rosa_menkman

 

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  • in reply to: Transcripts #854
    rosa_menkman
    rosa_menkman
    Key Master
    in reply to: NO MEDIA #831
    rosa_menkman
    rosa_menkman
    Key Master

    lurking is A – ok

    in reply to: Wishlist/Dreamlist #786
    rosa_menkman
    rosa_menkman
    Key Master

    ooh BYOZ nnjom znnnnoomzom Zohmg.

    • This reply was modified 7 years, 5 months ago by rosa_menkman rosa_menkman.
    in reply to: ViewSource/SourceView #784
    rosa_menkman
    rosa_menkman
    Key Master

    Pixel sorting

    I am very excited by this brown bag sharing session facilitated by Paul Hertz and Ted Davis. I have seen people work in similar or connecting ways and wanted to start (yet another) thread to put these people in contact (if they want).

    ▄┘12PM – 3PM; BROWN BAG SHARE SESSION(S): ViewSource/SourceView HIGH CONCEPT LABS
    Glitch Communities rely heavily on DIY software and software hacks. Again, in 2012 a lot of image codec protocols have seen the light of glitch. This Panel will feature the work of two frontrunning codec-/-pixelsort magicians.
    For a growing list of existing wares check the GLI.TC/H wiki.
    Paul Hertz has written a number of pixel sorting and algorithmic artwares. He will be sharing GlitchSort, which has been employed in the glitchuverse.
    Ted Davis aka FFD8 loves dissecting the heads and bodies of JPEGS. His tool HEADer_REMIX allows others to play with and learn from his scientific and artistic experiments. In this session, he will be sharing his “hexplorations”.

    Facilitated by: Paul HertzTed Davis

    Other people working on similar methods;

    - extrafile by Kim Asendorf (and the other pixel sorting work)

    - Another glitch-art project, still images, and moving too by Johan Larsby (I hope he will share it here)

    “take an image and divide it in small squares and index those squares. Then take another image and chunk that up aswell. Then try to find the chunk that looks most like the current chunk from the old image, and paint that chunk.”

    - Noah Eisenbruchs TextsTo Images project.

    … and more to come…

    • This topic was modified 7 years, 5 months ago by rosa_menkman rosa_menkman.
    • This topic was modified 7 years, 5 months ago by rosa_menkman rosa_menkman.
    in reply to: Glitch architecture #782
    rosa_menkman
    rosa_menkman
    Key Master

    I think we could do a coffee talk and see what comes out of it. the people I looped in the email are not going to be present at GLI.TC/H but send me emails the last month specifically about architecture maybe something remote is also a good option!

     

    in reply to: Glitch architecture #777
    rosa_menkman
    rosa_menkman
    Key Master

    3d ArchitectureCritical Media Aesthetics meets architecture
    I have been thinking about how glitch techniques can and have been used in architecture. Lately I have spoken to more people working on (the fringes) of this kind of research. I was thinking that it could be nice to bring like minded together here.

    • This topic was modified 7 years, 5 months ago by rosa_menkman rosa_menkman.
    • This topic was modified 7 years, 5 months ago by rosa_menkman rosa_menkman.
    • This topic was modified 7 years, 5 months ago by rosa_menkman rosa_menkman.
    in reply to: NO MEDIA #668
    rosa_menkman
    rosa_menkman
    Key Master

    I like it. Its kind of scary.

    I would take visuals.

    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    in reply to: Workshop ideas notes #533
    rosa_menkman
    rosa_menkman
    Key Master

    Hey Stallio, whats the specs of your computer (OS etc) –

    AVIDEMUX is a bit unsturdy, thats why we like it : )

     

    in reply to: "Open Scene…" [Unity Glitch Environments ] #521
    rosa_menkman
    rosa_menkman
    Key Master

    For Xilitla i used notepad on existing objects : ) you can databend them!

    in reply to: "Open Scene…" [Unity Glitch Environments ] #519
    rosa_menkman
    rosa_menkman
    Key Master

    Great,

    I am looking forward to visiting your thread  = )

    I will be lurking and sometimes jump in if you are ok with this, i would like to full-time attend but prolly have a lot of other things going on…. so sad : )

    Rosa

    in reply to: Hello! #480
    rosa_menkman
    rosa_menkman
    Key Master

    Also we will be sending out an email shortly, to make people register / aware of whats happening here, so i think balls will start rolling faster from that point on!

     

    in reply to: Hello! #479
    rosa_menkman
    rosa_menkman
    Key Master

    Hey Ben,

    I dont think it can work like that, while the perfomances will take place in TriTri, the workshopREfunct/Defunct will will be installed in happy dog. They are just one door over, but not the same. This for logistical reasons (tritri is actually a performance space and has the equipment, happy dog is actually a gallery space and set up that way, besides that people would not fit in either one of them with all the stuff installed).

    I put you in touch with Harvey and Ben and Jon to talk about what is needed, but in terms of sound for performance etc, that is taken care of.

    What needs to be done is to develop a a list of equipment that will be needed to build things in Re/De: soldering irons, old machines, wires, whatever!

    Hope this takes some work of your plate!

    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    in reply to: theBASICS #459
    rosa_menkman
    rosa_menkman
    Key Master

    Dear Curt.
    I just read everything and its amazing, I am super excited about this thread and wish i could spend all my time just on this forum and during GLI.TC/H in the thread. Language is really an amazingly beautiful thing and I love that there are so many questions involving a system that actually everybody depends on. Maybe except only those we call ‘autistic’ or the ‘mad’, the outsiders of society.
    I just wanted to thank you because i just understood why I am organizing this again; between all the work I recognized the thoughts I love; very inspiring.

    I had to revisit some of my early writing; the glitch studies manifesto. I had revisited the manifesto not so long ago because i have been giving some talks about language and non language (what is non-language?) I will try to post it in these presentations in the near future..

    In the manifesto I end with some statements surrounding GlitchSpeak. Now I wonder again, what is the opposite of GlitchSpeak, what is the difference between Speak and Language; voice and grammar. Is it maybe performativity? What role does performativity play in glitch (ouLANGltchpo?)

    Speak the totalitarian language of disintegration. GlitchSpeak can (help to) democratize society. (What is democracy? what does democracy have to do with speech or language? – oh that might be beyond the scope of the quest for this thread; or is it just a system?).

    GlitchSpeak is a system that follows some rules and breaks with others. The people that speak don’t know what rules are on what side of the line. Its constant jazz (yep – there you have it. I wrote jazz. maybe what i meant to say was glzz, maybe not) In doing so it continuously creates new expressions; it is an always growing language… Sometimes its kipple, sometimes its poetry, sometimes its spam sometimes its a holy grailch.

    The GlitchSpeak expressions teach the speaker something about the inherent norms, presumptions, permutations? and expectations of a language or of society. It teaches what is not being said; what is left out, ignored, unspoken.
    How do dialects play a role? And what about cliches?

    Glitches do not exist outside of human perception. What was a glitch 10 years ago is not a glitch anymore. Glitches expose some thresholds of language. they show where language expands or is being confined. They shows if its system(s?) follow the rules of NewSpeak or OldSpeak – <href> 1984, Orwell </href>)

    The ambiguous contingency of glitch depends on a constantly mutating materiality; the glitch exists as an unstable assemblage; its materiality is influenced by on the one hand the construction, operation and content of the apparatus (the medium) and on the other hand the work, the writer, and the interpretation by the reader and/or user (the meaning) influence its materiality. Thus, the materiality of the glitch art is not (just) the machine the work appears on, but a constantly changing construct that depend on the interactions between text, social, esthetical and economic dynamics and of course the point of view from which the different actors make meaning.

    A cloud of terms: language, materiality, performativity, system, speak vs language

    I speak 2 languages fluid. I speak 3 more languages ok. I read write or murmle at least 5 extra languages when i put my mind to it (I am thinking now, more, i didn’t count, i just think)
    often i don’t just speak a language anymore, but what do i speak then?

    Is language still they said it was?
    What did they say it was?
    What is it now?
    How has it changed? Why has it changed?

    in reply to: Definitions #456
    rosa_menkman
    rosa_menkman
    Key Master

    Cloud of terms (I chose some basics, just to start… I can always go more obscure)

    Techinical

    Artifact
    Compression
    Feedback
    Noise
    Glitch
    tinkering
    15 theoretical terms
    Language
    System
    Freedom
    Openness
    Politics
    Material
    Hack
    performativity
    communication
    Design
    engineer
    Power
    Critical/Critique/ …
    open source
    hegemony
    (New) Aesthetic
    knowledge

    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    in reply to: Cloud of Terms #419
    rosa_menkman
    rosa_menkman
    Key Master

    Hey Ted, Great, I am really liking this !

    I got a message from Emma McNally to an alternative way of working, which we could quite possibly incorporate too for a more technical lexicon. I like this kind of cross-platform lexicon.

    Take a look at her cloud of terms, its drawing/painting based but there are a lot of concepts that connect to electronic cultures:

    http://www.flickr.com/photos/emmamcnally/alltags/

    <3

    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    rosa_menkman
    rosa_menkman
    Key Master

    @Adam, GREAT : ), lets do it.

    I am not a hero on the subject of tumblrs, do you know how to find/connect/send inquiries to a Tumblr owner?

    in reply to: Wishlist/Dreamlist #413
    rosa_menkman
    rosa_menkman
    Key Master

    I think it would be great to start a list of stuff you guys want / would like / dream of having for the thread. Than in the coming weeks we can probe people and start collecting stuff, via GLI.TC/H channels etc.

    Maybe here in the form of a wishlist?

    - tools

    - obsolete hardware

    - not so obsolete yet jummie hardware

    - etc…

    rosa_menkman
    rosa_menkman
    Key Master

    I think an even more interesting question to the question who? is why? why do you pimp these images and why do you reblog those images? We should start building a questionnaire for these glitch pimp retrogades, and just send it to them:

    - Why porn? (whats your relation?)

    - What does a glitch in a porn image mean/do for you?

    For this we could also ask Marta Blicharz and others to see if they have other questions they would consider to ask?

    in reply to: Latency, feedback, mediation, etc. #403
    rosa_menkman
    rosa_menkman
    Key Master

    There were some more major artifacts, that could have been the result of latency/feedback.. But often it was also for instance dropped info (thinking about the blocking video artifacts, etc).

    In any case, I agree that accretion, latency and feedback relate are major generative qualities.

    But with regards to the physical nature of the network, I want to stress that doesnt mean the physical distance between 2 people skipping ie. the global distance; its the distance the signal traverses from node to node, server to server and hub to hub (which is often not Chicago (beginning) ->  New York (end) but Chicago, China, Africa, Europe, New York. (seems unlikeable but its an option?!)

    http://www.goospoos.com/wp-content/uploads/2010/08/Submarine_Cable_Map.jpg

     

     

     

     

     

    in reply to: Session 1 Documentation #398
    rosa_menkman
    rosa_menkman
    Key Master

    Oh oeps I posted my documentation here:

    http://working.gli.tc/forums/topic/after-session-1-before-session-2/#post-391 SorryyY!

    Repost
    Supraconductor

    soundcloud.com/r00s/first-supraconductor-meeting
    My in/output recordings of the first Supraconductor working group meeting for the pre-GLI.TC/H 2112 Supraconductor thread, facilitated by threadleaders Kyoung Kim, Ryan ⊥ Dunn and Edwina Portocarrero.

    Supraconductivity: the experimentation and exploration of telepresent communication (this time through Tinychat) with all its glitches. With as aim to explore the creative potentials of these wares above and beyond their prescribed, singular purpose of channeling.

    More info:
    working.gli.tc/forums/topic/introductions/

    in reply to: Supraconductoring: Dates/Times #396
    rosa_menkman
    rosa_menkman
    Key Master

    Some of my documentation: http://working.gli.tc/forums/topic/after-session-1-before-session-2/#post-391

    Ok will keep the new dates in check!!! : )

    in reply to: After Sessions, Before Sessions #393
    rosa_menkman
    rosa_menkman
    Key Master

    BTW I enjoyed it!!

    Am curious about future orchestrations, different platforms, less pain, etc ; )

    Does there need to be a start? Maybe not?

    A goal for the specific iteration?

    certain instruments attached?

    <3 Oprosah

    in reply to: After Sessions, Before Sessions #391
    rosa_menkman
    rosa_menkman
    Key Master

    Supraconductor

    soundcloud.com/r00s/first-supraconductor-meeting
    My in/output recordings of the first Supraconductor working group meeting for the pre-GLI.TC/H 2112 Supraconductor thread, facilitated by threadleaders Kyoung Kim, Ryan ⊥ Dunn and Edwina Portocarrero.

    Supraconductivity: the experimentation and exploration of telepresent communication (this time through Tinychat) with all its glitches. With as aim to explore the creative potentials of these wares above and beyond their prescribed, singular purpose of channeling.

    More info:
    working.gli.tc/forums/topic/introductions/

     

    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    in reply to: Supraconductoring: Dates/Times #381
    rosa_menkman
    rosa_menkman
    Key Master

    This is an interesting experience.

    I am curious what you and others get away from it; aka were there any outcomes when you reflect in hindsight? later when i have time i will post some audios.

    -Rospera

    in reply to: "Open Scene…" [Unity Glitch Environments ] #375
    rosa_menkman
    rosa_menkman
    Key Master

    why not use Unity 3d as a live performance tool? I have been experimenting with that lately and its fun!

    in reply to: Cloud of Terms #355
    rosa_menkman
    rosa_menkman
    Key Master

    Isnt there something like a Wiktionary? through which you could build a glossary?

    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    in reply to: Introduction #352
    rosa_menkman
    rosa_menkman
    Key Master

    I wonder how to take this further. I think its easy to make a collection of words that need specific definitions, but how are we going to define these, and when? And how do you create the awareness about these ambiguous words?

    Last year Iman Moradi and I made a glitch b/lingo, which was a call for awareness to the non-critical usage of not well defined or bastardization of certain terms within the glitch and noise (art) communities and practices. It included words such as affect and effect, or transgression and politics.

    The B/Lingo cards were printed in the 20111 Reader[ror]:

    “A festival, even one about glitches, cannot exist without expectations and playable frameworks. But it is important to be aware of these frameworks.” – One of these frameworks is the (theoretical) language we use.

    Glitch B/Lingo by Iman Moradi and Rosa MenkmanGlitch B/Lingo by Iman Moradi and Rosa Menkman

    I did something similar during Video Vortex in March this year (2011) together with Laura Schuster and Anne Helmond , as small intervention I distributed bingo cards during the breaks of the event

    Vortex Bingo
    On multiple occasions I have been asking for peoples definitions of these words they use quite freely.  I am interested in making a glossary of terms, but do realize that maybe certain words slip meanings within other practices. So how can we tackle this problem? Wiki? Or maybe build a wicktionary in the GLI.TC/H Wiki?

     

     

    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    rosa_menkman
    rosa_menkman
    Key Master

    I posted this in the apple and openness thread by maybe this is more suitable here.

    ///Some recent gender related works unveil the deeper issues at stake within a glitch community (or at least some issues that I see):

    GLIMBO

    Erica Lapadat-Janzen for GalleryOnline until December 21 2012 (perfect timing). From the facebook invite:

    The internet is made of women. Media of women is used for selling commercial products, entertainment, masturbation, etc. Female beauty and sexual attractiveness are on the forefront of technological progress. Online debates are waged over who the most perfect female is, what size her breasts are, what colour of hair is more attractive. The lines between Realdolls and women that look like dolls are blurred in the online space. These images are often maticulously groomed in photoshop; editing illusions used to exagerate the current trends in fantasy.

    To glitch is to interup. To glitch is to deconstruct.

    In the series GLIMBO (Glitch + Bimbo), the perfect images are damaged. They are aware of their digital status and the glitch is intentional. The gaze is disrupted and shuffled. The images now serve a different purpose.

    http://www.EricaLapadat-Janzen.com

    The statement: “The internet is made of women” is interesting. Unfortunately, Lapadat-Janzen omits (as so many do) the actual (historical) role female workers have played during the development of what we now know an information society (just href: the programming of ENIAC was done by women). In her short introduction, Lapadat-janzen minimizes the role of women to merely fetishized objects.
    If i understand her work correctly, the exhibition is a critique on the production and objectification / gaze laid upon female imagery. She states that she deconstructs the construct captured within these images; through disruption, the images now have “another purpose”. I am not sure what this ‘other purpose’ is – its really a shame there is not more of a statement carrying this exhibit, but I still feel inclined to play the role of an so called “algorithmic thought police” (to quote Marius Watz).
    Lapadat-Janzen does state that the glitches are intentional. Seeing that all the images are glitched following a jpg compression, I feel compelled to read into this. A jpg compression is a preset 6 step lossy compression algorithm; one of the most widely used compressions. This algorithm  does not only re-order the amount of information via very specific rules, it also cuts out specific (‘less important’) parts of information (which is actually visualized very well in a couple of her images).

    TEDx

    As a glitch artist, I am aware that no compression algorithm is neutral. These algorithms are tools that leave a certain footprint; much like  Marius Watz described, they are computational cliches.
    As an artist ‘you can play with them, but you cannot be naive about them’, if you are not creative around these given presets, these images are not a whole lot more than a found form, without credible authorship. So while the images made by Lapadat-Janzen are at first sight maybe seductive, at this point they do not contain or call for any deep critical engagement -they are in fact commercial, prefab imagery broken by proprietary presets. And because of this, they do not speak to my imagination – they seem instantly knowable and familiar. Similar to many other projects I have seen over the last years (I heard Nick call it a “Porn Tumblr Renaissance” and that made me smile 2345, ___ –)
    I am not saying that there is not a whole lot of potential here and in the area of female gaze-fetishization vs. glitch art; I just wanted to point at what I think is a problem; using a certain cliche to point at another cliche..
    in reply to: Zombie Media #277
    rosa_menkman
    rosa_menkman
    Key Master

    I want to stress that I dont put so much emphasis in the concept of a technology actually dying. All these technologies are made not in a vacuum but within a history of one superseding the other. They borrow from each other.

    Its the ‘future’ humans who dont know how to (or want to) use/listen to them so they mute them (‘call them dead’) poor bastards. So many zombies floating around our heads

    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    in reply to: Apple and Access #276
    rosa_menkman
    rosa_menkman
    Key Master

    ///Some recent gender related works unveil the deeper issues at stake within a glitch community (or at least some issues that I see):

    GLIMBO

    Erica Lapadat-Janzen for GalleryOnline until December 21 2012 (perfect timing). From the facebook invite:

    The internet is made of women. Media of women is used for selling commercial products, entertainment, masturbation, etc. Female beauty and sexual attractiveness are on the forefront of technological progress. Online debates are waged over who the most perfect female is, what size her breasts are, what colour of hair is more attractive. The lines between Realdolls and women that look like dolls are blurred in the online space. These images are often maticulously groomed in photoshop; editing illusions used to exagerate the current trends in fantasy.

    To glitch is to interup. To glitch is to deconstruct.

    In the series GLIMBO (Glitch + Bimbo), the perfect images are damaged. They are aware of their digital status and the glitch is intentional. The gaze is disrupted and shuffled. The images now serve a different purpose.

    http://www.EricaLapadat-Janzen.com

    The statement: “The internet is made of women” is interesting. Unfortunately, Lapadat-Janzen omits (as so many do) the actual (historical) role female workers have played during the development of what we now know an information society (just href: the programming of ENIAC was done by women). In her short introduction, Lapadat-janzen minimizes the role of women to merely fetishized objects.
    If i understand her work correctly, the exhibition is a critique on the production and objectification / gaze laid upon female imagery. She states that she deconstructs the construct captured within these images; through disruption, the images now have “another purpose”. I am not sure what this ‘other purpose’ is – its really a shame there is not more of a statement carrying this exhibit, but I still feel inclined to play the role of an so called “algorithmic thought police” (to quote Marius Watz).
    Lapadat-Janzen does state that the glitches are intentional. Seeing that all the images are glitched following a jpg compression, I feel compelled to read into this. A jpg compression is a preset 6 step lossy compression algorithm; one of the most widely used compressions. This algorithm  does not only re-order the amount of information via very specific rules, it also cuts out specific (‘less important’) parts of information (which is actually visualized very well in a couple of her images).

    TEDx

    As a glitch artist, I am aware that no compression algorithm is neutral. These algorithms are tools that leave a certain footprint; much like  Marius Watz described, they are computational cliches.
    As an artist ‘you can play with them, but you cannot be naive about them’, if you are not creative around these given presets, these images are not a whole lot more than a found form, without credible authorship. So while the images made by Lapadat-Janzen are at first sight maybe seductive, at this point they do not contain or call for any deep critical engagement -they are in fact commercial, prefab imagery broken by proprietary presets. And because of this, they do not speak to my imagination – they seem instantly knowable and familiar. Similar to many other projects I have seen over the last years (I heard Nick call it a “Porn Tumblr Renaissance” and that made me smile 2, 3, 4, 5, ___ –)
    I am not saying that there is not a whole lot of potential here and in the area of female gaze-fetishization vs. glitch art; I just wanted to point at what I think is a problem; using a certain cliche to point at another cliche..
    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    in reply to: Apple and Access #269
    rosa_menkman
    rosa_menkman
    Key Master

    I see a lot of art made by women based on body/break, which I have done too and which is an important part of life, also for me, but it always makes me want to take a step back. I feel like I cannot make this my issue; while I have an opinion, I favor other issues as a main issue that I want to focus on.

    This time I will try to jump down this rabbit hole, hoping to reach some point where I will not feel to weird about voicing my feelings and trying to be open and frank. I dont know if this is something that grew this way, or if I was always like this, but it has definitely evolved into a personal perspective (- i will get into the how and why a bit later). In any case, I am absolutely not a hero on the topic of gender; I often dont know what to say about it.

    So here i go, giving my voice a go: I do not believe in something called girl power – or the cry for girl power  (I think it just alienates and puts emphasis on difference) and I do not aim to fight for ‘equality’; its a nice idea but I am not even sure if in reality equality can actually exists.

    I do believe in empowerment of the minority / ‘other’ / less powerful  Not just for women but for all people of all strata, machine, class, race, code or from whatever cup of tea you like too poor on your election night. In this sense a conversation on race or gender does in no way supersede a conversation on OS’es - to me they have similar issues at stake and are all important and help form our understanding of the situation, giving us knowledge about stakes and in doing so empowering us. (>> i made some edits here if you were an early reader, sorry i wasnt quite clear…)

    A personal perspective about some issues:

    The last 3-4 years I travelled alone and it has been wild. I learned a lot, also about being alone as a female, with a voice on and off stage. I have had some great experiences and some really awful physically aggressive ones. But those experiences were more connected to the lifestyle I have chosen (travelling alone, sometimes at night, etc attracts abuse) and is something disconnected from the people in the communities I work in. But it has shaped my mangled brain, my difficulties towards dealing with issues around sex etc and maybe build some kind of personal scare for these kinds of discussions.

    I dont like to feel weak and I besides that I believe in empowerment. But sometimes I do feel weak and I want to respect those feelings too..

    On the other hand, a lot of things I am doing are not about ‘me standing there in the moment’; they are about things I absolutely believe in (an opinion). Which meant to me that personally, the thing I felt I had to overcome most is myself, is how to position/carry myself, while respecting and giving a place to my feelings. I am still learning to build a connection between my body (not gender perse) and the role I have build for myself as educator and performer . I feel some things have to be said and shared and if I can help make that happen, thats a lot to wish for. The thing I struggle with most is how I can carry and voice myself not following the way I feel in the moment – but more specifically tuned to the issues I want to address (its hard to create a constructive distance to the topic). How to supersede myself while empowering myself to address a certain issue.

    Its hard to be in sync; with your body that is fragile at times, your emotions that get exhausted, while staying strong and presenting things. I am lucky to have a strong body, which almost never gets sick even when I mistread it as much as I do. And I am lucky I have a strong brain that can bounce back from the stress, economically, emotionally and professionally. To me these issues are only minimally laced with issues of gender and more with performance and playing a role in general.

    What i meant to say is, i deal/work on a lot of things and only a tiny part is gender related. For me it has shown to be more productive to learn to recognize how I am cold-wired to carry myself vs how I want to empower or hot wire / carry myself.

    Oh god I hope so much this makes sense.

     

    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    in reply to: Zombie Media #263
    rosa_menkman
    rosa_menkman
    Key Master

    BTW last year Kyle and James *Cracked Ray Tube gave a workshop on hacking CRT monitors and Tod bailey gave a talk on analogue video signals (NTSC I think) – they spoke about technologies that now are mostly abandoned in favor of DVB and digital video more generally via computers.

    GLI.TC/H always makes room for Frankenstein and zombie signals and getting in touch with their language again.

    in reply to: Zombie Media #262
    rosa_menkman
    rosa_menkman
    Key Master

    Dying is a metaphor for abandonment by the masses and no more support/upgrades through the original protocols (that gave birth to the box). This, followed by the unavoidable and always impending ‘upgrade’ culture (of language) will make sure that any technology will finally only be disconnected – speaking some forgotten noisy language.

    While the tech is still functioning, it is alienated/disconnected and the mass has forgotten why the tech was created and was supposed to function. What is left is an unruly machine sputtering bizar growly dead language.

    This form of obsolescence does not answer to human temporality – dying and reviving was just a metaphor. Instead it follows a non-linear, deep temporality.

    (here a short post by Parikka following while criticizing media an-historians such as Zielisnki: http://jussiparikka.net/2012/09/28/a-call-for-an-alternative-deep-time-of-the-media/)

    BTW – have you noticed that in some series zombi-ism is depicted as a virus that people already carry, and that their death is more like a transition instead of a sudden threshold needing to be passed?

    in reply to: Zombie Media #249
    rosa_menkman
    rosa_menkman
    Key Master

    But isnt it the point that Cracked Ray Tube kind of revives the dead medium — so it becomes a zombie medium?

    in reply to: www3RKIN (A) top!xxx: "¥ ß (A) 1337?!" #244
    rosa_menkman
    rosa_menkman
    Key Master

    I cant help but wonder, more and more, what is the difference between language and voice and where do they overlap?

     

     

    • This reply was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
    in reply to: Premature Jazz musings (ported from facebook) #241
    rosa_menkman
    rosa_menkman
    Key Master
    • In a 1988 interview, trombonist J. J. Johnson said, “Jazz is restless. It won’t stay put and it never will”.

      “jazz is a construct” or category that, while artificial, still is useful to designate “a number of musics with enough in common to be understood as part of a coherent tradition.”

      Travis Jackson has also proposed a broader definition of jazz :…
      qualities such as “swinging,” improvising, group interaction, developing an ‘individual voice,’ and being ‘open’ to different musical possibilities.”

      _____The avant-garde and free jazz idioms permit, even call for, abandoning chords, scales, and rhythmic meters.

      Did you ever consider glitch linguistix / glitch artists expressing themselves in connection to Jazz Music traditions?

      Just started browsing this one:http://books.google.nl/books/about/Landing_on_the_Wrong_Note.html?id=4OoBSl_pUYcC&redir_esc=y

      Landing on the Wrong Note

       

       

      Play Damage I think it could be a way to begin. I am always suspicious of the surrealist’s faith in the subconscious and automatic writing, so I am a bit suspicious of the claims of improvisational jazz. It takes an amazing musician (like John Coltrane, post-1964) to truly unlearn and begin again. Most improvisation still falls back on learned/prepared tropes (just like most automatic writing is not all that novel). My faith is in algorithmic constraints and aleatory (a la Cage). dice never fall back on tropes. Having said that, all of these performances ( http://lab404.com/video/pop/ ) are “improvisational.” But I don’t try to improvise. Physical exhaustion and monotony and my inability to play the same thing force the improvisation upon me.
      Rosa Menkman My knowledge of Jazz is veryyy limited – but yes I can agree with your skepticism towards free Jazz / automatic writing and the claim of abandoning idioms (conceptually, I dont find that the most interesting in any case – and somehow … can easily dive into a cliche culture – am i allowed to say that?)
      However, the idea of moving away from known arrangements, yet not claiming to have a completely new idiom (just a new voice), the building away/opening up sounds very familiar to me.
      Wow the pop mantra looks intense.
      Rosa Menkman Hmm. I also have to think a bit more about the distinction between voice vs language.
      Maybe its not quite clear what I am on about, I think I am on a thinker bender –>
      I am writing a paper in which i try and outline
      (vr-nky-lr)-s: (Vernaculars)
      I imagine a gradient within the (algorithmic&&aesthetic) vernacular-s:
      slang -Jargon (insert fork here?) idiom – cliche
      Of course how you read certain utterances is based on context/perspective.
      dont know if this made anything clearer. I hope it will because I need to finish some primary statements soon.
      Rosa Menkman Hmm maybe I could have ported this to the Wurkinggroup. Dont know how relevant it is for your current work there. /ramble
      Agam Andreas Is Henry Flint Jazz or part of John Cage circle? I think Flint went a very special way in ‘improvising’ his performances, listen to New American Ethnic Music, Volume 1: You are my Everlovin’ + Celestial Power, this ‘freeform’ music touched me very strongly in its ability to go ‘beyond’ ‘learned tropes’. Resulting in ‘freeing’ exceptations about the reception of its musical message. Further more I think it is very dangerous to try to transpose ‘glitchyness’ to ‘free jazz’ especially for an audience not completely acquinted to both of these terms. Glitch in jazz cannot never exsist as it would be immediately musically corrected by ‘skilled’ musiciens, for instance Sun Ra Arkestra and his circle. I am although curious in how other musiciens ( i am one) see this. The connection between ‘glitch’ and music can definitively be find more easely in the ‘noise’ scene as in thus field the wish to redefine several musical parameters is more obvious. 

      Just my two cents, Andreas
      Play Damage I love “You Are My Everlovin’”. Heck, I love 1950s orchestrated Miles Davis. I like certain tropes. I like AC/DC. But as far as my art practice goes, I’m just distrustful of “getting into the zone” and “going for it.” Rosa, I think that improvisational jazz musicians start with a musical system, and their improvisations are ingenious variations within that system. Listening to out-takes of Miles Davis modal solos on “Sketches of Span,” it’s obvious why he selected the ones he selected. But even in the out-takes (the ones he didn’t select), there are some very exciting moments. It’s just that the entire out-take solo didn’t hold together as well as the one he chose. But you have to be a very accomplished musician to even wind up with anything interesting. I think of Pharoah Sanders saxaphone solos on some of those John Coltrane tracks — very wild, but not very interesting. Rosa, is jazz music a “language”? Not in the sense that I am tracking. But it’s related semantically. “I asked myself if music were not the unique example of what might have been — if there had not come the invention of language, the formation of words, the analysis of ideas — the means of communication between one spirit and another.” – proust
      Rosa Menkman OK i copy this into the group, I think event though very immature questions maybe, interesting non the less. so maybe it goes somewhere sometime.
    • This topic was modified 7 years, 6 months ago by rosa_menkman rosa_menkman.
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