzles with them (scientists).

Ñ presents: AX15 a publication by Mario de Vega with featuring 'Whiteout' an essay by me.

It’s a beautiful publication that comes with audio recordings  and prints by Mario de vega made during our journey in Antártica. My essay is printed white on white and the cover of the publication is reflective.

Interview op NikHef: the Dutch National Institute for Subatomic Physics that performs research in particle physics and astroparticle physics.

Kunstenaar Rosa Menkman naar CERN: ‘Ik ga vooral vragen stellen.’

Kunstenaar? Rosa Menkman wordt er altijd wat ongemakkelijk van als het woord kunstenaar valt. Ze was deze zomer weliswaar de eerste winnaar van de Collide International-prijs van CERN en de Fabra i Coats in Barcelona, gekozen uit meer dan 220 inzendingen, maar ze noemt zichzelf eigenlijk liever onderzoeker. 

‘Aangezien we op de Universiteit weinig praktische kennis kregen over het functioneren van digitale technologie, zocht ik deze kennis ergens anders. Ik experimenteerde in mijn vrije tijd in hackathons and workshops met het deconstrueren van digitale technologieën en objecten, zoals bijvoorbeeld het videobeeld. De uitkomst van deze experimenten vielen vaak in de categorie kunst.’

Menkman (Arnhem 1983) staat vooral te boek als filmmaker en videokunstenaar, maar met een sterk theoretische inslag. Ze studeerde nieuwe media aan de Universiteit van Amsterdam, exposeert internationaal en is docent aan de kunstacademie in Kassel. Vanaf 23 september is ze een maand op CERN in Genève, gekoppeld aan een wetenschapper. Daarna produceert ze in Barcelona een film voor het project.

Wat heb je persoonlijk met CERN?

‘Ik vind CERN een van de meest bijzondere plekken op aarde, van de orde van de piramides in Egypte en de Jantar Mantar in Jaipur. Een plek waar letterlijk nieuwe kennis wordt vrijgemaakt, waar woorden en concepten worden gevonden voor wat we nog niet weten. Om daar even bij te mogen zijn is fantastisch.’

Ben je er wel eens geweest?

‘Nee, op dit moment alleen via podcasts, videos and street maps.’ 

Liggen kunst en wetenschap niet heel ver uit elkaar?

‘Ik zie een overlap. Sommige kunst probeert het onverwoorde te verwoorden of het onbekende te verbeelden. Kunst kan je helpen scherper naar de wereld te kijken, of ervaringen die niet te bevatten zijn te verbeelden. CERN doet dat op zijn manier ook.’

Je inzending voor Collide International was een video waarin je praat over capturing the imperceivable, het vangen van het onzichtbare.

‘Mijn project heet ‘Shadow Knowledge’. Op CERN zoeken wetenschappers naar nieuwe dimensies, dimensies die kleiner zijn dan de optische dimensie (suboptical). De afgelopen jaren heb ik vooral de term ‘resolutie’ onderzocht - in het visuele domein refereert deze term vooral naar het kleinste dat we kunnen onderscheiden. Maar het betekent ook ‘oplossen’. En hier ligt mijn interesse: techniek heeft altijd beperkingen en gecalculeerde compromissen - het eind plaatje is altijd een gefilterde werkelijkheid. Wat mij intrigeert is eigenlijk wat je (net) niet ziet. Of wat je wel ziet, maar er niet is: de artifacten.’

Daar maakte je eerder video en VR installaties mee.

‘Veel van mijn werk gaat over het effect van ruis en compressie. Daaruit kunnen nieuwe patronen ontstaan, patronen die bewijs of residu van de gebruikte technologieën vormen.’

Ik zie op je website video’s met digitale spookbeelden.

‘Die ontstaan door de manier waarop je beelden filtert. De vraag is of ze er dan wel of niet zijn. Ik vraag mezelf vaak: wat zijn de kwaliteiten van het digitaal materiaal precies?’

Wat ga je daar op CERN concreet mee doen?

‘Ik ga vooral veel praten met onderzoekers van allerlei afdelingen en experimenten. Over wat meten betekent, over fouten en onzekerheden. En hoe je als onderzoeker je hele leven kunt besteden aan dat wat je niet weet.’

Maak je uiteindelijk een film?

‘Ik ga praten en misschien filmen. Ik ga veel schrijven en nadenken en dingen daarvan gebruiken in eigen digitale experimenten. Eigenlijk weet ik nog niet wat ik ga maken in die maand Barcelona. Ik wil vooral leren van de ontmoeting.’

En kan de deeltjesfysica ook iets van jou leren?

‘Dat is natuurlijk de uiteindelijke wens. Misschien, we zullen zien. Kunst kan wetenschappers ook nieuwe inzichten geven. Niet zo lang geleden hoorde ik over een muzikant die cel groei naar geluid omzette, waardoor onderzoekers opeens ritmes herkenden die ze in scans nooit zagen. Hoe zo’n vertaalslag, van het ene domein naar het andere, tot nieuwe inzichten kan leiden, vind fascinerend.’

Newsletter: Resolution Update, Patch 1,

Subscribe to Resolution Updates Here
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Delivery time will be at my discretion. Its 🐌 📬.  

/********************************************/ 

/Resolution Update 1.0 *********************/ 

0000 Arts Collide International

0001 Solo Show: Pique Nique pour les Inconnues

0010 Resolution Studies 

0011 Lexicon of Glitch Affect

0100 Updated Bibliography

Dutch artist Rosa Menkman wins Collide International Barcelona Award

Dutch artist Rosa Menkman has been selected as the winner of the first Collide International award in Barcelona alongside four Honorary Mentions

“The primary objective of Arts at CERN is to create extraordinary opportunities for dialogue and exchange between artists and scientists, and to encourage significant connections between creative minds in a fundamental research environment. I am particularly proud to announce the winners of the first Collide International prize in collaboration with the city of Barcelona,” says Monica Bello, head of Arts at CERN. 

“Here at CERN, we value diversity and exchange, across communities and countries. It is an inherent part of our laboratory’s culture and essential to the success of our research. We appreciate the strong partnerships that now allow us to welcome new artists to connect with our community. I am excited to see what they will achieve together with our scientists,” says Charlotte Lindberg Warakaulle, CERN’s Director for International Relations. 

According to the jury, comprised of Monica Bello, Arts at CERN, Oriol Gual, director of La Capella in Barcelona, Joana Hurtado, director of Fabra i Coats and Helga Timko, CERN physicist, the winning artist demonstrated a sophistication of concept and approach. Menkman’s topic focused on the idea of resolution, which resonates with CERN’s quest to perform research from the smallest to the largest scale. 

They found Menkman’s argument about the significance and purpose of scientific measurement and how information is filtered in and out of an experiment inspiring. The artist will be invited to CERN in Geneva for two months to explore these topics, after which she will work for a month on a 3D video production at Fabra i Coats.

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Creating Critical Environments - slides from Gray Area Festival

I gave a talk at Gray Area about immersive spaces and the requirements for immersivity. You can find all the slides here.

Pique Nique pour les Inconnues

For L’Unique Caen Menkman revisited a few of her key works and remade them especially for the square window of the gallery.  Pique Nique pour les Inconnues showcases a prepared desktop, hosting a party of ‘unknowns’ - digital and analogue objects that are usually not seen, unknown or ignored. Within the space of the desktop, one by one they obtain a voice and introduce themselves. 

Summer Semester Beyond Resolution 2019 @ KHK - now online!!

 Alternative formats: Manifestos 
From the extinvion rebellion to Xenofeminism, Occupy Wallstreet to Black Lives Matter or Glitch to #Additivism - all these movements have used manifestos to announce themselves to the world. The manifesto genre is by definition timely and politically focused. It criticizes a present state of affairs but also announces its passing, proclaiming the advent of a new movement or even of a new era. Manifestos are often a call for a new vision, approach, program, or genre: they are the site of political, cultural and social experimentation in our contemporary world.
Manifestos exist to challenge and provoke - to enhance conscious self-expression and empowerment. But how to write a contemporary manifesto in 2019? How to combine a call for action with ciritical digital design to fundamentally expand the character and scope of the genre itself?

 Tokyo Threading. A presentation given at the Sony Centre, Tokyo for Media Festival Japan. 
It matters what threads are used to construct a garment: using a thread that is stronger than the material that is sewn (the fabric) can end up causing rips in the material. During my time in Japan I had many  encounters with Japanese digital artists who taught me about the importance of how to thread message and material together in very considerate, new ways of presenting.

 AR, VR and ‘empathy’. A presentation for Impakt, Utrecht, Netherlands. 
Impakt asked me to give a short presentation on AR, VR and empathy. VR - or ‘the empathy machine’ - has often been used to tell the story of young refugee girls. Can VR also provoke empathy without the exploitation of minor immigrant girls? And what is so good about empathy - what do we win with empathy if we do not practice compassion, sympathy, morality or other forms of ethical consideration? How easily do we cross the line from emphaty to commiserate disaster tourism?
And what is the relation between AR and VR? Maybe the use of the world ‘reality’ a misnomer for what better could be understood as chimera or virtual imagination?

 
Emojis - one day workshop The earliest known mobile phone in Japan to include a set of emoji was released by J-Phone on November 1, 1997. The set of 90 emoji included many that would later be added to the Unicode Standard, such as Pile of Poo 💩, but as the phone was very expensive they were not widely used at the time. In 1999, Shigetaka Kurita created the first widely-used set of emoji which was implemented on NTT DoCoMo's i-mode mobile Internet platform.
Today, anyone can submit a proposal for an emoji character, but the implementation of new emoji is regulated by the Unicode Consortium. Yet every year 70 new emojis are chosen and implemented. How?: the voting members of the Unicode Constortium (Silicon Valley _ White Male Conservatives _ ) pay good �💵💴💶💰💷$ to have a vote. As a result, certain emojis are missing, while other emojis are the linchpin of controversy.

 
Timetravelling - one day workshop With the advent of the digital, time is no longer what it used to be. Instances can be jumped, repeated or stamped: the digital has introduced a new experience of time. But before making such a statement, we first need to discuss the dimension of time.
According to Hillel Schwartz, first there was Aeon time. Aeon time is universally ongoing and impersonal time. As an eternal flux and flow it is always ‘just there’. Schwartz connects aeon time to background noise, the noise that has been there since the Big Bang, the noise that will always exist and is usually suppressed but remains part of any system.
Secondly, Schwartz explains, there is Kronos, from which the term ‘chronology’ stems. Kronos refers to linear, one directional time, business time or incremental, daily routine time. Schwartz connects Kronos to repetitive noise, such as the noise of a dripping faucet. It is sickeningly rhythmic and does not move backwards.
Finally there is Kairos, which is best described as the time of opportunity. This time is dangerous and thrilling, however it can also present itself subtly. Schwarz connects Kairos to the noise of revolution. It is the shriek of invention. The time when someone urges you to seize the moment.
But Schwartz is of course not the only one outlining a general definition of time. Many men have attempted to describe time before him, and many have after... Here Schwartz is merely a starting point to discuss and travel time.  What can be images of time? And what other radical ideas of time are there? 



Posthuman Glossary - one day workshop Posthuman Critical theory is a convergence of posthumanism and post anthropocentrism.
In humanism the 'man' from the West sets the standards to measure all things. PCT rejects any nostalgia for humanism or the 'enlightened man of reason'.
PCT also rejects to see the world as a hierarchy of species and human exceptionalism - as is celebrated in anthropocentrism. As a result, PCT pratices a ‘dis-identification of the familiar’.
Posthuman Critical Theory believes that:

• subjectivity does not make an ‘anthropos’. 
• we need to create a sustainable notion of vitalist materialism - the belief that matter itself has vitality and is alive, no matter how lifeless it may appear to be. In doing so, objects and things are described as having agency (Jane Bennett / D&G). 
• we need to enlarge the scope of ethical accountability.
  

In short: Posthuman Critical Theory creates assemblages of human and non-human actors by combining feminist theory and Deleuze and Guattari's new materialist philosophy. Urgency is found in the Anthroposcene condition, which changes environmental, social economical, affective and psychical conditions and the violent and inhumane power relations that result from technological advances and a growing economic and social inequalities.
Critical (in Crtitical theory) refers to both being critical and creative. Critical is as a way to create cartographies of power, to account for and learn to relinquish unearned privileges and implicit power privileges. The creative side enlists the resources of the imagination and a new alliance of critique. Politically speaking, posthuman critical theory is a practical philospohy that aims at composing a 'missing people', to refashion and reshape the human to include all kinds of bodies (immigrant, of color, female, crip)
 

Monopolized services (Included an Amazon Fullfilment centre visit with class) Monopolies and patents shape the (media) industry by strategies such as standardization, undercutting and prohibition. We talk about a few of these stories and about recent strategies of for instance Amazon, that by means of vertical and horizontal intergration has managed to cut out and bypass whole tiers in the chains of production and distribution. In doing so, the concept of ‘carriage’ - to carry over a particular product, service or provide a platform for a certain producer, has gotten renewed importance. 



Lets talk about money!
Money is nothing. Even so, it can move everything. But how can nothing move everything? ...Its because the concept of money is made of agreements, of solidarity, of trust. Not just moral or political trust, but agreements that resonate in a sort of ‘condition’. (- paraphased from the K foundation burned a million quid)
Money is often described in terms of time, freedom, or as an object rooted in the colonialist, modernist, or imperial projects of standardization.
But when do we actually learn to talk about money? Did someone teach you how money works, what are the rules of who gets to own, earn or safe money and how and what are the histories and ‘logics’ of inflation and value?
In fact, money is quite a fictual construct that is only worth something in ‘the right’ context or space - in the ‘condition’ that ascribes its worth. In this condition - or rather at the fringes of this space, the value of money also gives rise to alternative spaces, such as tax havens, Extrastates or bodies of de-regulated flows of capital.

a look at the slides of the subjects we spoke about during the Beyond Resolution Summer Semester course!

Alternative formats: Manifestos 
Tokyo Threading. A presentation given at the Sony Centre, Tokyo, Japan
AR, VR and ‘empathy’. A presentation for Impakt, Utrecht, Netherlands
Emojis
Timetravelling
Posthuman Glossary
Monopolized services (Included an Amazon Fullfilment centre visit with class)
Lets talk about money! 

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Pique-nique pour les inconnues - A solo show at Caen, France

For L’Unique Caen I revisited a few of my key works and remade them especially for the square window of the gallery. Pique Nique pour les Inconnues showcases a prepared desktop, hosting a party of ‘unknowns’ - digital and analogue objects that are usually not seen, unknown or ignored. Within the space of the desktop, one by one they obtain a voice and introduce themselves.

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A Lexicon of Glitch Affect

The Lexicon intends to offer an insight into the development of meaning in the aesthetics of distortion in Sci-Fi movies throughout the years, via an analysis of 1200 Sci-Fi Trailers. It will be released in tandem with a video essay. 

Starting with trailers from 1978, I reviewed 30 trailers per year to obtain an insight into the development of noise artifacts in Sci-Fi from before the arrival of the home computer, to Sci-Fi adopting the contemporary aesthetics of our ubiquitous digital devices. My source for the trailers is the Internet Movie Database, where I accessed lists of the top-US Grossing Sci-Fi Titles per year. When watching these trailers I took screenshots whenever a distortion occured, and when possible interpreted them. Currently the database includes findings from research done into 630 trailers (1998-2018).

Underneath this very short essay I offer my most interesting findings per year. When you click an image, you get access to the noise artifacts per year.   
Glitch Art genre (2019)  Every file format consists of a language, or ‘dialect’, according to which it is encoded, often also refered to as a compression algorithm. When we break this organization of data, by for instance glitching or databending, a new utterance or visual expression appears, showcasing the otherwise obfuscated organizations of compression on the surface of the image. These newly emerged images are often directly dismissed as 'garbage' or 'noise artifacts’, but sometimes, the results of these noise artifacts can in fact reveal exciting, unexpected new forms of expression or ‘visual slang’. It is these modes of expression that artists have named the genre of Glitch Art. But, to call glitch a genre suggests it is intelligible and that it follows certain norms or rules.

From its beginnings, glitch art used to exploit medium-reflexivity, to rhetorically question technologies ‘perfect’ use, conventions and expectations. However, paradoxically, over time glitch art has become standardized into a genre that also fulfills certain expectations (oa. to rhetorically question the medium). This reflexive approach inherent in the materiality of the glitch tends to, as Katherine Hayles would assert, re-conceptualize the glitches’ materiality into an interplay between its ‘physical characteristics and its signifying strategies’. But glitch genres perform their reflection on digital materiality not just on a technological level. To really understand a glitch, each level of this notion of (glitch) materiality should be studied: the text as a physical artifact, its conceptual content, and the interpretive activities of artists and audiences.
 Distortions in Sci-Fi  
Distortions prompt the spectator to engage not only with themes, but also with complex subcultural and meta-cultural narratives and gestures, presenting new analytical challenges. In the Glitch Moment(um) (Institute of Network Cultures, 2010) I wrote that every form of glitch, either breaking a flow, or designed to look like a break from a flow, will eventually become a new fashion. As the popularization and cultivation of the glitch genre has now spread widely, I believe it is important to track the development of these processes in specific case studies and create ‘a lexicon of distortions’. New, fresh research within the field of noise artifacts is necessary. In an attempt to expand on A Vernacular of File Formats, I propose a lexicon that deconstructs the meanings of noise artifacts; a handbook to navigate glitch clichés as employed specifically in the genre of Sci-Fi. 

Sci-Fi relies on the literacy of the spectator (references to media technology texts, aesthetics and machinic processes) and their knowledge of more ‘conventional’ distortion or noise artifacts. Former disturbances have gained complex meaning beyond their technological value; with the help of popular culture, these effects have transformed into signifiers provoking affect. For example, analogue noise conjures up the sense of an eerie, invisible power entering the frame (a ghost), while blocky-artifacts often refer to time travelling or a data offense initiated by an Artificial Intelligence. Interlacing refers to an invisible camera, while camera interface esthetics (such as a viewfinders and tracking brackets or markers around a face) refer to observation technologies. Hackers still work in monochrome, green environments, while all holograms are made from phosphorous blue light. And when color channels distort, the protagonist is experiencing a loss of control. 

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Behind White Shadows of Image Processing (video) at ICC Tokyo as part of "Alternative Views"

** This video is a placeholder; work in progress!!ˀ

Behind White Shadows of Image Processing is a video based on my essay of the same name and is on show now at the ICC Tokyo as part of "Alternative Views" in the Open Space.

In Behind White Shadows, the "Angel of History" sends its friends and colleagues an email with the photos of two female figures attached. These two images, modelled after real women, are still seen by many people. However their name and identity remain unknown. The Angel writes: "While contemplating these images, I had to think about other women, whose faces were put through similar histories. Forever resonating within the realms of image processing - wether they chose this fate themselves or not. As it seems your face is amongst them, I wondered if you could share some of your insights." The Angel receives replies subsequently from the leader ladies, Lena, Ariane and a render ghost.

Alternative Views is an exhibition covering media art works and various expressions in the current media environment. It displays typical works in media and art, works incorporating contemporary technology, works with a critical perspective, works by emerging artists, and ongoing projects at research institutes. Furthermore, with commentary to help the understanding of the work, not only enjoy the work but also the current diversified media and the way of communication in the background, or the prospect for the future, the new sensitivity and the sense of beauty about the modern technology society We are aiming for an exhibition that will give us an opportunity to think

Period: Saturday, May 18, 2019 – Sunday, March 1, 2020 : NTT InterCommunication Center [ICC].
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Updated my Publications page!

I finally found the time to update my publications page! fresh links, uploads, new publications all gathered in one URL : ) wooohooo what good birthday upgrades

check it out

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