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institutions for Resolution Disputes

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and and it the solution is always a compromise we have got used to why not talk about it again this is why the next talk is entitled institution for resolution of disputes and so uh speaker is rules are a main command the dutch artist curator and research and founder of I already or the Institute of resolution dispute a big applause for the roles of the disease and the status this thing it includes um thank you for being here on this like very late part of the whole conference and i've I mean when I was taking in everybody seemed so tired that was really funny to experience the same latency in everybody so I'm Laws Amendment from the Netherlands uh everybody speaks German to me here it's really funny because my name sounds German but actually when you say something in German OwlSpeak back in English but please speak to me when you want to um in 2015 I'm gonna talk a from 2015 onwards but I was invited to be a research fellow in a big Institute in the Netherlands to do research on resolutions this is a huge honor for me and I drop everything in London where I used to live at the time and I went and moved back to Amslum which actually was not my favorite city in the world at all so I went there and 3 days before my and my contract started which we had already signed by command back in everything I was fired because the head of the department had to look into my accreditation and my PhD that I was doing at the time had started somewhere else and had not the right accreditation since I ported from Cologne to London and so I would have to revisit the whole institutional network and get my stuff right in time to start now that was not possible and so I was how said properly for Life Stream outside drop the KT Dep and so yeah I don't really cynics said in Amsterdam alone without a calls and kind of angry with institutions and this is when at a certain time I got out of my and darkness and to the Californian desert to live alone in the middle of nowhere and this talk will be about 2 works that I made or to institutions and through exhibitions 1 is the institutions institutes like a double the borrowed plural uh for resolution disputes and then the 2nd 1 which is kind of a more in-depth research is behind what shadows and I make these and the
research counter started in and the deserts where I was looking for my house into this little village if dimension the desert there's not a lot that straight from my patio I could see businesses from Google Street for you so you can't really see it very well but this is a little back that in the back that is a military place the people bomb the hell out of the nite so you wake up you hear and feel this infrasound they know the military is having some fun or something like that not from yeah so am I was inspired by the research that was done in the supported by Trevor pay them after Baglan y'all should know hacker and artists and uh have political artists and technologists and he made a work called symbology that's a research on all the military patches and use a you went to Area 51 drove around it and in interview people to see what all those pages meant and he found out there is a secret language in these pages and so while I was there and I could see and hear and feel all the secret military operations I still had no idea what was happening so I was really inspired by not really understanding all the tactile information all the feelings you have all your sitting on your patio and this with the symbology research make me to
create these 2 pages which are kind of like the keys to 2 works teaching this intuitions for resolution disputes and uh behind the white shadows 1 is the black-on-black patch which is a encryptor patch and the 2nd 1 is a white on white Bejan glows in the dark because I like that I'm
With this started also because you know that an institute had dropped me but I still want to do my research and started to do it by myself and I started to code beyond resolution mostly because I was dropped from the school but also because you know I want to understand what was happening between these things that I can sense but they're they're not results for me to be ready so I started this beyond resolutions to website and I research resolutions from the vernacular a habitual genealogical a tactical and skill perspective so I think the surf 5 very interesting ways to break resolutions down and to understand and resolutions are not always ways to solve an image of attacks or whatever but also a way to compromise certain that the and to not be able to understand that it's to make things unintelligible or too obvious gates or even cut out particular pieces of information so this was not the 1st time I had a fight with institutional network um when I was young already I was really inspired by you know like all kids that inspired by the universe as specifically sound and it is and I want to research sound in space that my teacher told me it's not possible because there is no space only years later I found out that there is actually some stage you need to just transcoded in the right way you can Transco specific frequencies and that's
when I started to understand there's much more to that than just 2 ways we normally show it so I started in my classes to explain to my kids I've been teaching this year to colloquial here in Germany and also some in other countries just a visiting lecturer ships there I was starting to teach about the rheology of batter rheology is a term from the uh physics that means kind of the fluidity of matter and the siphoning of that so here you see you know I'm just a normal part of spectrum that you can listen to but you also see a little rainbow very simplified rainbow now teach my kids and 1 of the 1st classes that you can actually listen to rainbows if you just sonified and and what that means because there's a whole political field here uh in medicine and Big Data Research sometimes so not the son of personifying certain pieces of that that gives us a completely new inside and this year I had to teach a class of painters and they don't do computation at all they're actually scared of it's 1 of the kids told me about but you know you make with parts or you make artistic work with your computation how do you find emotions and that's how can you a means not possible computers are without analysis where is actually the emotion in pain you know you put it in there so I have all these like very basic problems that encounter when it teaches kids about very complex ways of thinking about your data are complex or maybe so not complex that it becomes complex for them like taking away all the institutional frameworks and really going to the court and how can you translate them so
this is a work by the flakes and I try to use it as an example of how bad and painting can come together this is a string of that that that the painted on on a a piece of fabric but then they give you the program that can be any object and you can wrap it around object and then it becomes painting depending on the program that you know shows that that piece of that I think it's a very interesting way to connect the materiality of paints and the maturity of that and to kind of bridge the gap and I'm kind of explaining these things also because I think all of us are educators in a certain way specifically if you're in hacker you're dealing a lot but opening up information in trying to make it like understandable for other people and or yet obvious created then you have to understand how other people and read it so what I'm tracking to do is also give you some problems that I've been running into well I've been teaching this whole year like crazy to make some side money since I have no more money now you've been thinking probably like what is this crazy presentation she's giving with the clouds and we're
slides it's part of the work that I've made and if you but I have to go to hear that it's a 3 D work it was inspired by work that was called compressed process it was a way to get my videos out of the quadrilateral frame because 1 way that resolutions make us think about our media is the way they are embedded so if I put my video for instance on Vimeo I know it's a work of video that I can probably skip through if I wanna make of piece of video art and I want to really think about much reality of that piece of video art and included on Vimeo I kind of the fetus purpose writes it becomes a cycle really boring object that I mean if I which a video art online which I rarely do that if I do it I skip every 15 seconds or maybe minutes I mean if I look through my own videos on Vimeo than I have hardly any full place so I started to feel really like this is defeating the purpose of my research so start to make applications to put videos in into to make the weird slide show things and this is a word that I release and I release it and got a wire to review wire Germany thank you very much and said it's a flop as a video game it's super annoying now I was making a piece of video art in a 3 D environment that's what I realized is that you can never escape your resolution video is what is in a flat screen the moment I put my videos in 3 D as a texture that you can navigate it becomes a video game even if there is no gold but just to watch them city stuff around so you can never escape your resolutions every time you're deconstructing a resolution also reconstructing a new resolution so you're always building compromises and the building compromises so um that said I was really
annoyed at the Institute that fire me and I started them their institutions for resolution disputes and this was really to show them like look I want to wind from you patiently and how to say it is
properly and I'll skip a few slides because I'm going through time very fast this is the the resolution targets I'm using this slide because at this is actually and aerial photography target from 1951 for analog photography was used also in the Californian desert by the American of the military I was living 2 hours drive away from this so 1 day drove through the desert in my little car and almost got stuck but as revised and I solids and uh realize later that there is a work by you the style inspired by this pattern in this beautiful and all about resolutions and in this work she is saying this is a resolution targets it measures the resolution of the world as a picture resolution determines visibility whatever is not captured and by resolution is invisible and what I'm trying to do is expand the visibility and make things visible that are normally not visible on we're gonna skip a few slides
and I go to work that I made when I was finally coming back from the deserts and invited by transfer Gallery New York to make a solo show about my how anger and I had at that time I was actually um a approached by the Museum of Modern Art in Amsterdam to buy a big work of mine the vernacular file formats it's a work that kind of a and B constructs different kinds of compression languages and shows what is the basis and politics of these compression so I use the same image I put dissimilar ditching at or standard data abstraction and see what comes out and by this by these esthetics that come out on the surface I try to explain how these compressions are builds when the museum wanted to buy if they wanted to buy the research archive which means and 16 gigabytes of broken batter basically all put into folders of like this a jape that quiz program like this and so what do you do when you them cells 16 gigabytes broken that and how do you show it I started to research what else was happening in this um works I'm going to put up a new presentation because uh unfortunately both yeah I started to
realize that my work actually
has lived beyond this particular research and this is also my face but I started to see it in many places I started to see it on T. aside to see it on sweaters a lot of a glitch iPhone and um Android apps use as the icon and started to see that people use my face and clicked on it and then they were making a glitch so this work expounded from its research archive and uh the PDF that was constructed out of it to something commit completely copied without copyrights and commodified and strange for me I lost my own facing away and then I started to realize that this is not I'm not the only 1 that has lost their face so I I did have a little bit of research and
found for instance this work by James bridal always been doing research on render if you're walking through London see all these billboards off new because the architecture constructions being built they always have these render ghost put inside of them and um he made a whole archive of trying to understand who these people are this
is his Bender research uh blog and which has a whole archival of different kinds of people and when he finally research where these people came from he came to an and can of a company that sells render bots or render images add that were based in and New Mexico and so he went to New Mexico to see if he could find these people and to ask did anybody ask you if they could use your face but he found nobody that look like this people of course because no and finally found somebody in a body sold them like look if you really look close to these people they really don't look like people in New Mexico the surface and see people and most of them are maybe Asian but definitely not very much looking like the people that walk the streets of New Mexico and finally he never got the answers that he did realize that these people were probably never as to be used so this is 1 example of the line in which I've seen this kind of co-optation of are objectification of humans
and this is a research by a
constant a lot the presented in the 30 seconds C. 3 but it's called and Jennifer in paradise it's part of our own the possibility of an army talk if you ever want look at back is a beautiful talk here comes down found the photo of Jennifer jennifer was the soon-to-be wife of John canola the programmer of photoshop and John tried to test his Photoshop software on and image and that image was the image of this not so very properly dressed girlfriend Jennifer at the time and and 1 of the lines that I think are most striking of this work is when he says you ever ask permission to Gehenna firm do you realize that you're objectifying your own soon-to-be Weiss and Anderson open letter to Jennifer but and there's some remarks in the other article on but in which he says these things and so I realize I in this tradition but 1st even that switching again because there's not a cannot afford a lot of slides in my strangely build
software I am a part of a more
along longer tradition are longer tradition of Caucasian test parts while I was using my face as the test card for glitch so how do images fall apart there's actually a long tradition of the use of the whites phasor to white model in photography and other image processing technology so here are some normal test images these are very pretty ladies and
here it is an image of study and In this study Smith she was the Playboy centerfold of the 19 sixties and she was used for a paper on the the and here is
of Leonard J. back analysts at Playboy centerfold of 1973 and and when in 1970 was 1972 and 1973 in us here and that's on a research originally from Bangalore tried to write about a new compression standard using DCT Discrete Cosine Transform which became later the basis of J back and he was not really met with a lot of enthusiasm however when he finally did publishers paper on DCT in California picked up really fast and and in 1 of the laps and a few guys and found an image to track test his premise of these cities and this was land and then I was the basis of the compression that we still use most often in odd and if you walked in for instance the about or whatever and you see these big photos of kabob's on on the from both the if for instance if you go to Soleil seerc about printed valid really big you see is like kind of brought peak about parts is a block that has been tested on land and that only tested on so the people and in this particular research case they're using an image of the 1970 to centerfolds standard in with their own Moorhead scanner they had and uh circumvents and the head scanner with 3 channels of red green and blue but 1 of the channels are 1 of the uh the the scanning and mechanisms was a little bit slower so they lost 1 line she got a bit thinner even in the photos which is the better found and they use only this photo it's 512 by 512 pixels so from media-archaeological perspective this is a very strange object but also if you think about political they use justice image as a 1 size fits all the but compression in our daily lives is not a one-size-fits-all it's not physics it's just physics for using different objects to compressor images with so what would it mean if we now use still the lender
compression when it's just another kind of image is there may be a racist undertones In this kind of compression and there was a lot of
research in a lot of like some kind of a like as not anger but like criticism from mostly the female community and finally and this is not the end of the occupation test parts we still have this kind of usage of white images In all our technologies for instance arm in uh the age the hot high HP and let camps in a few years ago and they were only tested on by people and once they went to seal to retail they would not track any black images and any black facials because and they were never tested on this there was also done the com Coolpix camera at that always would ask asian features are you may be closing your eyes so there were never tested on any but cooptation faces so this whole history of using occasion test objects is still apparent in everyday technologies and it's really problematic and I realize that I kind of unknowingly kind of what's playing a role in this by also using my own phase and having this be the phase for the constructing facial and or it for neck your file formats to compression of images so by behind the white shadows side showed my research archive I also showed the research
archive of order image and uh images that used bifurcation the knows and I finally showed the work on that I made for them for it the whole and and when I do a lot of research on compressions I've I
realize that and when I tried to explain it often and when I really go into the mathematics and is my students completely so starting to try to build this kind of works that would not just be mathematical but try to get the emotions that the painters wandered in my homework back and so I started to kind of anthropomorphic his my um my object so for instance J. Peck said a lot of blocks I've 3rd to remake works in which 2 blocks works talking about the experience of compressing and particular image uh and 1 of the works was DCT siphon Inc all played in the background really quickly it wants to
check
this so that doesn't really want to play
but that doesn't counts because it's also play
amounts going in the city siphoning
and Darius 2 blocks it's inspired by uh the Roman flatlands by James and and and in fact loans and there is no and objects in a flat land that has to learn about different complexities of space Euclidean space in this particular uh inspiration and taking 2 blocks that have to learn about different complexities of compression so they go from the dots the pixels to the lines which are for instance the basis of gifts to the blocks down space for j packs to wavelets and factor objects or even the dark at technologies and and they experience it's
how humans to experience it the song gets of odd that little 1 sometimes gets really scared about the big 1 kind of knows what to expect and tries to hold him by the hand and tries to explain I look you don't have to be scared here it's just lines it's just vectors etc. so it's gonna like how humans experience things that they can agree that are alleged illegible to them and how when we can see something that
we cannot understand often just dismiss it and don't wanna read it and I find this it really important and I think also on just to a to try to explain that when you dismiss of it is missing actually piece of information might be really important and it might be legible I cannot just showed that the kids that I'm teaching I'd look there is something you just don't understand it so what I'm trying to do is build these works to show how do they are acting to words and their
compressions and their digital technologies and explain them might look you're acting just like this little book that runs away from the compression so um what I wanted to add close with that is the conclusion of the 2 exhibitions the institutions for resolution disputes behind white shadows and and that's the question every time we're using technologies there following particular resolutions resolutions sets through standards for instance by guy so on the other and standardizing institutions and we have to always asks ask who set these standards who make these resolutions and what art acompromise because of a not asking what RT compromising we might become blind to other options for instance video is not just a quadrilateral jects right if EDI would be something more than just was happening within this quadrilateral frame this window then I would have different I could make different shapes of video I could put them on top of each other I could make a collage of videos that would have different timelines and different soundtracks
and I could really play with what video also is because in the end the video is just a moving story that can have different levels but because of computer technologies and other technologies before it we've become stuck in a resolution of video and leave compromised the other options and these compromises are not used in fond there are in actual real life a reality said give problems to us that make problems for other
people and that's why we need to ask what is
always is setting the affordances of our resolutions and what is being and compromise who is casting the shadows behind our technologies and and so I want to close with a quote behind islands which is and defining create the future do not be defined just by your past and I think we should also use of technologies to ways we can still be finding create our futures we can create our own power points in weird 3 technologies and we can I
make videos that are not
quadrilateral and then get burned by wired reviews or whatever that's OK you know it's actually fun to get an angry review because people
are just really boring and it would so the work deciding siphoning is downloadable from my uh websites that paper behind by channels
also and on I would like to end here and maybe take a question if there is a question thank you will lots to minutes for questions so those of all microphones 2 on the side on the side of and so you have a microphone to please ask a question
of and I think great talk because greatest yeah constant like District Court of transformations and the remainder going being at present our work and then also I found out many years
ago it's the energy extended optional the way of compressing gtext uh instead of or you can use recording and it's never
enabled by any browser sold don't you picture never used there should be more than a smaller and use more or less and it's a have you see any people that actually you would
like to introduce the recording more persistent of variants of it uh just to uh will be in to use more computing power safe and which I 1 of my favorite artists working which a packets and today since he's based at Basel and he's been doing really an breaking the data compression down really from like the basics and then you can really right into the compression but I don't think he tackled even everything encoding yeah yet and actually I did I didn't show this but in the end
I want to and I will show it to you because you're asking about shape X this is a word that animates when I was actually fired by the institutes
it uses of the cities and when I was fired day and they made it cryptograph C and design awards method now you fired me I will make a game with you I will send you some cryptography so I make my own kind of like encryption which is of course I mean even cryptography design seems like really cities so I thought OK I'll do something really silly I use the DCT that you're asking about as the city's Discrete Cosine Transform of course 6 consists of 64 Michael blocks um hi mat every Michael book to every glyph of the alphabet so the 64 most-used characters and then I wrote them the message really angry message actually 1 of the institutions is completely against them as 1 of the 5 institutions of the exhibition and guess who won that competition the I don't think ever read it because they're too name to readership but think they did something nice speck nice means that I got 1 10th of the money they were supposed to pay me in this city computer here but I feel like in a way that I fucked up a set it anyway I'm so I I I 1 and little bit that they but to is 1 10th of what a loss the thinking is that of Muslim question from the internet of signal I don't know than uh I would like to have the opportunity to ask a question myself because I I did uh work in the super-resolution microscopy did you ever looked into uh super resolving biological structures I've seen some more you patterns in your work in your presentation all did you ever touch that all what did you do with more you patterns my better yes I yeah OK so for me and I was talking a little bit about an ecology of compression complexities to really going from the line to the adults to the lines to the books to the wavelets to their you know like really complex I would say also zip files are part of that complexity like when everything just gets chaotic when we assume some have an Euclidean space necessary to compare to it then it becomes very messy but anyway that some they go through uh and the line environments and in this line environments the little 1 gets really excited because you can play through tomorrow's patterns and actually having a little of a romantic moment with 1 of the most days it is also a joke because you know a lot of people only like to like things they understand already they i mean dexa size is always in understanding something that is more complex but that's what most people are scared of so it's easy to fall in love with a line of your block it's hard to fall in love with a wavelets right so I mean that but anyway and that's not really your question you're asking about the money in biology and I've never worked in biology with that at the end of the day of thanks OK uh any question left I think we are all of time yes get bigger and a round of applause falsely go further many much of my time and
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Metadaten

Formale Metadaten

Titel institutions for Resolution Disputes
Untertitel Rosa Menkman investigates video compression, feedback, and glitches
Serientitel 34th Chaos Communication Congress
Autor Menkman, Rosa
Lizenz CC-Namensnennung 4.0 International:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen.
DOI 10.5446/34918
Herausgeber Chaos Computer Club e.V.
Erscheinungsjahr 2017
Sprache Englisch

Inhaltliche Metadaten

Fachgebiet Informatik
Abstract The institutions of Resolution Disputes [iRD] call attention to media resolutions. While a ’resolution’ generally simply refers to a standard (measurement) embedded in the technological domain, the iRD reflect on the fact that a resolution is indeed a settlement (solution), but at the same time a space of compromise between different actors (objects, materialities and protocols) who dispute their stakes (framerate, number of pixels etc.) within the growing digital territories.
Schlagwörter Art & Culture

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