Interview for mexican creditcard magazin 'club credomatic'Rosa ɯǝukɯɐn
This document discusses a gamer's experience playing the classic first-person shooter game Quake 1. While the game is over 20 years old, the player still found it enjoyable despite some technical glitches, showing that well-designed games can remain fun even after many years. The simple but addictive gameplay of moving through levels and battling monsters still provided entertainment and nostalgia for the player.
The document announces an art exhibition and festival called GLI.TC/H taking place from November 3-12 in Chicago and Amsterdam. It includes schedules of gallery openings, lectures, workshops, screenings, and live performances centered around glitch and error art. Events will be held at venues like MBLABS, Enemy, theNIGHTINGALE, STEIM, and PLANETART and will feature artists working with glitch, error, and digital media.
1) Naomi Ellemers, a professor of social psychology, was awarded the prestigious Spinoza Prize for her research on norms, values, and social identity in groups.
2) Her research uses physiological experiments and brain imaging to study how threats to social identity can cause stress and influence performance.
3) The Spinoza Prize will allow her to further explore how social identity threats are processed in the brain without having to first fully outline her research plans.
Catalogue of tipping point of failure exhibition by rosa menkmanRosa ɯǝukɯɐn
This document provides information about an exhibition titled "The Tipping Point of Failure / Pomyłka" curated by Michał Brzeziński at the NT Gallery in Łódź, Poland from October 29 to December 5, 2010. The exhibition featured video and artwork by Dutch artist Rosa Menkman focusing on visual artifacts created by digital glitches, errors, and failures. The curator discusses how glitch art explores the inherent qualities and imperfections of media and technologies. Artists working with glitches aim to reveal the inner workings of systems by pushing them past their limits. The exhibition sought to examine glitches as an aesthetic phenomenon in contemporary art through various artistic practices that intentionally damage or modify hardware
This document provides a walking tour guide of 15 km in Trondheim, Norway, highlighting various points of historical and natural interest along the route. It describes several stops including two hidden cabins from World War II, the Gråkallen radar dome, remains of Nazi German submarine bunkers, the island fortress of Munkholmen, and the scenic viewpoint of St. Olavsspranget. Detailed directions and maps are included to guide visitors through the full walking route.
Interview for mexican creditcard magazin 'club credomatic'Rosa ɯǝukɯɐn
This document discusses a gamer's experience playing the classic first-person shooter game Quake 1. While the game is over 20 years old, the player still found it enjoyable despite some technical glitches, showing that well-designed games can remain fun even after many years. The simple but addictive gameplay of moving through levels and battling monsters still provided entertainment and nostalgia for the player.
The document announces an art exhibition and festival called GLI.TC/H taking place from November 3-12 in Chicago and Amsterdam. It includes schedules of gallery openings, lectures, workshops, screenings, and live performances centered around glitch and error art. Events will be held at venues like MBLABS, Enemy, theNIGHTINGALE, STEIM, and PLANETART and will feature artists working with glitch, error, and digital media.
1) Naomi Ellemers, a professor of social psychology, was awarded the prestigious Spinoza Prize for her research on norms, values, and social identity in groups.
2) Her research uses physiological experiments and brain imaging to study how threats to social identity can cause stress and influence performance.
3) The Spinoza Prize will allow her to further explore how social identity threats are processed in the brain without having to first fully outline her research plans.
Catalogue of tipping point of failure exhibition by rosa menkmanRosa ɯǝukɯɐn
This document provides information about an exhibition titled "The Tipping Point of Failure / Pomyłka" curated by Michał Brzeziński at the NT Gallery in Łódź, Poland from October 29 to December 5, 2010. The exhibition featured video and artwork by Dutch artist Rosa Menkman focusing on visual artifacts created by digital glitches, errors, and failures. The curator discusses how glitch art explores the inherent qualities and imperfections of media and technologies. Artists working with glitches aim to reveal the inner workings of systems by pushing them past their limits. The exhibition sought to examine glitches as an aesthetic phenomenon in contemporary art through various artistic practices that intentionally damage or modify hardware
This document provides a walking tour guide of 15 km in Trondheim, Norway, highlighting various points of historical and natural interest along the route. It describes several stops including two hidden cabins from World War II, the Gråkallen radar dome, remains of Nazi German submarine bunkers, the island fortress of Munkholmen, and the scenic viewpoint of St. Olavsspranget. Detailed directions and maps are included to guide visitors through the full walking route.
This document provides an overview and history of screens in various contexts:
1. It summarizes the key points from a seminar discussing different conceptions and uses of screens, including their evolving forms and how artists have depicted "breaking" or moving beyond the confines of the screen.
2. It then gives a brief and incomplete history of the graphical user interface (GUI) and important milestones in the development of screen-based interfaces from Ivan Sutherland's Sketchpad program in 1962 to modern devices like smartphones.
3. Finally, it examines how science fiction films have portrayed future screen technologies, citing examples of atypical screen designs and interfaces shown in movies from the late 20th century to present day.
This document provides information about several of Rosa Menkman's artworks and projects involving glitch art and data compression. It summarizes her 2011 publication "The Collapse of PAL" which reflects on the termination of the PAL television standard. It also describes her 2010 work "A Vernacular of File Formats" where she compresses images using different file formats to expose the compression languages. Additionally, it outlines her 2011 software "Monglot" which generates glitches by adding errors to images during compression. The document gives brief overviews of several other glitch-related video, installation, and software works by Menkman from 2011-2015.
This document provides summaries of Rosa Menkman's artworks and writings about glitch art and data compression. It describes her 2011 publication "The Collapse of PAL" reflecting on the termination of the PAL television standard. It also summarizes her 2010 text "A Vernacular of File Formats" about choosing image file formats and intentionally adding errors to expose compression. Additionally, it outlines her 2011 software "Monglot" which generates glitches by adding errors to encoded images.
Rosa Menkman's solo exhibition "Behind White Shadows" will be on view at TRANSFER gallery from September 9th to October 7th, 2017. The exhibition features Menkman's virtual reality piece "DCT:SYPHONING. The 1000000th (64th) interval" which takes viewers on a journey through the historical progression of image complexity. Menkman extends this piece into the physical gallery by projecting it on sculptural forms. The show examines the compromises of image processing technologies and questions conventions of sight in virtual reality. An opening reception with the artist will be held on September 9th.
The institutions of Resolution Disputes [iRD]Rosa ɯǝukɯɐn
The institutions of Resolution Disputes (iRD) studies how technological resolutions shape human and machine perception. Resolutions determine what can be seen through established standards, and obscure alternative possibilities. The iRD believes resolutions embed cultural values and priorities, conditioning users through "technological hyperopia". It serves as a space to examine governing resolutions and explore alternatives through "vernacular resistance" along "bootleg trails" that challenge norms. By reflecting on resolutions, the iRD aims to expand literacy and bring more authorship to the process of setting standards.
Kanye West color channel de-sync effectRosa ɯǝukɯɐn
The document appears to be a Facebook post and comments discussing different terms used to describe a video effect where the red, green, and blue color channels are shifted or misaligned from one another. Some of the terms discussed include RGB shift, channel shift, chromatic aberration, color registration error, and RGB delay. Later comments discuss how the effect has been used and explored in different contexts over time, possibly dating back to the 1930s.
GLI.TC/H2112 was a 4-day festival in Chicago celebrating glitch art and bringing together artists, thinkers, and technologists from December 6-9. The festival featured glitch art exhibitions, video screenings, panel discussions, performances, workshops on topics like creative coding and hardware hacking. GLI.TC/H has adopted a free and open ethos since 2010, with no submission fees or ticket sales. The 2021 event focused on creative community building and open collaboration through activities like an open website design event and open repository for glitch artworks. Over 100 people attended discussions across 6 topic threads on issues in glitch art and technology.
//STEIM Workshop: A Vernacular of File FormatsRosa ɯǝukɯɐn
This document provides definitions and explanations of various file formats and compression techniques, including:
- Lossless vs lossy data compression
- Raster images and how color depth affects stored color values
- Image glitching techniques like imagebending and databending
- How bytes and binary files are structured
- Components of image files like headers, channels, and interleaved vs non-interleaved formats
- Explanations of formats like BMP, GIF, PNG, PSD, JPG, TIFF, and others
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against developing mental illness and improve symptoms for those who already suffer from conditions like anxiety and depression.
This document announces an exhibition titled "Filtering Failure" taking place from February 28th to April 1st. The exhibition investigates the concepts of "filtering" and "failure" in digital arts, and how artists are re-inventing and re-using these terms in lo-fi works. It will feature pieces from various artists that explore how filtering and failure co-exist and influence each other. The opening event on February 25th will include live visuals from several video jockeys.
I am happy to announce my new solo show at the Fabio Paris Art Gallery in Brescia, Italy, curated by Domenico Quaranta. It is a small but very nice gallery that also hosts artists like UBERMORGEN.COM, Eva e Franco Mattes aka 0100101110101101.ORG and my friends Nullsleep and Tonylight - so I am in realy good company.
This is the Catalogue written by Domenico Quaranta.
Glitch art uses technological glitches or errors in digital systems in a conceptual or aesthetic way. It can showcase a medium in an unwanted or accidental state to critique the politics and expectations of that medium. The Glitch Studies Manifesto celebrates glitch artifacts and using glitches as a metaphor for difference and progress, employing breaks as a way to dispute genres and interfaces. It argues glitches inevitably lead to the development of new standards and can move from being "cool" glitches that emphasize process to "hot" glitches focused more on a static end product.
GLI.TC/H is an international gathering of noise and new media artists in Chicago from September 29 to October 3, 2010. It will feature live audio and video performances, screenings, workshops, and a gallery exhibition exploring glitches as artistic processes. Glitch art intentionally uses and exhibits technological errors and defects. However, some argue that standardized glitch-making tools domesticate the glitch and remove its subversive potential. GLI.TC/H aims to critically discuss definitions of glitch art and the relationships between procedural glitches and their aesthetic outcomes.
This document discusses glitch art and glitch studies. It argues that glitches can be used to critique media and disrupt norms and expectations. Glitches show media in an accidental, unwanted state and reveal the "exoskeleton" of file formats. Both glitches and filters are connected, and glitches can be viewed as a metaphor for progress. The document advocates employing glitches and glitchspeak to challenge genres and move outside established knowledge. Glitch theory pushes what is just acceptable.
This document discusses glitch art and glitch studies. It argues that glitches can be used to critique media and disrupt norms and expectations. Glitches show mediums in unwanted or accidental states, revealing their "exoskeletons." Both glitches and filters are connected, and glitches can be used as a metaphor for progress. The document advocates employing glitches and glitchspeak to challenge genres and move outside established knowledge. Glitch theory explores what is on the fringes of understanding.
lofi Rosa Menkman - A Vernacular of File FormatsRosa ɯǝukɯɐn
The document provides an overview of different file formats and techniques for databending or distorting digital images in reversible and irreversible ways. It explores compressing, decompressing, and corrupting raw image files, bitmaps, GIFs, PNGs and more. Specific techniques discussed include opening raw files with incorrect header data, copying/pasting image data, using text editors to reformat image data, and manipulating interlacing and color values. The goal is to "deconstruct and create new, brutalist (audio)visual works" through exploiting file formats.
Rosa Menkman - A Vernacular of File FormatsRosa ɯǝukɯɐn
The document provides an overview of different file formats and techniques for databending or distorting digital images in reversible and irreversible ways. It explores compressing, decompressing, and corrupting raw image files, bitmaps, GIFs, PNGs and more. Specific techniques discussed include opening raw files with incorrect header data, copying/pasting image data, using text editors to reformat image data, and manipulating interlacing and color values. The goal is to "deconstruct and create new, brutalist (audio)visual works" through exploiting file formats.
Entropic elasticity: critical glitch artware && the demosceneRosa ɯǝukɯɐn
The document summarizes the Critical Glitch Artware Category (CGAC) event held at Blockparty and Notacon in 2010. CGAC brought together artists from the glitch art and demoscene communities. While these communities have differences in aesthetics and culture, with CGAC there was an opportunity for them to interact and influence each other. The document discusses the histories of CGAC and the demoscene, their differences, and how they were able to find common ground at Blockparty 2010, with CGAC works being recognized and selected as winners within the demoscene event.
This document provides an overview and history of screens in various contexts:
1. It summarizes the key points from a seminar discussing different conceptions and uses of screens, including their evolving forms and how artists have depicted "breaking" or moving beyond the confines of the screen.
2. It then gives a brief and incomplete history of the graphical user interface (GUI) and important milestones in the development of screen-based interfaces from Ivan Sutherland's Sketchpad program in 1962 to modern devices like smartphones.
3. Finally, it examines how science fiction films have portrayed future screen technologies, citing examples of atypical screen designs and interfaces shown in movies from the late 20th century to present day.
This document provides information about several of Rosa Menkman's artworks and projects involving glitch art and data compression. It summarizes her 2011 publication "The Collapse of PAL" which reflects on the termination of the PAL television standard. It also describes her 2010 work "A Vernacular of File Formats" where she compresses images using different file formats to expose the compression languages. Additionally, it outlines her 2011 software "Monglot" which generates glitches by adding errors to images during compression. The document gives brief overviews of several other glitch-related video, installation, and software works by Menkman from 2011-2015.
This document provides summaries of Rosa Menkman's artworks and writings about glitch art and data compression. It describes her 2011 publication "The Collapse of PAL" reflecting on the termination of the PAL television standard. It also summarizes her 2010 text "A Vernacular of File Formats" about choosing image file formats and intentionally adding errors to expose compression. Additionally, it outlines her 2011 software "Monglot" which generates glitches by adding errors to encoded images.
Rosa Menkman's solo exhibition "Behind White Shadows" will be on view at TRANSFER gallery from September 9th to October 7th, 2017. The exhibition features Menkman's virtual reality piece "DCT:SYPHONING. The 1000000th (64th) interval" which takes viewers on a journey through the historical progression of image complexity. Menkman extends this piece into the physical gallery by projecting it on sculptural forms. The show examines the compromises of image processing technologies and questions conventions of sight in virtual reality. An opening reception with the artist will be held on September 9th.
The institutions of Resolution Disputes [iRD]Rosa ɯǝukɯɐn
The institutions of Resolution Disputes (iRD) studies how technological resolutions shape human and machine perception. Resolutions determine what can be seen through established standards, and obscure alternative possibilities. The iRD believes resolutions embed cultural values and priorities, conditioning users through "technological hyperopia". It serves as a space to examine governing resolutions and explore alternatives through "vernacular resistance" along "bootleg trails" that challenge norms. By reflecting on resolutions, the iRD aims to expand literacy and bring more authorship to the process of setting standards.
Kanye West color channel de-sync effectRosa ɯǝukɯɐn
The document appears to be a Facebook post and comments discussing different terms used to describe a video effect where the red, green, and blue color channels are shifted or misaligned from one another. Some of the terms discussed include RGB shift, channel shift, chromatic aberration, color registration error, and RGB delay. Later comments discuss how the effect has been used and explored in different contexts over time, possibly dating back to the 1930s.
GLI.TC/H2112 was a 4-day festival in Chicago celebrating glitch art and bringing together artists, thinkers, and technologists from December 6-9. The festival featured glitch art exhibitions, video screenings, panel discussions, performances, workshops on topics like creative coding and hardware hacking. GLI.TC/H has adopted a free and open ethos since 2010, with no submission fees or ticket sales. The 2021 event focused on creative community building and open collaboration through activities like an open website design event and open repository for glitch artworks. Over 100 people attended discussions across 6 topic threads on issues in glitch art and technology.
//STEIM Workshop: A Vernacular of File FormatsRosa ɯǝukɯɐn
This document provides definitions and explanations of various file formats and compression techniques, including:
- Lossless vs lossy data compression
- Raster images and how color depth affects stored color values
- Image glitching techniques like imagebending and databending
- How bytes and binary files are structured
- Components of image files like headers, channels, and interleaved vs non-interleaved formats
- Explanations of formats like BMP, GIF, PNG, PSD, JPG, TIFF, and others
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against developing mental illness and improve symptoms for those who already suffer from conditions like anxiety and depression.
This document announces an exhibition titled "Filtering Failure" taking place from February 28th to April 1st. The exhibition investigates the concepts of "filtering" and "failure" in digital arts, and how artists are re-inventing and re-using these terms in lo-fi works. It will feature pieces from various artists that explore how filtering and failure co-exist and influence each other. The opening event on February 25th will include live visuals from several video jockeys.
I am happy to announce my new solo show at the Fabio Paris Art Gallery in Brescia, Italy, curated by Domenico Quaranta. It is a small but very nice gallery that also hosts artists like UBERMORGEN.COM, Eva e Franco Mattes aka 0100101110101101.ORG and my friends Nullsleep and Tonylight - so I am in realy good company.
This is the Catalogue written by Domenico Quaranta.
Glitch art uses technological glitches or errors in digital systems in a conceptual or aesthetic way. It can showcase a medium in an unwanted or accidental state to critique the politics and expectations of that medium. The Glitch Studies Manifesto celebrates glitch artifacts and using glitches as a metaphor for difference and progress, employing breaks as a way to dispute genres and interfaces. It argues glitches inevitably lead to the development of new standards and can move from being "cool" glitches that emphasize process to "hot" glitches focused more on a static end product.
GLI.TC/H is an international gathering of noise and new media artists in Chicago from September 29 to October 3, 2010. It will feature live audio and video performances, screenings, workshops, and a gallery exhibition exploring glitches as artistic processes. Glitch art intentionally uses and exhibits technological errors and defects. However, some argue that standardized glitch-making tools domesticate the glitch and remove its subversive potential. GLI.TC/H aims to critically discuss definitions of glitch art and the relationships between procedural glitches and their aesthetic outcomes.
This document discusses glitch art and glitch studies. It argues that glitches can be used to critique media and disrupt norms and expectations. Glitches show media in an accidental, unwanted state and reveal the "exoskeleton" of file formats. Both glitches and filters are connected, and glitches can be viewed as a metaphor for progress. The document advocates employing glitches and glitchspeak to challenge genres and move outside established knowledge. Glitch theory pushes what is just acceptable.
This document discusses glitch art and glitch studies. It argues that glitches can be used to critique media and disrupt norms and expectations. Glitches show mediums in unwanted or accidental states, revealing their "exoskeletons." Both glitches and filters are connected, and glitches can be used as a metaphor for progress. The document advocates employing glitches and glitchspeak to challenge genres and move outside established knowledge. Glitch theory explores what is on the fringes of understanding.
lofi Rosa Menkman - A Vernacular of File FormatsRosa ɯǝukɯɐn
The document provides an overview of different file formats and techniques for databending or distorting digital images in reversible and irreversible ways. It explores compressing, decompressing, and corrupting raw image files, bitmaps, GIFs, PNGs and more. Specific techniques discussed include opening raw files with incorrect header data, copying/pasting image data, using text editors to reformat image data, and manipulating interlacing and color values. The goal is to "deconstruct and create new, brutalist (audio)visual works" through exploiting file formats.
Rosa Menkman - A Vernacular of File FormatsRosa ɯǝukɯɐn
The document provides an overview of different file formats and techniques for databending or distorting digital images in reversible and irreversible ways. It explores compressing, decompressing, and corrupting raw image files, bitmaps, GIFs, PNGs and more. Specific techniques discussed include opening raw files with incorrect header data, copying/pasting image data, using text editors to reformat image data, and manipulating interlacing and color values. The goal is to "deconstruct and create new, brutalist (audio)visual works" through exploiting file formats.
Entropic elasticity: critical glitch artware && the demosceneRosa ɯǝukɯɐn
The document summarizes the Critical Glitch Artware Category (CGAC) event held at Blockparty and Notacon in 2010. CGAC brought together artists from the glitch art and demoscene communities. While these communities have differences in aesthetics and culture, with CGAC there was an opportunity for them to interact and influence each other. The document discusses the histories of CGAC and the demoscene, their differences, and how they were able to find common ground at Blockparty 2010, with CGAC works being recognized and selected as winners within the demoscene event.
1. ustvarjalnost digitalne dobe – 31 blaž erzetič
rosa menkman
Vsaka tehnologija lahko doživi svo-
jevrstne okvare. Rosa Menkman je
nizozemska umetnica, ki se osredo-
toča ravno na te vrste okvar v obliki
vizualnih artefaktov. Njena dela so
osnovana na napakah, kompresijah,
povratnih zankah in raznih vrstah
šuma. Čeprav večina ljudi dojema te
napake kot negativne, jih Rosa pou-
dari kot estetsko zanimive. S kom-
biniranjem svojega praktičnega in
akademskega ozadja združuje svoja
abstraktna dela znotraj velike teorije
artefaktov – študije o napakah.
Kaj je glitch art (umetnost drugače, torej kot da jim je prikazana uniče- tvoj doktorat, ki ga pravkar pripra- pomembnimi imeni. Kako je bilo vi-
motnje)? na tehnologija. Tem opazovalcem se ravno vljaš, isto izhodišče? deti to sodelovanje? Kako si prišla v
Motnja (ang. glitch) je nenameren zlom tako razširi meja zaznavanja in zavedanja Moj praktični del doktorata se bo nanašal stik z njimi?
enega od mnogih tokov znotraj tehnolo- motnje, torej njim je to glitch art. na artefakte šuma, tako da bo konkretno Gota80 sem najela za neki performans.
škega sistema. Je čudovita in zastrašujoča Ko sem enkrat to doumela, sem začela bolj vseboval teme kompresij in povratne infor- Čez nekaj mesecev me je vprašal, ali bi šla
prekinitev, ki tehnologijo odmakne od svoje ceniti umetnike, ki so svoje izdelke, nareje- macije – feedback. z njim na turnejo. Od takrat naprej sem za-
primarne oblike in diskurza. Za trenutek me ne v Photoshopu in z različnimi filtri, imeno- Delala si tudi z umetniki, kot čela delati vizualije za njegovo glasbo in
šokira. V strahospoštovanju se sprašujem, vali glitch art. Sama se sicer raje zatekam k so Goto80 in Jodi, torej s kar obratno.
kaj je ta nova oblika in kako je nastala. Je napakam, ki zahtevajo tako motenje podat-
morda – motnja? Vendar takoj, ko jo defini- kov kot uničevanje strojne opreme, saj tako
ram kot tako, ni več motnja. spoznam nekaj več o tehnologiji.
Motnja nima trdne oblike ali stanja v času; Kdaj in zakaj si se začela zani-
je kratkotrajen, nepričakovan, abnormalen mati za to zvrst?
”modus operandi”. Tako kot se spreminja Ne morem označiti točnega trenutka, niti
razumevanje napake, tako se spreminja posebnega razloga, zakaj sem preusmerila
tudi njeno ravnotežje: primarno zaznavanje svoje teoretično in praktično delo v kralje-
se pretvori v nove pogoje, vizualni ali zvočni stvo motenj. Mislim, da so se zanimanja za
rezultat pa se pojavi kot nova možnost. to zvrst postopoma oblikovala med mojo
V svojih delih glitch arta se nanašam na sti- nepovezano ustvarjalno in akademsko po-
čišča, kjer se srečata napaka in umetnost. tjo, na kateri sem jo spoznala kot očarljivo
Zame je glitch art razširjanje mej in rojeva- temo. Hkrati sem imela tudi dovolj časa in
nje novih načinov: kot avantgarda nesreč ta možnosti, da bi to področje dobro spoznala.
dela pretrgajo predhodno zaznamovanje in Preden sem do tega prispela, sem obisko-
posilijo katarzo konvencionalnosti, norm in vala šolo za umetnost – oblikovanje z di-
verovanja. Kreirajo proceduro, na podlagi ka- gitalnimi mediji, kjer sem se naučila, kako
tere se učim in bolje zavedam tehnologije. naj bi stvari delovale. Na univerzi sem ime-
V praksi ni glitch art vse, kar sledi paradigmi la zgodovino umetnosti, ki je bila podana
stvaritve prek uničevanja ali umetnosti trenutka. na zelo linearen način. Tukaj sem se vedno
Mnogo del je že šlo prek točke ”smetenja” in ne počutila kot tujec. Mislim, da konvencional-
vmešavajo pravih procesov vnašanja motenj. ni način podajanja znanja ni vedno deloval
Veliko časa sem se obremenjevala z vpra- v prid moji domišljiji. Tako digitalni mediji
šanjem, ali je podobnost napaki nujno zdru- kot pogled na klasično umetnost se ne uje-
žljiva s pojmom glitch arta. Danes mislim, majo z mojo fascinacijo nad norostjo. Kar
da odgovor na to vprašanje obstaja znotraj iščem, je tako mešanica obojega, kar sem
različnih sistemov: tistega za produkcijo in se učila v šoli, oziroma nekaj, kar je popol-
tistega za zaznavo. Za slednjega velja dej- noma zunaj njihovih zasnov. Trenutno je to,
stvo, da dejavniki znotraj nekega sistema kar iščem, znotraj trenutka raziskav motenj.
niso uničili naprave oziroma izkoristili njene Glitch art je bila tudi tema tvo-
napake, medtem ko opazovalci to zaznajo jega magisterija. Bo imel tudi Primer zmaličenega elektronskega sporočila
26 februar
2. ustvarjalnost digitalne dobe – 31
Moj prvi del magisterija je bil o Jodi. Po tem poskušam ustvariti nova okolja, ki so se- parati, kodeki, zvočnimi zapisi, ROMi, slikov- jega: teorije in prakse, smisla in nesmisla.
se je najino sodelovanje v glavnem odvijalo stavljena tako iz zvokovnih kot tudi iz slikov- nimi podatkovnimi formati in podobnim). Brez nesmiselnega pristopa študije motenj
prek zmaličenih elektronskih sporočil. nih artefaktov. Med delom na tem projektu Moje delo se ne usmerja na nasprotovanja, ne morejo obstajati. To pomeni, da lahko
Iz tvojih del lahko razberem, da sem spoznala, da orodja, ki jih uporabljam, kot so strojna proti programski opremi, real- svobodno delam tisto, česar ne smem.
se v glavnem ukvarjaš z vide- niso nevtralna. Nekatere funkcije so bile na- no proti navideznemu, analogno proti digi- Kaj zdaj? Katero tehnologijo si
om, tudi tistim v realnem času – VJ- pačne ali nedovoljene. Programska opre- talnemu in tako naprej. Je odnos do vseh vzela na piko in komaj čakaš, da
ing. Katere pristope in tehnologijo ma jih je definirala kot nepravilne in jih za- tehnologij, ki sledijo strogim zakonom. Razi- bi ji razdrla njeno primarno funkcijo?
uporabljaš za ta dela? Si razvila poseb- vrnila iz konteksta preprogramiranih funkcij. skujem, kaj se dogaja prek teh zakonov – to Prešla sem od zrnatosti celuloidnega filma
no strojno opremo za te postopke? To je primer digitalne norosti, ki mi je nad- je področje nerazsodnega. Vodila sem de- na magnetno distorzijo in skeniranje linij ka-
Ne delam le z videom, ampak z mnogimi vse navdihujoča. lavnico zvijanja elektronskih vezij in delala vi- todne cevi. Potepala sem se po poljih fos-
različnimi stvarmi. Ena mojih priljubljenih je Prav tako sem spoznala, da se te odtujene deo črne skrinjice, vendar sem bolj razisko- fornih prežganin in drgnjenja mrtvih pikslov.
404void.iq (http://404void.blogspot.com/, funkcije razlikujejo med programsko in stroj- valka kot učiteljica. Ne znam programirati, se Zdaj izvajam performanse na osnovi poče-
op. p.), ki temelji na uničevanju spleta. no opremo ter zato veliko preklapljam med samo učim na svojih uspehih in neuspehih. nih LCD-jev. Ne planiram nič. Samo surfam
V mojem trenutnem delu Videoscapes različnimi mediji (sodobnimi računalniki, ele- Mislim, da so študije motenj zelo komple- po vrtincu tehnologije.
(http://videoscapes.blogspot.com, op. p.) ktroniko iz osemdesetih let, digitalnimi fotoa- ksne in se gibljejo med kategorijami obo- Ja, morda se bom lotila disket.
februar 27