[ 0011 ]

Resolution Dispute 0011: Institutions and Tactics.
In the 1970s Joseph Goguen and Rod Burstall wrote that ‘institution’ refers to a slightly more compound framework, that deals with the growing complexities, connecting different logical systems (such as databases and programming languages) within computer sciences. A main result of these non-logical institutions is that different logical systems can be glued together at a substrata level, forming illogical frameworks through which computation also takes place.


The slides underneath are from the New Media class ‘Beyond Resolution’ taking as its central theme: Screenology and Tactical Media

How many efforts are required in order to watch? 

Whenever I use a ‘normal’, transparent technology, I aim to see 'through' the actual machine. I have learned to unsee its interface and all its structural components. I am able to understand its message and use the technology as fast as possible. In a way I have learned to become blind to (certain parts of) technology.
Similar lines of development have taken place in my perception of sound. As Canadian composer R. Murray Schafer wrote: "We have no ear lids. We are condemned to listen. But this does not mean our ears are always open." Over the years I have learned to close my ear lids and even might have lost (or never developed) some of the sensitivities needed for 'deep listening' (or ‘deep watching’).
The quest to make the public re-hear certain sounds, to educate the listener and to 'open up ear lids', has been a subject pursued by many different sound artists. Acousmatics for instance, a strand of sound art developed by the French composer and pioneer of musique concrète Pierre Schaeffer, lets the audience listen to the sounds originating from behind a "black veil". The source or instrument of the sound remains unseen and unknown while the non-representational or formalist sound forces the audience to focus on active listening.
Has similar research and work been made in the visual arts? Does some form of acousmatic video or even acousmatic videoscapes exist? What would this look like and could glitch play a role in this?
While watching glitch art, the audience perceives glitches without (often) knowing how they came about, which gives them an opportunity to concentrate on their form - to interpret its structures and to learn more from what can actually be seen. In a sense many glitches follow the principle of acousmatics visually.
A videoscape should be a place where artists can create a new, visual ecology that can give playful feedback on the technological conventions that control the spectator in their everyday life. In these conceptually fueled videoscapes we can open our eyes for the unreasonable and give form to what we so often have tried to obfuscate in both audio and visual media, namely artifacts.
The main subject of most glitch art is 'critical perception'. Critical in this sense is twofold; either criticizing the way technology is conventionally perceived, or showing the medium in a critical state. Glitches release a critical potential that forces the viewer to actively reflect on the technology. 
The acousmatic videoscape thus uses critical trans-media aesthetics to theorize the human thinking about technology; it creates an opportunity for self reflexivity, self critique and self expression.
The acousmatic videoscape is a space in which I can perceive output outside of my goggles of speed, transparency and usability. The new structures that unfold themselves can be interpreted as a portal to an utopia, a paradise like dimension, but also as a black hole that threatens to destroy the technology as I knew it. Here is a purgatory; an intermediate state between the death of the old technology and a judgement for a possible continuation into a new form of seeing and using, a new perspective…
︎ Videoscapes

[Resolution Research]
Compress Process (2013)
Compress Process was an online virtual environment in which one could experience the music video by the same name, Compress Process, beyond its quadrilateral interface.

“A monochromatic cloudy world, where the user controls an abstract body created of some de-structured polygons, robotic extremities and a human head, it goes around the environment contemplating the different kind of distortions which happens while you moves it.”

[ complexity ]
[ ⟗ vectors ]

[ ⟗ ethnography of vectors ]

Xilitla (2012 - 2014)
A 3D video 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.

Xilitla is a little village in the Huasteca region of Mexico. Here, in the early 1940s, Sir Edward James – a poet known for his patronage of the surrealist art movement – started the construction of his own idyllic, surrealist pool garden, Las Pozas, in which he deconstructed the many forms and styles of functional architecture.

In the hands of Rosa Menkman, ‘Xilitla’ has been transformed into a hallucinatory, futuristic 3D architectural environment consisting of moving images, laced with polygons and dysfunctional objects. Inside this algorthimic piece, a Janushead is used to navigate Menkman’s digital dreamscape. Taking advantage of the tensions between gameplay and audiovisual art, this aesthetic experiment opens up a new, eerie poetic and fantasmatic universe.

‘Xilitla’ exists as a free downloadable application, released in 2013 by the artist. An enhanced and expanded edition with three audiovisual video pieces documenting Menkman performing the gameplay was acquired by the Museum of the Image in the Netherlands (MOTI) in 2014, where it has been on display ever since.
Xilitla was on display during the Istanbul moving image fair in 2015.

Download Xilitla for MAC || Windows || Linux

︎ Transfer Page ||  ︎ A paper by Kristoffer Gansing.

with special custom controller at @moti

Where are the newer media? (2016)