This Patch

0000 Opening of Im/Possible Images @Lothringer_13, Munich!
0001 The Shredded Hologram Rose @ Feral File
0010 Performative Lecture for COMPUTER GRRRLS
0100 Unfolding AI / Unfolding Models @MIT Center for Art

15. Juli – 19. September 2021.

Imagine you could obtain an 'impossible' image, of any object or phenomenon that you think is important, with no limits to spatial, temporal, energy, signal/noise or cost resolutions, what image would you create?

With: Memo Akten, Peter Edwards, Sasha Engelmann & Sophie Dyer, Fabian Heller, Rosa Menkman, Susan Schuppli, UCNV, Alan Warburton a.o.
Images are pervasive; they are used to entertain, to guide, to serve as evidence or as tools for discovery. But they can also be invisible, made for machines and by machines in order to filter, track, classify, sort, or delete. As such, they constitute and influence the fabric of our everyday lives. Sometimes it is even said that one's life is now ruled by a regime of the optical. How are such regimes constructed?
In order for an object or thing – light or other type of data – to enter the visible domain and to become an image, it needs to be resolved. It needs to pass through a process involving standards, rules and compromises. As a result, under the fold of our image processing technologies, there is a complex system that constitutes our images and the optical regime we abide by.
Spanning from all possible images to invisible images, Im/Possible images brings together strategies and methods of making visible. It also explores the conditions of image making today: how do resolutions shape images and how does the process of resolving compromise its rendering? Can one listen to an image? When do aberrations and translations turn into ‘false’ representations? And how has the field of computer simulation expanded the rules and functioning of our imagery?

Initiated by Rosa Menkman, Lothringer 13 Halle will host an im/possible summer school and become a space that sheds light on the realms of im/possible images. Through workshops and talks, international guests, local artists and researchers are invited to probe the experimental field of knowledge production with an emphasis on (digital) image infrastructures.

0001 The Shredded Hologram Rose @ Feral File

From the shredded side of a Hologram, one can peek into the 3D objects’ Delta Axis. From this perspective, one can see the Holograms render objects, which form a repository of layered information about the Holograms provenance, metadata, and other information that the unscathed Hologram would never prevail.

Now available via the Feral File platform, which offers digital artwork for sale as Bitmark NFTs.
The rose will always be and remain freely available online, under a CC licence, like all my work.
But you can also Collect the rose, the NFT to end all NFTs.... ;)

The Bitmark Property System enables management of digital property rights, without using the Ethereum protocol. Because Bitmark is a smaller, more specialized blockchain, it requires exponentially smaller amounts of energy than Bitcoin or Ethereum.
I considered and reconsidered hashing a work on the blockchain and presenting it as commodity. It was a choice not easily made, which I think both the work itself and my remarks on crypto art published on the INC platform make clear.

0010 Performative Lecture for COMPUTER GRRRLS
01.07.2021 | 18:00 - 19:30

The long awaited publication Computer Grrrls is finally here!
For the book presentation, the editors invited me to present my essay in the form of a performative lecture.

To receive the login details for the event (platform: Zoom), please register via e-mail at

Edited by Inke Arns and Marie Lechner, the publication brings together 23 international artistic positions that negotiate the relationship between gender and technology in history and the present. Computer Grrrls explores the complex relationship between women and technology-from the first human computers to the current revival of techno-feminist movements. An illustrated timeline of over 200 entries documents these developments from the 18th century to the present. With contributions by Inke Arns, Claire L. Evans, Elisa Giardina Papa, Marie Lechner, Mimi Onuoha, Cornelia Sollfrank and me ☺

Design: The Laboratory of Manuel Bürger. Dortmund: Kettler, German, English, 17 x 24 cm, 200 pages, ISBN: 978-3-86206-907-1.
More information here


[imgs == new iteration of les inconnues for Rainbows End festival]

Finally I got myself a bit organised and am now keeping track of my activities here

0100 Unfolding AI / Unfolding Models @MIT Center for Art 

My MIT Unfolding Intelligence Symposium video has been released online, watch it here

For the NCAD event with Joanna Zylinska and Rachel O'Dwyer, I recorded a somewhat overlapping, somewhat additive video lecture titled "Destitute Vision"


/FEBRUARY_2021_Resolution Update 5.0 ***********/

2021.... Another year of PANDEMIA!
But the bullet has been fired, the contracts have been signed,
and as soon as this Pandemia finally allows me to move boxes,
I am moving back to the Netherlands,
and I will exchange this box of ZOOM to for another box of ZOOM.

This Patch

0000 The BLOB of Im/Possible Images
0001 Unfolding AI / Unfolding Models @MIT Center for Art
0010 VOF at Stedelijk Museum Amsterdam

0000 HEK Commission: The BLOB of Im/Possible Images

"Imagine you could obtain an 'impossible' image of any object or phenomenon that you think is important, with no limits on spatial, temporal, energy, signal/noise or cost resolutions. What image would you create? (the answer can be a hypothetical image of course!)"

This was the question I asked every scientist I spoke to during my Arts at CERN/Collide Barcelona residency. Come and explore my collection of im/possible images in the BLOB! Or find the portal inside the BLOB to add your own impossible image...

The BLOB was created as a commission for HEK.

0001 Unfolding Intelligence / Unfolding Models @MIT Center for Art

Video Release: Friday, April 2, 2021 / 9:00am EST
Live Q&A: Monday, April 5, 2021 / 5:00–6:00pm EST

I am very excited to be invited to present during the MIT Unfolding Intelligence Symposium! Registration for the Symposium is open and is for free here.

My talk will partially take place in DCT and in the BLOB through which I will present my thesis for impossible images!

Introduction to the symposium:
How do tools in computation shape the models that scientists, artists, and engineers make of the world and universe? From simulations of cosmic evolution to models of the unfolding of epidemics, computer and AI-aided work sees practitioners unfolding the possibilities of digital calculation and representation. In play are ways of animating theories, translating abstractions into code, and working, often collaboratively and cross-disciplinarily, across scales of structure and degrees of data resolution in order to fashion models that can force new thinking or intervention into the realms—physical, biological, social, and political—that such models represent.


While installing the archive of a Vernacular of File Formats at the Stedelijk Museum Base exhibition, I was commissioned to make a video essay for Stedelijk Studies Issue #10: Imagining the Future of Digital Archives and Collections of stedelijk studies an digital magazine.

The result, It Takes More than the Past to Understand and Build the Archive (2020), tells the story of A Vernacular of File Formats (2010). The work is an archive of an almost decade long research project into file formats, which are encoding systems that organize data according to a particular syntax.


Winter semester 2020 at the KHK, as part of Resolution Studies, an ongoing research.

Our (digital) cultures are becoming more and more complex. From deep fakes to the post-uncanny or neo-crapstraction - it is hard to stay on top of the dialogue and keep a grip on the new problems or to even find ‘the contemporary discourse’. Is there still a dialogue? What is really happening now?

There is of course not one ‘now’ in a landscape that has as many fractures as it has participants. And there is also not one truth, past, future or digital culture; they vary as wide as the diversity of the perspectives of its users.

As an artist, I feel I am responsible to train myself to not only critically engage with the new materialities of the digital, but also - and I believe that this is where the ‘new’ or at least the contemporary comes in - to develop a certain fluid literacy of these constantly developing and mutating material languages that impose constraints and qualities on the technologies we work with. And what is the Contemporary if only a lens - what falls outside of this particular, often institutionalised take of our current times?

I share the slides of the curriculum What is Contemporary? here.


Finally, it is a bit late since OPEN COIL has officially ended, but I do want to mention the fantastic OPEN COIL roaming scooter exhibition I was part during the final quarter of last year. The exhibition concept was by far one of my most favorite Corona solutions: in Berlin these days, many of the rentable scooters (which are generously spread standing and lying all over the sidewalks and bicycle lanes) come with a build in mobile phone charging spot. The OPEN COIL show used these mobile batteries on wheels and syphoned off a little energy; just enough to power up a local network, each hosting a work a single artists work.

The OPEN COIL website map the locations of the modded scooters, making a "chase the gallery through the city" kind of scenario. My work was a gif of 365 Perfect Decalibration!


/JULY_2020_Resolution Update 4.0 ***********/

If you have no time to read this mail,
please consider to at least visit our Digital Crisis Survey and make an entry && share,
it would help us tremendously!

This Patch

0000 From a little hut in the forest, also known as the Skauhytt,
0001 Eyebeam Rapid Response residency with Sarah Grant  >> HELP!!
0010 Solo Show at SJSU: Shadow Knowledge

In the morning the little birds sing. They start when it is cold and wet and half dark. At that time, they are the only ones making sounds. One little bird got in the habit of sitting right above the place where I lay my head when I sleep. She makes a lot of noise.

During the afternoon it’s mostly storks and pigeons. They flap their wings while moving from tree to tree or twig to twig. For a while I thought they sounded like witches roaming around the forest. I did not understand I was hearing a rain of beechnuts falling from the tops of the trees all the way onto the forest floor.

In the evening the crows bark their final song,
while at night the cows next door make cosy eating sounds.

0001 Eyebeam Rapid Response residency with Sarah Grant

>>>>>>> We could really use your input!
Please take our survey and spread it amongst your peers to help us define and better understand digital crisis, not just from our bubble, but from a more wide array of perspectives!

I am excited and proud to announce that Eyebeam, a New York-based arts and technology nonprofit, recently announced us as recipients of the “Rapid Response for a Better Digital Future” residency.
Sarah Grant and I have received an initial award for the research phase of our project "digital prepper toolkit," and hope to  be awarded a follow up grand for the second phase in which we will take our research to action.

In the first stage, we are mostly focussing on (re-)defining what actually is or means "Digital Crisis".
And that is why we ask you to help us with our digital crisis survey!!

More info about our digital crisis research & our possible toolkit can be found here.

0010 Solo Show at SJSU: Shadow Knowledge
Due to the global pandemic, Shadow Knowledge, my solo show at the Nathan and Thompson galleries at San Jose State University, was open for no longer than a week.
This was a little sad, because I put a lot of time and effort into preparing the show and its works.

Luckily, shows like Constant Dullaarts "The New Outside" and's mozilla hub integration of Shadow Knowledge, made me revisit and rebuilt some of the works for online environments.

Last week I also did a 1,5 hrs long talk, about archiving, for the re-opening of the show with Andrew Blanton and Rhonda Holberton.

Finally I have now moved the entire show online, while the old physical show remains in quarantine.
Publication: Beyond Resolution

Exhibition text
It is often said that all we have is the past to train with. I believe there is truth to that. But some importance also lies in our contemporary state. To engage with contemporary digital culture means to be able to formulate a sharp and critical point of view, which involves analysis and active change through critical thought processes, such as speculation. Uncovering and studying these spaces of speculation is of vital importance.   

What is ultimately necessary for this, is Shadow Knowledge: in the shadows, things lack definition. In the shadows we can find objects of unsupported dimension and scale, ambiguous and fluid. The shadows are blurry and liminal, but ultimately potent spaces that can exist between what is enlightened and opaque (or black boxed).

Shadows offer shady outlines, that can function either as a vector of progress or a paint by numbers. In the shadows we can rest, heal and recalibrate. Now is not the time to hope or fear. It is the time to look for new weapons. The future lies in the shadows of our present.



/MARCH_2020_Resolution Update 3.0 ***********/

This Patch

Written at an altitude of 11.000 meters, crossing the white planes of Greenland. I worked so hard in the last months and now all is done and here I sit, strapped into a chair flying myself to the precipice. And once I arrive, where will I go from there?

0000 Beyond Resolution
0001 Shadow Knowledge
0010 Les Inconnues
0011 The Massage interview

  0000 Beyond Resolution
Menkman, Rosa. Beyond Resolution (i.R.D.: 2020).
ISBN: 978-90-828273-0-9

In Beyond Resolution, Menkman insists on an extended formulation of resolution. A resolution is not just a trade-off between settings that manage speed and functionality, while considering materials affordances.
A resolution also always involves the inherent compromise of other ways of rendering, and it is through these other ways - these alternative but not implemented resolutions - that we need to train to see, run and formulate our alternatives. With the example of the genealogy of the color test cards, Menkman offers an exemplary way to make such latent and biased power structures more apparent.
In Beyond Resolution, Menkman insists that these standard images, trapped in the histories of our technologies, become part of the public domain. In order to illuminate the white shadows that govern the outcomes of our image processing technologies, we must document the genealogies of standardization. These genealogies belong in high school textbooks: the latent violence coded within such norms should be studied as part of standard curricula to inform a future generation of engineers of compromises made in the past.
This independently published book consists of a collection of different types of texts ranging from short stories to an introduction into basic optics and a manifesto like text.
The publication is accompanied by a collection of artworks that Menkman developed during a triptych of solo shows (institution of Resolution Disputes, Behind White Shadows and Shadow Knowledge), all geared towards introducing and developing the concept: "Resolution Studies".

Beyond Resolution is downloadable as pdf.

0001 Shadow Knowledge
Solo show "Shadow Knowledge" at SJSU art galleries (3th of March - May 15th 2020)
(temporary closed due to corona virus)

It is often said that all we have is the past to train with. I believe there is truth to that. But some importance also lies in our contemporary state. To engage with contemporary digital culture means to be able to formulate a sharp and critical point of view, which involves analysis and active change through critical thought processes, such as speculation. Uncovering and studying these spaces of speculation is of vital importance.
What is ultimately necessary for this, is Shadow Knowledge: in the shadows, things lack definition. In the shadows we can find objects of unsupported dimension and scale, ambiguous and fluid. The shadows are blurry and liminal, but ultimately potent spaces that can exist between what is enlightened and opaque (or black boxed).
Shadows offer shady outlines, that can function either as a vector of progress or a paint by numbers. In the shadows we can rest, heal and recalibrate. Now is not the time to hope or fear. It is the time to look for new weapons. The future lies in the shadows of our present.
In Shadow Knowledge, Menkman presents four recent bodies of work, which explore the experience of lack and loss through oversaturation.
Throughout, Menkman explores what she terms “Shadow Knowledge,” the blurry and liminal, but ultimately potent space that can exist between the enlightened and the opaque, derived from objects of unsupported dimension and scale.

Publication: Beyond Resolution
photo documentation 

0010 Les Inconnues
Les Inconnues is a Telegram stickerset, made of the 24 clockface emojis, each connected to a sticker of an Inconnue (an unknown woman or shell without ghost) and their history.

Every half an hour is now set to remind one of the shells, that has lost its ghost.


A fundamental part of the history of image-processing, webdesign, and the standardization of settings within both analogue and digital media are test cards, placeholder images, bots and virtual assistants. Engineers used these female objects to evaluate the quality of image processing, the rendering and composition of architecture and to make these latent spaces more amicable. While these women seem to be able to prolong their existence for as long as the (digital) realms will copy and reuse them, most of them have lost their name and identity.

0011 The Massage

The Massage finally released the write up of a discussion I had last year with my two old friends UCNV and Nukeme, in Tokyo. Its a special one since in it we discuss the state and histories of glitch art, a subject that is dear to me, but that I don't talk about too often these days.

Read the full interview here

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/JAN2020_Resolution Update 2.0 ***********/

This patch:

0000 CERN: Impossible Images
0001 AXIS // Transmediale 2020: Whiteout
Resolution Studies

Solo show at SJSU (San Jose) : Shadow Knowledge
Miscellaneous updates

0000 CERN: Impossible Images

Hola! Happy new year!

I am writing you from my desk at Fabra i Coats - Centre for Contemporary Art in Barcelona, where I just started the second part of my Collide at CERN residency. ufff... I wish I could write up all the amazing things I have learned and seen. I am still processing it all and the summary really needs more time. What follows is just a short update:
I came to CERN with a project titled Shadow Knowledge, which was supposed to be about knowledge of how to perceive and approach shadows; the fringes of what is enlightened (or not in the dark). But my focus and understanding started to shift when I realized that the metaphor I used in my artworks did not match with the language I had to use with scientists.
Long story short, after feeling a little lost in a sea of acronyms and scientific language, I buckled up and re-wrote my research question with the help of my scientific partners Jeremy Niedziela and Rolf Landua. Finally this became the start of a new and ongoing research project: Impossible Images. What I share here is just an initial collection of new thoughts that can become in time a new starting point for an art project. photos from my time at CERN.

0001 AXIS // Transmediale 2020: Whiteout
AXIS by Mario de Vega is a beautiful publication with reflective cover that comes with audio recordings made on the Aquiles, the ship that took us through the drake to Antartica, and photos from journeys to the Brocken, Himalaya and visits to aghori in India and the Northern tip of Japan, all printed on stone paper.
The special limited edition book includes my essay Whiteout, printed, white on white (a version of my contribution in pdf form is also available here, but that is just black and white pdf). So here comes another exciting part: for the 2020 edition of the Transmediale I have been asked to give a performative lecture of Whiteout during the VIP opening ceremony on the 27th of January. woof.. I am sorry this is just for the VIP opening, but be sure that this will develop further, as it always does...

0010 Resolution Studies

Since 2018 I have a fulltime position as substitute professor New Media at the KHK. During this time I expanded on the Resolution Studies curriculum. The fourth and final semester of Resolution Studies is now available here.

0011 Solo show at SJSU (San Jose) : Shadow Knowledge

My 3rd solo show in the USA opens on March 3th, at the Natalie and James Thompson Art Gallery at San Jose State University, It will be on until May 15th 2020. I cant wait but I have a ton of work in front of me. And yes. What once was a project, is now a title.

0100 Miscellaneous updates

Lune magazine Issue 03: Display, The "JOURNAL OF LITERARY MISRULE", guest Edited by Nathan Jones is out! It features a contribution by me -- an oldie but one that has never been published in this format.
pdf version of just my contribution to Lune

And here is access to the OGs
// DCT:SYPHONING. The 1000000th interval (The 64th interval).
VR for OCULUS downloadable || MAC OS DMG

Also... I am so happy and honoured for Carolyn Kane to feature my 10 yrs old selfie on cover of her new book High-Tech Trash. I am now a cover model of High-Tech Trash.
Although I have not had time to read this publication, I know from her previous publication on digital color (Chromatic Algorithms) that Carolyn is an excellent writer. High-Tech Trash is published by the University Press of California and is available as hardcover, paperback or digital download published under open access. ♡

And then finally. HAPPY NEW ISO YEAR!!!!!
Never forget.
Your life is fractured and organised by a million standards imposed or implied by that organisation.