Resolution Dispute 0010 : Genealogy (vs. /his/tory)



[ 0001 ]


[ 0001 ]

Resolution Dispute 0001 : Materiality 
“‘Material witness’ is a legal term; it refers to someone who has knowledge pertinent to a criminal act or event that could be significant to the outcome of a trial. In my work, I poach the term ‘material witness’ to express the ways in which matter carries trace evidence of external events. But the material witness also performs a twofold operation; it is a double agent. The material witness does not only refer to the evidence of event but also the event of evidence.”
- Schuppli, Susan. Dark Matters: an interview with Susan Schuppli, in: Living Earth, 2016.
 







“Materiality is reconceptualized as the interplay between a text's physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset. This definition opens the possibility of considering texts as embodied entities while still maintaining a central focus on interpretation. It makes materiality an emergent property, so that it cannot be specified in advance, as if it were a pre-given entity. Rather, materiality is open to debate and interpretation, ensuring that discussions about the text's "meaning" will also take into account its physical specificity as well.”
- Hayles, N. Katherine. "Print is flat, code is deep: The importance of media-specific analysis." Poetics Today 25.1 (2004): 67-90.

A reflexive approach to materiality makes it possible to re-conceptualize materiality itself as ‘the interplay between a text’s physical characteristics and its signifying strategies’. Rather than thinking in the mediums’ material as fixed in physicality, a re-definition of materiality is useful because it opens the possibility of considering any text as embodied entity “while still maintaining a central focus on interpretation. In this view of materiality, it is not merely an inert collection of physical properties but a dynamic quality that emerges from the interplay between the text as a physical artifact, its conceptual content, and the interpretive activities of readers and writers.”

Reflections on materiality should not just happen on a technological level. To fully understand a work, each level of materiality should be studied: the physical and technological artifact, its conceptual content, and the interpretive activities of reader, artist and audience. [the choice of any] digital material is not innocent or meaningless. With enough knowledge of the material, an investigation into digital materialilty can uncover stories about the origin and history of the material, by others.


▁∣∖▁╱◝◟.❘╱▔▔╲̸/╲╱▔▔▔╲∣∖╱▔╲▁▁∣∖▁╱◝◟.╱▔▔╲________


The slides underneath are from the course ‘Materiality’, which took place over three meetings during the New Media class ‘Beyond Resolution’ I thaught as substitute professor at the KHK (Kassel) in 2018. During these weeks we unpacked the term ‘materiality’ via a research into various file formats. The slides are clickable; they either link to the work reference or zoom. 

 






[ ecology ]
An Ecology of Compression Complexities (2017)



A map of the different complexities of compression artifacts featuring the realms of :

⦁ Dots (pixels, dither, coordinates) 

Lines (interlacing, interleaving, scan line, border, beam)

Blocks (macroblocks, cluster, )  

Wavelets (JPEG2000)

Vectors (3D obj, time encoding in MPEG4) 



SOLO SHOW: Order and Progress (2010)








Fabio Paris Gallery, Brescia, Ital. Order and Progress was my first solo show.
The show featured
- The Collapse of PAL
- A Vernacular of File Formats
- Monglot
- Dear mr. Compression.

Domenico Quaranta wrote a complimentary text for it. 

︎ Order and Progress catalogue text by Domenico Quaranta


1. Deterioration has always been part of the life of an image. Any image we can think of, from prehistoric cave paintings to the latest Hollywood movie, can be described in terms of its level of deterioration. Deterioration can start straight away or come later; it can be almost invisible, or have a huge impact on the current perception of a given image. In a recent video essay [1], artist Oliver Laric shows how, paradoxically, iconoclasm made true “icons” of images that would probably have been of little interest for the modern tourist if they were not damaged; and if we think about Romantic painting as dark and contrasted, it is mainly thanks to the widespread use of bituminous colours, that darken over time. That said, deterioration is usually perceived as negative. The general view is that a damaged piece needs restoration. But what if deterioration is adopted as an artistic strategy, integrated into the creative process?
Before the age of mechanical reproduction, Edvard Munch was the only artist to address this. His infamous “hestekur” (a Norwegian term that can be translated into “horse cure”) consisted in leaving his paintings in the open, exposed to rain, snow, high and low temperatures, sunlight and humidity, dust and mould, to make them physically “mature” – or die.[2] 

2. While deterioration has usually been considered something bad, as a creative stimulus the accident has a long tradition in art: from Leonardo, who looked into the stains on walls, ashes, clouds and mud, to the Surrealists’ automatic techniques, the accident – accidental revelations, incidents and mistakes – has often heralded epiphany. Rosa Menkman often quotes Paul Virilio: «The accident doesn’t equal failure, but instead erects a new significant state, which would otherwise not have been possible to perceive and that can “reveal something absolutely necessary to knowledge”.»[3] 

3. Virilio’s interest in accident is strongly related to the zeitgeist of the 20th century. Today, images are not made to last; they deteriorate at an incredible rate. Furthermore, in the age of electronic – and, later, digital media – errors in communication and visualization occur on a daily basis. Transmission goes wrong, storage media get obsolete, file formats disappear, reading softwares are updated. If «to invent the train is to invent derailment» [4] and «to invent the ship is to invent the shipwreck», then to invent film is to invent scratches (as in Nam June Paik’s Zen For Film, 1964); to invent video is to invent white noise and signal distortions; and to invent files is to invent glitches [5]. Research on technology has been always guided, as Rosa Menkman puts it, by a «dominant, continuing search for a noiseless channel.» [6] Artists, on the other side, have always been much more interested in noise, errors, failures, glitches. But why?

4. New media – from photography to computers – are not neutral tools, like a pencil. They have been designed to get a certain result, and they have been perfected in order to make the process smoother and the result better. Let’s take photography. Technically, it is a process that consists in «creating still pictures by recording radiation on a radiation-sensitive medium.» [7] Yet it has been always viewed as a way to represent reality, and any technical advancement was made with this target in mind. This is the ideology of the medium. If you use it properly, there is no way to act outside of this ideology. The only way to do it is to hack the medium. Produce noise. Trigger mistakes. Exploit failures. Of course, a lot of good art has been produced without questioning the ideology of a given medium. Yet, the more that medium becomes a mirror of power, the more noise becomes an interesting artistic strategy. This is why hacking video is more interesting than hacking photography. Furthermore, the more a given medium attempts to turn any creative option into a convention, a filter, an option in a menu – inevitably normalizing it – the more working outside of operating templates becomes interesting. That is why hacking computers – and any computerized medium, including digital photo and video cameras – is definitely more interesting than hacking any pre-digital medium.

5. And that is why exploiting the medium at its best has become a prerogative of mainstream culture, while art prefers, in Nicholas Bourriaud’s words, to focus on “the indeterminacy of its source code”: «today, one must struggle, not – as Greenberg did – for the preservation of an avant-garde that is self sufficient and focused on the specificities of its means, but rather for the indeterminacy of art’s source code, its dispersion and dissemination, so that it remains impossible to pin down – in opposition to the hyperformatting that, paradoxically, distinguishes kitsch.» [8] This quote might seem out of place here. Bourriaud is arguing against medium specificity, and what could be more mediumspecific than exploiting a medium’s shortfalls? This is the dead end that much criticism regarding the current artistic use of technology comes up against. Today, many artists are interested in noise and glitches, low resolution aesthetics, poor images, old media, dirty styles, but also, paradoxically, in an unprofessional, amateurish use of defaults and presets. Is their work formalist, in the sense codified by Greenberg? Definitely not, for two main reasons.

6. It is, first and foremost, a political act of liberation and resistance against control. They focus on the medium because they are combating the medium’s “order and progress” ideology – the ideology brings us to the “hyperformatting that distinguishes kitsch”. In order to do so, in Menkman’s terms, they «find catharsis in disintegration, ruptures and cracks; manipulate, bend and break any medium towards the point where it becomes something new; utilize glitches to bring any medium to a critical state of hypertrophy, to (subsequently) criticize its inherent politics.» [9] They do this with the acute awareness that their time is short, because what they are doing will, sooner or later, become a style, a fashion, and a filter in the “tools” bar of some commercial software. This can be seen very well in Rosa Menkman’s work, particularly in her crazy jumping from one experiment to the other. She never uses the same glitch twice. She doesn’t like effects that are reproducible. She always looks for the unexpected, the unpredictable, the uncanny. She is a true “nomad of noise artifacts”. Let’s take the Vernacular of File Formats (2010), a collection of 7 videos and 10 file formats images where, as she wrote, she actively demystifies the most popular glitch effects. The Vernacular is, at the same time, an essay, a tutorial for wannabe glitch artists, and a collection of experiments that should not be repeated, but that will be inevitably be repeated until their aesthetic potential is exhausted.
7. Yet, if it was just that, it wouldn’t be that interesting. Rosa Menkman’s work and, more broadly, Glitch Art and the best contemporary computer-based art is not just an attempt to liberate a medium and its own languages – it is also an attempt to use them to say something that could never be said otherwise. Let’s look back to the early examples of the use of deterioration and accidents in art. Edvard Munch “matured” his paintings because conventional painting techniques did not allow him to express the existential drama he wanted to convey. The Surrealists adopted automatic techniques such as frottage and grattage as a means to access the unconscious. The original shooting of the Vernacular of File Formats would never have succeeded in saying what its seventeen iterations do say. However interesting as an image, it is the result of a medium under control. It is just a nice, black and white picture file where a heavily made-up Menkman is seen combing her hair (an explicit reference to Marina Abramovic’s Art Must Be Beautiful, 1975). It is like AnnLee before she was bought and shared by Philippe Parreno and Pierre Huyghe back in 1999: a ghost image waiting to be rescued from an industry that had condemned her to death. Similarly, the flow of data it consists of has been condemned to be always visualized in the same way. In his essay “Art in the Age of Digitalization” [10], Boris Groys claims that every digital image is a mere copy of an invisible original – the image file. The image file is an invisible string of digital data; the digital image is the way that file is visualized (that is, performed) in a given context. Introducing a glitch between the image file and the digital image, Menkman liberates the latter from its status of copy of an invisible original. The same image is now different every time it is performed. From its birth to its death, it has many possible lives. It is no longer a copy: it is the source of many possible originals. In the Vernacular of File Formats, this story – actually an illustrated theory – is told with an extraordinary level of pathos. The woman portrayed in the picture fades into pixel blocks, gets grainy, duplicates, disappears beyond a coloured camouflage, then reappears, violently slashed. The same oxymoron – an apparently cold, geeky theory expressed in a warm, emotional way - can be found in her video works, especially Dear Mr Compression (2009) and Collapse of PAL (2010). In the first work, Rosa – impersonating Benjamin’s Angel of History – writes a poem to Mr Compression. The dialogue appears to take place in a chat room, and the Angel of History expresses her feelings while a silent Mr Compression turns her attempt at communication into an increasingly corrupted signal. In the latter, the Angel of History reflects on the PAL signal, its termination, and its survival “as a trace” in newer technologies. How poetry can be composed about such a technical issue is something we should ask Lucretius or Raymond Roussel. PAL was the analogue television encoding system used in Europe, South Asia and other countries. Whole generations grew up with it, and got used to its specific characteristics and glitches. And Mr Compression is the personification of a computer process. Do they deserve a poem? According to the Angel of History, they do. But Dear Mr Compression is also the story of a woman talking to a man that makes her suffer; and the live TV performance that originated Collapse of PAL was also, according to Menkman [11], a last attempt to deliver a message to somebody getting the PAL signal. Is this mediumspecificity? According to the Angel of History, it isn’t. 


[1] Oliver Laric, Versions, 2009 – 2010. Online at www.oliverlaric.com [2] Trond Aslaksby, “The Weathered Paintings of Edvard Munch. Artist’s intention, conservation, display – a triangle of conflicts”, 1998. Online at www.munch.museum.no/40/6/aslaksby.pdf [3] Sylvere Lotringer, Paul Virilio, The Accident of Art, Semiotext(e), New York 2005, p. 63. [4] James Der Derian, “Is the Author Dead? An Interview with Paul Virilio”, 1997. Online at http://asrudiancenter.wordpress.com/2008/11/26/intervi ew-with-paul-virilio/. [5] «A glitch is a short-lived fault in a system. It is often used to describe a transient fault that corrects itself, and is therefore difficult to troubleshoot. The term is particularly common in the computing and electronics industries». In Wikipedia, http://en.wikipedia.org/wiki/Glitch [6] Rosa Menkman, “Glitch Studies Manifesto”, 2009 – 2010. Online at http://rosamenkman.blogspot.com/2010/02/glitch-studiesmanifesto.html [7] In Wikipedia, http://en.wikipedia.org/wiki/Photography [8] Nicolas Bourriaud, The Radicant, Sternberg Press, New York 2009, p. 138. [9] Rosa Menkman, “Glitch Studies Manifesto”, op. cit. [10] Boris Groys, “From Image to Image File – and Back: Art in the Age of Digitalization”, in B. Groys, Art Power, The MIT Press, Cambridge – London 2008, p. 84. [11] Email to the author, December 16, 2010.


essay by Domenico Quaranta, 2011. 


Vernacular of File Formats (2009-2010). Photoshop RAW, JPEG, JPEG 2000, PNG, BMP, Photoshop, TIFF, GIF, Targa.
Digital Prints on Dibond (matte finish). In the collection of Stedelijk Museum Amsterdam. 


 [ vernacular ]

 A Vernacular of File Formats

A Guide to Databend Compression Design, 2010.


A file format is an encoding system that organises data according to a particular syntax. These organisations are commonly referred to as compression algorithms. The choice of an image compression depends on its foreseen mode and place of usage: for instance, is the file meant to be printed or redistributed digitally, what kind of accuracy will be necessary and what software or hardware will render the image?
In some cases the maker chooses not to use any encoding at all, but instead to store the data as an unprocessed file. Images shot by professional photographers for instance, will be shot and stored in a RAW image file format. A RAW image file contains minimally processed data, which normally comes straight from the image sensor (for instance a CCD chip), in order to avoid any impurities (artifacts) that might be involved with image mediation, transcoding or compression.
In A Vernacular of File Formats, I subsequently compressed the source image via different compression languages and subsequently implementing a same (or similar) error into each file, to let the otherwise invisible compression language presents itself onto the surface of the image.

︎︎ flickr documentation

︎Polish translation by Bogumiła Piotrowska, Piotr Puldzian Płucienniczak, Aleksandra Pieńkosz


︎Download the PDF

In the winter of 2016, a 18,9GB digital archive of A Vernacular of File Formats, consisting of original pdfs, a catalogue of databend images, videos and documentation was part of a joint acquisition between MOTI and Stedelijk Museum Amsterdam.


When noise becomes filter art [ or when cool becomes hot
], (2010 / edited 2017)


Glitches are hot. It is clear from what we see on MTV, Flickr, in the club or in the bookstore: while the Glitch: Designing Imperfection (Moradi, 2009) coffee table book introduced a glitch design aesthetic to the world of latte drinking designers, Kanye West used a glitch aesthetic to illustrate his broken love life.

But while glitch design fulfills an average, imperfect stereotype, a filter or commodity that echoes a medium is the message-standard, naturally, the “No Content - Just Imperfection” slogan of hot glitch design is still complimented by cool glitches.

In "The Laws of Cool", Alan Liu asks himself: What is "Cool"? He describes that cool is the ellipsis of knowing what is cool, and withholding that idea. However, as Liu writes, those who insist on asking, are definitely uncool. In an effort to answer the question that cannot be answered, and come full circle on the ellipsis, I will try to give my take on what cool glitch can be. To me, cool glitch is represented by the glitches that do not (only) focus on a static end product, but (also) on a process, a personal exploration or a narrative element (that often reflects critically on a medium). This is why cool is in a constant state of flux; it exists as an assemblage that consists of on the one hand the construction, operation and content of the apparatus (the medium) and on the other hand the work, the writer/artist, and the interpretation by the reader and/or user (the meaning). In the end, there is not one definition of cool glitch art, but many, which depend on the perspective chosen.

To make what was once cool now hot, or visa versa, and to take Designing Imperfection one step further, I hereby offer you A Vernacular of File Formats. In this PDF I describe the ways to exploit and deconstruct the organizations of file formats into new, brutalist designs.

…I am waiting for the first “Glitchs not dead“ peace of clothing in H&M. And because "fans are as bad as the ignorant", for the sake of being bad and ignorant, I will wear it!


UCNVs "Glitchs is not dead" shirt design, 2011.

Order and Progress. Fabio Paris Gallery. Brescia, Italy. 2010.

Vernacular of File Formats ft. Kim Asendorfs Extrafile. Expositie for Re:Visie NFF augustus t/m 30 september 2011.




[ vernacular ]
Extrafile (2011)

Extrafile vs. Monglot: a commission for Kim Asendorf, 2011. ︎
From the Extrafile project wesbite:

ExtraFile is conceptual software art with a practical usage, developed in 2011 by Kim Asendorf.

Its main intention is to wiggle the static system of image file formats.

Extrafile started with the idea of inventing a new image file format, a format as a piece of art, far away from the mainstream and commercial standards. A format that would exist just to express the feeling of using and saving data in a new, fictitious or artificial way and bringing the filename extension into the scope of the artwork itself. In simple terms: Creating an exclusivity.

The freedom not to have to pay attention to the file size or the loading and saving times provides the option to implement artistically byte orders, odd quality behaviors and visual designed formats.

ExtraFile is breaking the rules of commercial formats like JPG, PNG or TIFF. It is a pioneer art project in storing image data. The process and the resulting bytes, regardless of content, become the artwork itself.

You want painters to build their own canvas?
Digital artists and collectors deserve exclusive formats. Personalized files, including costume headers or comments. Every bit could be placed like the artist wants it.


ExtraFile is a native Mac OS X image converter application with the ability to open, preview and save the most common image file formats. It offers the possibility to use the seven build-in formats, 4Bit Components, Block Ascii, Block Indexed, Channel Compressed Image, Monochrome Collector File, Uniform Spectrum and the ExtraFile Format, to store image data.

ExtraFile is an open source project, the source code is available on GitHub under the Artistic License 2.0.


Notes, comments and related projects:
Extrafile vs GLI.TC/H
Extrafile vs. A Vernacular of File Formats by Rosa Menkman
Extrafile - tiff > cci / bmp > cci by Jose Irion Neto
when we ran out of formats, there was ExtraFile by Bit Synthesis
EXTRAFILE by Hellocatfood
extrafile by Pixelnoizz

.
[ vernacular ]
Why make (another) ‘glitch’ software

Realize that the gospel of Glitch Art also tells about new standards implemented by corruption. Not all Glitch Art is progressive or something new. The popularization and cultivation of the avant-garde of mishaps has become predestined and unavoidable. Be aware of easily reproducible glitch effects, automated by softwares and plug-ins. What is now a glitch will become a fashion.**
 

What I find today in the Glitch Art Flickr pool, are images opposing my original definitions of glitch - a short-lived fault in a system, inducing affect such as surprise or shock - and glitch art - work that makes us critically and radically challenge normative knowledge, values, habits and expectations. Instead, glitch art has become more and more like a style, or even a genre.
While glitch art as a style recalls Homi Bhabhas': "almost the same, but not quite" or “mimicry of digital slippage”, the ‘real’ glitch in glitch art has slowly diminished into a virtual signifier. The by popular culture commodified side of glitch has become a primal part of a new ‘glitch-economy’, which has left me to be believe I should pay more attention to this 'other side of the coin'.
This is why I decided to teach about the materiality of file formats; their different languages, slang or dialects, and how these specific qualities, rules and rhetorics can be exploited as a generative matter to create new images (a practice closely related to databending). I named the workshop "A Vernacular of File Formats" and showed different compression based artworks, while supplying the students with methods and tools to create their own format based research, and possibly art and design.
One of the troubles I ran into during the workshop was that the tools I had were not ideal for such a workshop; with every other file format we set out to manipulate we had to switch softwares, which between the different OSs' on the students computers became a real *pain*.
When I spoke to Johan Larsby (the creator of Swutits) about the lack of software, he proposed a collaboration - which is how the Monglot project started.

︎ Monglot only worked on MacOS 10.5 and 10.6. In 2016 KernelEquinox opensourced a program inspired by Monglot for Windows -> ︎

︎ More about monglot and its strange interface here

︎ Download Monglot, code, Monglot master

Monglot (2011)
A Glitch Software collaboration with Johan Larsby (SE) 2011.

Of Mimicry and Glitch Art: The Ambivalence of a 'Colonial' Glitch Art discourse
(order and progress || chaos and destruction)

The name Monglot is a degeneration of the terms Mongrel and Monoglot (the term also references Homi Bhabha's "forked tongue" of colonialism and something I would like to refer to as Glitch Speak).

*/
Mongrel: the offspring of a variety of species, of mixed background, bastard, or imperfect crossbreed
Monoglot: knowing only one language; monolingual.
*/

Generally,  glitch aesthetics or compression artifacts such as fragmentation, grain, ghosting, heterodynes, interlacing, jitter, jaggies, (…) posterization, pixelating, quantization error, ringing, staircase noise, scan lines (…) come to the surface because of an accidental flaw in the image data, which shows on the surface of the image itself.

The Monglot software generates glitches. It does this by adding a random or chosen error to the image-data, which is encoded via a compression language of choice. This error than  sits on the surface of the image. In doing so Monglot mashes two languages together: the language of the compression and the visual image itself. 

While for most glitch softwares the final product is the focus, Monglot focusses on the /experimental/, generative part of glitching.

By comparing different file formats and their behaviors, Monglot can be used to learn and research about file formats.

Monglot aims to show the ambivalence (cool vs. hot) and the double articulation (encoding vs. image data) of (file format-based) Glitch Art.

The user of Monglot is able to repeat an error by clicking ‘Glitchspeak’ or chose a particular error on the ‘Replace’ function of the software. This is how Monglot exists as a compromise in-between cool and hot.
⌁ [ethnography of PAL]
Collapse of PAL (2010)
[[about the loss of connectivity, being forgotten, decalibration]]
In "The Collapse of PAL" (Eulogy, Obsequies and Requiem for the planes of blue phosphor), the Angel of History <href: Walter Benjamin> reflects on the PAL signal and its termination. This death sentence, although executed in silence, was a brutally violent act that left PAL disregarded and obsolete. While it might be argued that the PAL signal is dead, it still exists as a trace left upon the new, ‘better’ digital technologies.

PAL can, even though the technology is terminated, be found here as a historical form that newer technologies build upon, in- herit or have appropriated from. Besides this, the Angel also realizes that the new DVB signal that has been chosen over PAL is different, but at the same time also inherently flawed as PAL.

☰☰☰☰☰☰☰☰☰☰☰☰☰☰☰☰☰☰☰☰☰▉

︎ Order and Progress catalogue text by Domenico Quaranta

︎ Collapse of PAL in What is Media Archaeology? by Jussi Parikka 
︎ Collapse of PAL in Angelic Ecologies by Sean Cubitt


This is the rendered version of a live av-performance first done on national Danish television and subsequently performed at oa. Transmediale (Germany) and Nova festival (Brasil).


Nova Roja Collapse of PAL end when Defi destroys the screens.

Nova Roja Trailer / Rosa Menkman - Collapse of PAL 2010-2012


 [ethnography of DCT]

THE GUY BEHIND THE GUY BEHIND THE GUY*
<href: Cory Arcangel: on Compression, 2007>

A Discrete Cosine Transform or 64 basis functions of the JPEG compression (Joint Photographic Experts Group) 8 x 8 pixel macroblocks.

The .JPEG compression consists of these six subsequent steps
1. Color space transformation. Initially, the image has to be transformed from the RGB colorspace to
Y′CbCr. This colorspace consists of three components that are handled separately; the Y’ (luma or brightness) and the Cb and Cr values; the blue-difference and red-difference Chroma components.
2. Downsampling. Because the human eye doesn’t perceive small differences within the Cb and Cr space very well, these elements are downsampled, a process that reduces its data dramatically.
3. Block splitting. After the colorspace transformation and downsampling steps, the image is split into 8 x 8 pixel tiles or macroblocks, which are transformed and encoded separately.
4. Discrete Cosine Transform. Every Y’CbCr macroblock is compared to all 64 basis functions (base cosines) of a Discreet Cosine Transform. A value of resemblance per macroblock per base function is saved in a matrix, which goes through a process of reordering.
5. Quantization. The JPEG compression employs quantization, a process that discards coefficients with values that are deemed irrelevant (or too detailed) visual information. The process of quantization is optimized for the human eye, tried and tested on the Caucasian Lena color test card.
Effectively, during the quantization step, the JPEG compression discards most of all information within areas of high frequency changes in color (chrominance) and light (luminance), also known as high contrast areas, while it flattens areas with low frequency (low contrasts) to average values, by re-encoding and deleting these parts of the image data. This is how the rendered image stays visually similar to the original – least to human perception. But while the resulting image may look similar to the original, the JPEG image compression is Lossy, which means that the original image can never be reconstructed.
6. Entropy coding. Finally, a special form of lossless compression arranges the macroblocks in a zigzag order. A Run-Length Encoding (RLE) algorithm groups similar frequencies together while Huffman coding organizes what is left.

Revealing the surface and structure of the image *
<href: Ted Davis: ffd8, 2012>

A side effect of the JPEG compression is that the limits of the images’ resolution – which involve not just the images’ number of pixels in length and width, but also the luma and chroma values, stored in the form of 8 x 8 pixel macroblocks – are visible as artifacts when zooming in beyond the resolution of the JPEG.
Because the RGB color values of JPEG images are transcoded into Y’CbCr macroblocks, accidental or random data replacements can result into dramatic discoloration or image displacement. Several types of artifacts can appear; for instance ringing, ghosting, blocking, and staircase artifacts. The relative size of these artifacts demonstrates the limitations of the JPEGs informed data: a highly compressed JPEG will show relatively larger, block-sized artifacts.




▩ [ DCT encryption ] 
HOW NOT TO BE READ* [ a recipe using DCT ENCRYPTION ]
<href: Hito Steyerl: How Not to Be Seen, 2013>

The legibility of an encrypted message does not just depend on the complexity of the encryption algorithm, but also on the placement of the data of the message. Here they are closely connected to resolutions: resolutions determine what is read and what is unseen or illegible.

DCT ENCRYPTION (2015) uses the aesthetics of JPEG macroblocks to mask its secret messages on the surface of the image, mimicking error. The encrypted message, hidden on the surface is only legible by the ones in the know; anyone else will ignore it like dust on celluloid.

While the JPEG compession consists of 6 steps, the basis of the compression is DCT, or Discrete Cosine Transform. During the final, 6th step of the JPEG compression, entropy coding, a special form of lossless data compression, takes place. Entropy coding involves the arranging the image components in a "zigzag" order, using run-length encoding (RLE) to group similar frequencies together.
How Not to be Read, a recipe using DCT:

  • Choose a lofi JPEG base image on which macroblocking artifacts are slightly apparent. This JPEG will serve as the image on which your will write your secret message.
  • If necessary, you can scale the image up via nearest neighbour interpolation, to preserve hard macroblock edges of the base image.
  • Download and install the DCT font
  • Position your secret message on top of the JPEG. Make sure the font has the same size as the macroblock artifacts in the image
  • Flatten the layers (image and font) back to a JPEG. This will make the text no longer selectable and readable as copy and paste data.


︎ for the #3D Additivist Cookbook.
︎ DCT won the Crypto Desgin Challenge Award in 2015.

A Discrete Cosine Transform simplified to make a monochrome .ttf font and iRD logo. In the logo RLE 010 000 - 101 1111 signifies the key to the DCT encryption: 010 000 - 101 1111 are the binary values of the 64 most used ASCII glyphs, which are then mapped onto the DCT in a zig zag order (following RLE).
Discrete Cosine Transform (DCT) was first conceived for the Crypto Design Challenge and won a first price. 

A recipe using DCT” was released in the #Additivism cookbook.



Mesmerized by the screen, focusing on the moves of a next superhero, I was conditioned to ignore the dust imprinted on the celluloid or floating around in the theater, touching the light of the projection and mingling itself with the movie.

The dust – micro-universes of plant, human and animal fibers, particles of burnt meteorites, volcanic ashes, and soil from the desert – could have told me stories reaching beyond my imagination, deeper and more complex than what resolved in front of me, reflecting from the movie screen.
… But I never paid attention.

I focused my attention to where I was conditioned to look: to the feature, reflecting from the screen. All I saw were the images. I did not see the physical qualities of the light nor the materials making up its resolution; before, behind, and beyond the screen.

Decennia of conditioning the user to ignore these visual artifacts and to pay attention only to the overall image has changed these artifacts into the ultimate camouflage for secret messaging. Keeping this in mind, I developed DCT.

Premise of DCT is the realisation that the legibility of an encrypted message does not just depend on the complexity of the encryption algorithm, but also on the placement of the message. This encrypted message, hidden on the surface of the image, is only legible by the ones in the know; anyone else will ignore it. Like dust on celluloid, DCT is mimics JPEG error. It appropriates the algorithmic aesthetics of JPEG macroblocks to stenographically mask a secret message, mimicking error. The encrypted message, hidden on the surface of the image, is only legible by the ones in the know.




DCT at MOTI for the Crypto design challenge 
encrypted text:
The legibility of an encrypted message does not just depend on the complexity of the encryption algorithm, but also on the placement of the data of the message.
The Discreet Cosine Transform is a mathematical technique. In the case of the JPEG compression, a DCT is used to describe a finite set of patterns, called macroblocks, that could be described as the 64 character making up the JPEG image, adding lumo and chroma values as ‘intonation’.
If an image is compressed correctly, its macroblocks become ‘invisible’. The incidental trace of the macroblocks is generally ignored as artifact or error.
Keeping this in mind, I developed DCT. DCT uses the esthetics of JPEG macroblocks to mask its secret message as error. The encrypted message, hidden on the surface of the image is only legible by the ones in the know.
[ patch ]





black on black
embroidered patch 
with logo iRD 

the patch reads: 
σ ≠ 1984
(stealth does not equal 1984) 


and RLE (run length encoding 0100000  - 1011111

RLE 010 000 - 101 1111 signifies the key to the DCT encryption: 010 000 - 101 1111 are the binary values of the 64 most used ASCII glyphs, which are then mapped onto the DCT in a zig zag order (following RLE). 

i.R.D. Patch [including the key to DCT]

Unresolved (2020)


64 meters, data file on hardware
Inspired by the 2011 works “Beyond Yes and No” and “29 PARALLEL STRIPES”, by glitch artist Beflix, Unresolved explores an alternative method of painting data.
Using a bitmap image, Menkman followed the linear organization of pixelelated data: in a BMP file, the image data (luminocity and chrominance) is encoded pixel by pixel, in a linear fashion, one after the other.
In Unresolved, every pixel or point of data is painted on a 64 meter long canvas strip, and then mounted on a frame.
When hung correctly, unrolled over hardware with the right dimensions, Unresolved displays a double sided image - on one side Menkmans portrait, and on the other side a message in DCT (Menkman’s cryptographic tool from 2015): BEYONDRESOLUTION. 
Through this work, Menkman presents the ways in which a bitmap file, when ‘opened’ on different hardware, can create alternate modes of reading and seeing: the hardware defines what is perceived.
some images of the making of: 32 stripes of canvas were encoded, sewn into a very long strip, and painted.