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Resolution Dispute 0011 : Institutional Tactics : Depth and thickness of the screen.

Resolution Dispute 0011 : Institutional Tactics : Depth and thickness of the screen.
https://beyondresolution.info/0011-Resolution-Dispute-Institutions
Slides of the Kunst Hochschule Kassel New Media Slides Summer Semester by Rosa Menkman.
From the course "Beyond Resolution".

To establish a better understanding of our technologies, we need to acknowledge that the term »resolution« does not just refer to a numerical quantity or a measure of acutance. A resolution involves the result of a consolidation between interfaces, protocols, and materialities. Resolutions thus also entail a space of compromise between these different actors.

Resolutions are the determination of what is run, read, and seen, and what is not. In a way, resolutions form a lens of (p)reprogrammed »truths.« But their actions and the qualities have moved beyond a fold of our perspectives; and we have gradually become blind to the politics of these congealed and hardened compromises. Technology and its inherent resolutions are never neutral; every time a new way of seeing is created, a new prehistory is being written.

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Resolution Dispute 0011 : Institutional Tactics : Depth and thickness of the screen.

  1. 1. Resolution Studies: The depth and thickness of the screen.
  2. 2. Manovich Archeology of the Screen. “VR, interactivity and telepresence are made possible by the recent technology of a digital computer. However, they are made real by a much, much older technology - the screen. It is by looking at a screen - a flat, rectangular surface positioned at some distance from the eyes - that the user experiences the illusion of navigating through virtual spaces, of being physically present somewhere else or of being hailed by the computer itself. If computers have become a common presence in our culture only in the last decade, the screen, on the other hand, has been used to present visual information for centuries - from Renaissance painting to twentieth-century cinema. Today, coupled with a computer, the screen is rapidly becoming the main means of accessing any kind of information, be it still images, moving images or text. We are already using it to read the daily newspaper, to watch movies, to communicate with coworkers, relatives and friends, and, most importantly, to work (the screens of airline agents, data entry clerks, secretaries, engineers, doctors, pilots, etc.; the screens of ATM machines, supermarket checkouts, automobile control panels, and, of course, the screens of computers.)”
  3. 3. A screenresolutioninvolves morethan just thehight and widthof the screen; italso involves athickness anddepth. Thismetaphoricalthickness shroudsthe image fromthe technologiesthat are used toproduce theimage. It also,to a certainextend,contextualizesthe image. To notpay attention tothe thickness ofthe screen, couldbe described as aform ofhyperopia. Thedepth of theimage on thescreen referencesthe material theimage is made outof, it consistsof thetechnologicalprocedures thatlies beyond thescreen. When thefocus is on thedepth of the Depth of the projection vs thickness of the screen. Besides a width and height, a screen also has a ‘thickness’ and ‘depth’. The ‘thickness’ of the screen acts as a membrane, that shrouds the technologies from the audience, while the ‘depth’ involves the procedures beyond (or behind) the screen. The protocols embedded within these layers have certain settings, that - beyond our perception - influence the technological and aesthetic ways in which the signal is perceived.
  4. 4. Rosa Menkman, Videoscapes, 2008-2012. AV experiments. In Acousmatic Videoscapes, I intended to transcode audio artefacts to visual artefacts, to create new AV-constructs free of any preconceived meaning, to experiment with the notion of ‘what it means to perceive’. Videoscapes failed because of the materiality & context added by embedding these videos in the Vimeo and Youtube platforms, which informed the ways in which the videos were presented to the audience. 196
  5. 5. Rosa Menkman, the Collapse of PAL, 2010-2012. The 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 obsolete, but not forgotten.
  6. 6. Rosa Menkman, the Collapse of PAL, performance (BR), 2011. In 2011 I invited Defi (paint) and Optical Machines (midi-synced shadow play) to collaborate on a tCoP performance. During the final scene of the performance, Defi ‘destroyed’ - painted - the 4 screens. Promptly, two children from the audience resolved into action, to safe the screens.
  7. 7. Promptly, two children from the audience resolved into action, to safe the screens.
  8. 8. Aram Bartholl and Curating Youtube: Vertical Cinema, 2013.
  9. 9. Rosa Menkman, Lunar Storm, 2014. 1:2.39, 35mm on celluloid. Vertical Cinema, Commissioned by Sonic Acts. While resolutions can be understood as manifold assemblages of common, contestable standards, they should also be considered in relationship to the ‘other’ options; the settings that are unknown or unseen, obsolete and unsupported during a time & in technological space.
  10. 10. UCNV: New Vulnerability, 2012.
  11. 11. Rosa Menkman, videos for LCD Crack Screens, 2014. The dogmatic configuration of belief x action has made upgrade culture a great legitimizer of violence, putting many ‘insufficient’ technological resolutions to rest.
  12. 12. Cory Arcangel. Samsung TH42PV60EH Plasma Screen Burn, 2007.
  13. 13. Steve Or Steven Read, Screen Burn (please wait), 2005.
  14. 14. Digital artifice and skeuomorphism Claim to the appearance of the past even though it gets in the way of the function of the device itself. A deliberate archaism that makes you emotionally comfortable but reduces the function of the technology. A pretend system.
  15. 15. Why do people have experiences and not interfaces? - computers are not technology - interfaces are not experiences - users are not people Its a mass technology created for a mass amount of people. Can you escape the interface, or are we forever stuck in our interfaces?
  16. 16. Holographic Virtual assistant for National Rail
  17. 17. The Expanse, (TV series): 2015.
  18. 18. The Newer Media When asking Chun: Where are the Newer Media?She answered: “This question first of all assumes that all what matters is what is new. That is at base so untrue, because if new media were really new, then they would be ignored, they would wondrous for one time and then we would never look at them again. So what matters in terms of new media isn’t what is new but what gets repeated. Hence the move towards habitual new media. The question ‘what are newer media’ means: what is next. You need to prophesize what is next. Everybody feels like they are behind somehow. Other people are always other, newer media and we never know what really lies at the bleeding edge. If you were asked this for the practical reason like ‘lets help people invest in companies’, you would answer this question by explaining what the young kids are using; this is what is going to be taking off. A couple of years ago this would mean a conversation such as Snapchat vs. Facebook. That would be the level of the profound newer media. If you wanted to take it to another level you would interpret the question as: what do you think will become habitual, or when can we find the next habit?”
  19. 19. Manovich, Lev. The Language of New Media. MIT: 2001. Key work in poetics, cultural aesthetics, and helped define the field of software studies. Also has limitations. History of book: 1990s internet culture. then: subversive medium. Now: spectacle playground. Premise: new media/digital objects may be defined via a foundational language set of formal and poetic qualities. By returning to the formal essence of new media, Manovich follows a modernist view.
  20. 20. What are new media? Manovich: new media are software application: numeric, modular, automation, variables, transcoding. (Logic of selection, compositing, database as medium, navigation through space). Manovich has no interest for the social or the political: no history. Glasnost of the digital via Perestroika (restructuring) specify the policies that help reduce corruption at the top of the Communist Party and moderate the abuse of administrative power. Wendy Chun / Kittler: Hardware is as important, if not more important as software Geert Lovink: new forms of social interaction Eugene Thacker: Networked information
  21. 21. From Galloway’s interface effect (2012) Dispositif is a term by Michel Foucault, generally to describe institutional mechanisms and knowledge structures that enhance and maintain the exercise of power Systems on top of each other shape the knowledge Manovich formalism is not progressive. Galloways main point: to mediate is to interface.
  22. 22. In an uncompromising fashion, quality (fidelity), speed (governed by efficiency), volume (generally encapsulated in tiny-ness in terms of hardware and big in terms of data) and profit (economic or ownership) have been responsible for plotting the vectors of ‘progress’.
  23. 23. Resolutions have become the invisible, ‘grey mundane objects of everyday life’. While not inherently bad (or evil); they contribute to the efficiency of technology. So why Study Resolutions? Resolutions are non-neutral standard settings that involve political, economical, technological and cultural values and ideologies, embedded in the genealogies and ecologies of our media.
  24. 24. Jon Satrom. qtzrk, 2011. Resolutions have become the invisible, ‘grey mundane objects of everyday life’.
  25. 25. Architecture orchestrates the flow and infrastructure of a place, often invisibly. The surrealist sculpture park Las Pozas, Xilitla Las Pozas ("the Pools"), near the village of Xilitla, San Luis Potosí created by Edward James opened in 1962 and shows non-functional architecture.
  26. 26. **QUOTE SCREENGRAB FROM BRIZ: the politix in/of glitch art ** data-bending a 3D model
  27. 27. Rosa Menkman, Compress Process: 2012.
  28. 28. “As videogame, Compress Process is a flop, its annoying.” - Wired. In a second, failed attempt to break away from quadrilateral video software and its contexts, I re-contextualized Compress Process in a 3D engine. Wired subsequently reviewed it as a videogame. Every de-contextualization also means a re-contextualization; no media or software exist outside of its context of convention from which it is run, read and interpreted.
  29. 29. Rosa Menkman, Xilitla, 2012-2014. Video environment. A 3D environment, that can be installed or used as performance tool or video interface, to present video work outside of the cliches that conventional platforms and softwares impose.
  30. 30. Rosa Menkman A mod of Xilitla, first made for a presentation at FHNW in Basel (2014), in which I present my ‘Powerpoints’ through Syphon as textures in 3D. 472912078_1280x720.jpg eso llution ution-

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Resolution Dispute 0011 : Institutional Tactics : Depth and thickness of the screen. https://beyondresolution.info/0011-Resolution-Dispute-Institutions Slides of the Kunst Hochschule Kassel New Media Slides Summer Semester by Rosa Menkman. From the course "Beyond Resolution". To establish a better understanding of our technologies, we need to acknowledge that the term »resolution« does not just refer to a numerical quantity or a measure of acutance. A resolution involves the result of a consolidation between interfaces, protocols, and materialities. Resolutions thus also entail a space of compromise between these different actors. Resolutions are the determination of what is run, read, and seen, and what is not. In a way, resolutions form a lens of (p)reprogrammed »truths.« But their actions and the qualities have moved beyond a fold of our perspectives; and we have gradually become blind to the politics of these congealed and hardened compromises. Technology and its inherent resolutions are never neutral; every time a new way of seeing is created, a new prehistory is being written.

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