//2008-2015 portfolio

For the last years I have been trying to reposition my practice into the realms of Resolution Studies. With this move I am trying to uncover where the expectations that lie at the bedrocks of the perceived glitch come from. In my opinion, resolutions should not just be understood as an agreed upon setting or solution, that are set by the actors that have for instance economical or political motivations. In fact, resolutions also inhabit a space of compromise. 
I can illustrate this very simply with an example from the realm of video, which is still stuck within the quadrilateral interface. Because of the video standards, set through resolutions, the history and material of video forecloses anything beyond these four corners. And while resolution studies is closely connected to for instance protocological and material research, it creates space for these other, speculative implementations. 
This is why in 2015 I started the iRD, which consist of institutions that propagate the studies and disputes of resolutions. Through these resolution studies, I aim create an awareness of the compromises set by the resolutions inherent to our media and in doing so, I hope and intend to bring back some form of authorship to the layers of resolution setting. 


Where are the newer media?

In 2014 Ted Davis invited me to give a talk in Basel, at the FHNW, in a series called The New and the Newer Media. Although very happy with the invitation, I had a hard time wrapping my head around this topic, because I am not sure what 'new' means. I think it has everything to do with the scaling of time, which is an interesting problem, but also a difficult one. Besides that, after studying media for 15 years, I have read as many definitions of media as I have read books... How could I ever talk about the new(er) media? It feels a double monster challenge rapped up in one small sentence.

Opening up the 2001 staple, The Language of New Media by Lev Manovich, felt like one starting point. Manovich attributes a list of 5 formalistic qualifications, which characterise the new media (of 2001). According to him they are numeric, modular and automated. Besides that, new media work with variables and can use transcoding principles.

In The Interface Effect (2007), Galloway criticizes Manovich for only using formal qualifications, derived from the context of cinema, rather than positioning and analyzing new media in a social or historical context - beyond the cinematical -, which makes, according to Galloway, Manovich description of new media modernist and a-political (there are no issues of sha#ff33cc human concern at stake).

Galloway explains that new media can also be described in terms of social interaction, hardware and software, or networked information. Besides this, Galloway writes about the role of the interface and the interface effect (on our information) as a key issue in theorising new media. Interfaces mediate the thresholds and are not simply autonomous objects; they effect all information and engende#ff33cc by larger forces, transform the material state of information.

Galloway writes:
"the truth of social life as a whole is increasingly incompatible with its own expression. Culture emerges from this incompatibility. The same goes for the interface : it emerges from this incompatibility; it is this incompatibility."

Incompatibility resides at the momentum of progress. Incompatibilities are where the potentialities, power and future leaks into the crevices of the not - or never - implemented but also into the newer futures. If the new media are (partially) defined by the effects of the interface, the newer media should be sought out in the incompatibilities and not implemented resolutions. 

This is what I illustrated during my talk at FHNW, in a Powerpoint exported as a JPEG slideshow, loaded and animated in Modul8, controlled by Midi and Syphoned as textures into a 3D Unity environment. The video above is a render of me navigating the beginning slide of my powerpoint in 3D,  presented back then in Basel. 


Only avatars should fall.

September 2015, I was commissioned to produce a 30sec video to be played on big LED 'Urban Screens' in train stations all over the Netherlands. 
Their reply was: "its too strange, we can't use it." 

 Blah!  left it since then, but now dugg it up for a screening this May in London! 



Etched in DCT: BeyondResolution

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Rosa Menkman. Etched in DCT: BeyondResolution, 2016.

Last week I took part in a four-day-long etching workshop at Plaatsmaken. I learned that sometimes I do like the end product of an etch, [[~Not my personal work, the plates and prints I produced had to many flaws~]] One of the things I made was this small print of "BeyondResolution", encrypted in DCT, which seems like a pretty small outcome for a 4 day work of labor...
I do like the look that this kind of prints can have on the paper when its done thick black dirty grime vs clean white. But I am not good enough to produce this kind of outcome.

I have not worked a lot in crafts processes' like this before - I am a perfectionist and can pixel push for days, but usually I do this within the environment of the computer. To experience the amount of chemicals, plastics and paper I handled and the waste produced in the process was truly remarkable for someone not versed in the craft of print.
On a side note: I was perplexed by the fact that the high quality paper we used to print on, is branded in the corner; every sheet carries an embossing of 
paper brands' logo
Why would anybody, especially an artist, like to work on a pre branded, *white* canvas??

Etsing workshop
iRD plate in which I also planned to etch a Flatland map. 

I also tried to make a custom iRD plate, that was not square, but the figure saw-work is ... a next level kind of suffering which cost me a whole day. And then I kind of gave up and shelved the project.. Woops. Next time..

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