 Resolution is always a compromise we have got used to. Why not talk about it again? This is why the next talk is entitled Institution for Resolution Disputes. And our speaker is Rosa Menkman, a Dutch artist, curator and researcher and founder of IRD or the Institute of Resolution Dispute. A big applause for Rosa, please. And the stage is yours. Thank you. Thank you for the applause. Thank you for being here on this very late part of the conference. And I've been waiting for this. And I've been so tired. It was really funny to experience this latency in everybody. So I'm very much looking forward to seeing the latence of the people here. It's really funny because my name sounds German, but I'm Rosa Menkman. Everybody speaks German to me. That's pretty funny. My name sounds German, too. Please, talk to me if you want to. In 2015, so I'm only talking here from 2015 onwards. In a big institute in the Netherlands, since 2015 I'm a scientist at an institute in the Netherlands. And that's a great honor for me. I've heard everything. I've moved and I've moved back to Amsterdam which is actually not my favorite city. Three days before my contract started, which I had signed, I was fired. Because the head of the department looked into my accreditation in my accreditation and my doctorate work. And so I have to revisit the whole institutional network and get my stuff right and that was not possible. And it was not possible for me to stay here for a night stream. I was like, dropped the kitty dead. So I got really, how do you say like, sad in Amsterdam? I had no drive and I was kind of angry with the institute. And this time I got out of my darkness and went to the desert alone in the middle of nowhere. And I went to California in the desert to live there alone. In this speech I would like to talk about two things. One is the plural for resolution disputes and then the more in-depth research is behind white shadows. And I believe the research kind of started in the desert village. You have to imagine the desert, there is not a lot, but in my little hut I could really see it very well. But this is little Baghdad. And little Baghdad is in middle of the city. So you wake up, you hear and feel it sounds. And you hear the infrasound, the infatone, the military with its devices produced. I was inspired by research, by research and political artist, technologist and a political work called research on all the military patches in the USA. He had a series of interviews with people to see what the military had to do with the military. And so while I was in the military in the USA and he had visited area 51, I still had no idea what was happening. So I was really inspired by not really understanding all the information, all the feedings you have while you're sitting on your patio. And I was inspired by this feeling to sit on the veranda, but not to understand anything. And then the idea came to me, to this institute, to the resolution, to the addition of white shadows. I like that. With this started also because the institute had taught me that I still wanted to do my research. I started with... Although I had thrown out the institute, I wanted to continue my research. But also because I wanted to understand what was happening between these things that I could sense. And I wanted to understand what happened between these things that I could feel. And I started a website called Beyond Resolutions that deals with various aspects and deals with various solutions. And how you can solve such a solution. And that there is a compromise even without understanding it and that it might be covered. And I was missing the institutional network. When I was young, I was very fascinated by the sound and space. My teacher said there is no sound in the room. And I learned that there is a chance to transcode it correctly. And then there is a possibility. And I teach children in two classes. And I teach them in the Reology of Data. That is a physical term. It is about the fluidity, the flow of matter. And there is a spectrum that you can hear. And one of the first classes is that you can actually listen to rainbows. And I teach my children that you can even listen to rainbows. And there are many aspects of that. There are many aspects in medicine, in big data science, to convert data into sounds and tones. This year I have a lecture for artists. And they are afraid of computers. They can't deal with it. They ask themselves how you can find emotions in a computer. Where is the emotion? How do you feel emotions in a computer? They don't feel anything. And then you have to bring it along a more complex way to think about the data. And for children it is not so complex. How can you translate it? So this is a work by B. Flix. And I tried to... This is a work or a work by B. Flix. I thought about how you can spread data. That is a series of data on a project. And then it becomes depending on the program that you show that piece of data. It's a very interesting way to connect the data and to connect the data. And I can't explain these things also because I think all of them are very discerning way to describe it. We have all different backgrounds. It's about understanding information. We are all hackers. We want to make data more understandable, more information understandable, make everything more transparent. And then we have to think about how we can publish it and how we can make it clearer. And I've been teaching this whole year like crazy to make some time for people. And I think it will be important to bring in the other people to make money because I don't have money anymore. Weird slides. It's part of a work that I've made. And this is an art work that I've made. It's a 3D work that was inspired by my work for a compressed process. It was a way to get my view, what we let our friends do. One of the solutions make us think about our media is the way they are embedded. So you can put my video, for instance, on the media. It's important to understand that the resolution of the media influences how you perceive it and understand it. When I think about the creation of videos and works of art, I think of the materials. And then I put the whole thing on Vimeo. And then it's kind of boring when you put it on Vimeo, just as a video. If I would upload a video as an art work, which I rarely do, because if I look at my art work as a video, which I rarely do, I don't look at it completely. Then I always skip it in 5 seconds. So if I look at my own videos on Vimeo, the art works are very boring. And now I just thought about another art work. I published this art work. And it got a review from the news website Wired Germany. So Wired Germany. And I actually only created a piece of art from a video inside of a 3D room. And I then realized that it's impossible to deflate your own resolution. Because a video, even if there's no goal, but just watch the video, it doesn't matter what you do. This video is going to stay 2D. So you can never deflate your own video resolution. Every time you... Every time you change your own video resolution, you create a new screen resolution. So you always have a... a exchange of compromises. But you always have a compromise. So I was very sad when I was fired and from an institute. And that's why I founded a new institute. The Institute for Screen Resolution, conflict resolution. And I actually just want to win. I'm going to skip a few slides here because I don't have enough time. This is a resolution target. And I use this slide because it's a picture from the year 1951 recorded in California, in the California desert, recorded and used by the US military. I lived two hours away from this place that you can see here. And I drove there with the car. And I almost died. I almost died, but everything was okay. I drove there. I recognized that it's all very beautiful. And that it's really about solutions. And in the work, I see... The picture shows the goals of solutions. And that's what it's about in this work. The solution is invisible. What I'm trying to do is expand what I want to do is to make this invisible. And to expand it. I'm going to skip a few slides and go to another work that I made. When finally coming back from the desert and finally coming back from the desert to make a new Yorker place, museum, gallery to make my work. Approached by the Museum of Modern Art in Amsterdam to buy a big work of mine with vernacular file formats and to sell or introduce a work of art from Amsterdam. Different kinds of compression languages and different compression languages. So I used to see an image. I was interested in seeing what comes out by it. I didn't study the aesthetics that come out from the surface. I tried to explain how these compressions are. When the museum was bought, they wanted to buy it. They wanted broken data. They wanted to put the data behind the work of art. They wanted to buy 16 gigabytes of data in different orders. It's very, very strange. How do you show it? What do you do if you sell 16 gigabytes of data? How does it work? I'm going to put up a new presentation because it's unfortunately the current presentation. I started to realize that my work actually has lived beyond this particular work. I understood that my work goes beyond this science. That's another phase that I see in different works on t-shirts, for example, on iPhones. I saw that some people used this work in my phase to let it glitter. It expanded into something completely copyrighted. Totally without copyright. That was very strange. I lost my own face because people used my face on t-shirts and iPhones. I noticed that I'm not the only one who lost his face. I did a little bit of research and from James Bridal, who's working here, they're walking through London and you see all these big posters when you walk through London. They always have these render ghosts put inside of them. They always have these render ghosts. This is his render research blog, which he has a whole archive of. He has an archive on his blog of all these people and where these people came from. He has a company that sells these render bots that he used in New Mexico. He went to New Mexico to find out if he can find the people and if they were asked if he can use his face. But he never found anyone who looks like this. If you really look close to these people, they really don't look like people in New Mexico. These are fancy people. He met someone in a bar who said, look at these people. They don't look like people from New Mexico. They're much too beautiful and too rich. Asiatic people. This is one example of the line in which I've seen this kind of co-optation of this person. He has a research by Konstant Dillert that he presented last year at the Congress. Jennifer in Paradise is a beautiful talk about the possibility of Jennifer. Jennifer was the soon-to-be wife of John Noll, the photographer of Photoshop. And John tried to test his Photoshop software. Jennifer, the wife of John Noll, the inventor of Photoshop. And it's about the image of Jennifer who is not particularly constantly approached. Have you ever asked permission to Jennifer? Have you ever asked Jennifer if you can use this image? Can you objectify it? And he wrote this as an open letter to John Noll. So I definitely stand in this tradition. I have to switch again because my strange software supports a lot of slides. And there is a long tradition of Caucasian women who use test cards as test pictures on TV. And in photography and TV it was used very intensively. Very beautiful women and and here is a picture of Teddy Smith who was the playgirl of the 1960s. Here is Lena J. Pack Lena was the playgirl in 1973 1972 and a researcher originally from Bangalore tried to write a paper about a new compression algorithm that he wanted to publish. I really met with a lot of enthusiasm. However, when he finally found out that it was really best when he used this test picture as a demonstration to test his premise of these CDs. Some people found this picture to demonstrate the compression and since then this picture is found again and again. For instance, if you go to Sonale you'll see a kebab printed out and you'll see these kind of blocky kebab parts. When you look at big pictures of Lena and you see the block artefact that comes from the J. Pack algorithm then it is based on how Lena used the picture of Lena. They had a self-built circuit band with three channels with red, green and red. The scanning mechanism was a little bit slower and the whole thing was relatively slow and it got a little bit thinner because some of the cells were lost during scanning. And the picture is only 512x512 pixels big from a medium archaeological view it is very rare. But it is also rare that this picture is the only picture with which everything was tested which is actually not meaningful because there are many different motifs with different parameters. And because only this one picture is used there may be even a racist undertone in the way J. Pack works because the colors that are represented are of course just a small selection. And that was not the end of these Caucasian test cards, test pictures. The webcams were only tested on white people and once they went to sale they didn't recognize faces of dark-skinned people. And Nikon also brought out products that had the same problem that only was tested with Caucasian people. And Nikon had the same problem that was tested on white people but not with dark-skinned people. And which also plays a role because I used my own face I clicked on these meanings. I showed my research archive I also showed the research archive of black and white I showed my archive of data and finally I could show the work when I do a lot of research on compressions I realize when I do a lot of research on compression when I enter into mathematics then I hang all my students with it. And I wanted to get to the point where I can press the emotion of the artist in the foreground again. So I have my work and the technology behind it that I work on. One of the works was DCT Siphoning. One of the works is DCT Siphoning. I play it quickly in the background. DCT is the discrete cosine transform one of the basic mathematical stories of JPEG. Anyway, in DCT Siphoning there are two blogs inspired by the idea of Flatlands. There is a device around an object in a flat land in Flatlands that has to learn about the structure of the room. And here it is about the complexity of the compression and we come here from points to lines to wavelets and to vector even leader JPEG and wavelet compression to leader applications. The little one sometimes gets really scared while the big one has a little fear and the big one takes both hands and tries to teach him. There are just lines and vectors. It's basically like people who learn something that they can't learn directly. And if we don't understand something then we throw it away then we ignore it. And I think it's really important just to to try to explain to try to understand or to explain if you throw it away if you do it on the side then I can't show the children here is something that you don't understand their compressions and their digital technology but it's about to make something visible from the compression to make the relationship. What I would like to say is the following statement that the institute for resolution research and white shadows there is the question every time we use our technology then we use these fixed picture solutions fixed by standards, for example through the ISO or other standardization institutions we have to ask who sets the standard who makes these standards and what we compromise you have met if we don't look at it then we can be blind for standards video is more than just the video there could be different types of videos you could put them together you could make a collage of videos you could have different soundtracks you could watch video is just a moving story the different types of levels but through the technological development we have met that a video has a fixed resolution and that's a reality that causes problems or problems for other people and that's why we have to ask who sets the standards and what we compromise who sets the shadows behind our technologies and our standards we use you have to call think about the future set it yourself it's not bound by your past we can create our own our own future we can create our own we can create our own videos that don't have to be two-dimensionals that's okay it's actually fun to get maybe maybe you even get a bad review and that's okay the work that I present you can download from my website the paper and I thank you and I would like to take your questions we have about two minutes for questions there are four microphones two on this side two on this side and microphone two please microphone two please thanks for the good talk it was good to see that these algorithms will be used in art I found out a few years ago that there is an optional way to compromise from jpeg instead of hofmann encoding you can use white encoding and that will be not supported by some browsers or not used and that also needs less bandwidth have you seen other encodings or other compression standards to use? maybe which one that uses more computing power I think one of my favorite artists is Ted Davis who lives in Basel and he breaks the jpeg compression down to the base units and and plays with the arithmetical encodings I didn't show this but I wanted to but in the end you are asking about jpegs but I will show you because you are asking about jpegs when I was fired by the institute it was used by the DCTs when I was fired they made it cryptography design awards and I thought now you fired me I will send you cryptography sign awards and I have my own decryption and design from encryption is quite strange what I have I have a macro block on a sign of the alphabet and I have a very bad message and guess who won this competition and I think they didn't know what this message is and a tenth of the prize should be in this computer and that is only a tenth of what I lost thank you a question myself because I did work in super resolution microscopy did you ever put into a high resolution microscopy did you ever touch that or did you ever work with moye patterns for me I have a little bit of the complexity of the compression of points to lines to biflates to the complexity of this complexity zip data of this Huffman coding and if you compare it then it becomes very universal a line environment in this line environment these two characters run through this line world and the little meeting on mores and it develops a little love relationship with the mores the exercise is always in understanding something that is more complex in the exercise it is always about understanding something more complex it is very simple with a line to fall in love with a block it is much more difficult to deal with a complex situation any question left I think we are out of time a big round of applause for our speaker Rosa Mengmann