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//////////////////////////Biography ‎Roͬͬ͠͠͡͠͠͠͠͠͠͠͠sͬͬ͠͠͠͠͠͠͠͠͠aͬͬ͠͠͠͠͠͠͠ Menkman
»ЯOSΛ MEИKMΛN (portfolio || Resume  Every technology possesses its own inherent accidents. 

▉  My work focuses on noise artifacts that result from accidents in both analogue and digital media (such as glitch, encoding and feedback artifacts). These artifacts can facilitate an important insight into the otherwise obscure alchemy of standardization via resolutions. 
This process of imposing efficiency, order and functionality does not just involve the creation of protocols and solutions, but also entails black-boxed, obfuscated compromises and alternative possibilities that are in danger of staying forever unseen or even forgotten. 
▉ Key to the study of resolutions is the understanding that a resolution is not just an agreed upon setting or solution, that is set by the actors that have for instance economical or political motivations. Resolutions also inhabit a space of compromise. Within the realm of video for instance, this compromise is illustrated by the quadrilateral interface. Because of video standards, set through resolutions, the history and material of video forecloses anything beyond these four corners. While resolution studies is closely connected to the discourses of for instance protocological, habitual and material research, resolution studies creates an important and otherwise missing space for other, new, speculative implementations.
▉ In 2015 I started the iRD, the institutions for Resolution Disputes. Via the iRD, I aim share my knowledge and build more awareness about the compromises set by the resolutions inherent to our media and in doing so, I intend to bring back some form of authorship to the mostly obfuscated layers of resolution setting.

▉ Works that are most illustrative of my practice are “Vernacular of File Formats" (2010), “Acousmatic Videoscapes” (2007), the “Collapse of PAL” (2010), “Xilitla” (2012-2013), the iRD (2015—) and DCT:SYPHONING. The 64th interval (2016). 

In 2015 and 2016 I was part of the curatorial team of Sonic Acts. I have also been a co-facilitator of 5 GLI.TC/H festivals (2111-2112). I am a certified captain at the institutions for Resolution Disputes.

Rosa Menkman is a Dutch artist, curator and researcher. In 2011 Menkman wrote the Glitch Moment/um, a little book on the exploitation and popularization of glitch artifacts (published by the Institute of Network Cultures), co-facilitated the GLI.TC/H festivals in both Chicago and Amsterdam and curated the Aesthetics symposium of Transmediale 2012. Since 2012 Menkman has been curating exhibitions that intend to illuminate the different ecologies of glitch (filtering failureglitch genealogiesglitch moment/ums and Tactical ᴳlitches - the latter one together w/ Nick Briz). In 2015 Menkman started the institutions for Resolution Disputes [iRD], during her solo show at Transfer Gallery New York. The iRD are institutions dedicated to researching the interests of anti-utopic, lost and unseen or simply "too good to be implemented" resolutions.   http://rosa-menkman.blogspot.ch 

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|||I|I|I|II|I||| Rosa Menkman will tweak out with headliner Eat Rabbit, projecting a rapid-fire pixelated overload reminiscent of a Chris Cunningham Nintendo Nightmare. Time Out New York (17/12/09)
|||I|I|I|II|I||| Our best machines are made of sunshine; they are all light and clean because they are nothing but signals, electromagnetic waves, a section of a spectrum. Haraway, Donna. “A Manifesto for Cyborgs” 1985.

|||I|I|I|II|I||| What’s in a name? That which we call a rose by any other name would smell as sweet Shakespeare 1594Interviews: TCTD / Klik Magazine / Nisimazine / Radio Fro / Vague Terrain / Dinca / MUBI / BITSYNTHESIS  / Rhizome  / CREATE DIGITAL MOTION
presentations: Les valenciennes, TEDxUtrecht, Society of the Query


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