[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.10,0:00:15.04,Default,,0000,0000,0000,,{\i1}34C3 preroll music{\i0}
Dialogue: 0,0:00:15.04,0:00:20.41,Default,,0000,0000,0000,,Herald: Resolution is always a compromise\Nwe have got used to. Why not talk about it
Dialogue: 0,0:00:20.41,0:00:25.48,Default,,0000,0000,0000,,again this is why the next talk is\Nentitled: "Institution for Resolution
Dialogue: 0,0:00:25.48,0:00:35.48,Default,,0000,0000,0000,,Disputes" and our speaker is Rosa Menkman\Na Dutch artist, curator and researcher, and
Dialogue: 0,0:00:35.48,0:00:42.86,Default,,0000,0000,0000,,founder of IRD or "the Institute of\Nresolution dispute". A big applause for
Dialogue: 0,0:00:42.86,0:00:45.96,Default,,0000,0000,0000,,Rosa, please. And the stage is yours!
Dialogue: 0,0:00:45.96,0:00:48.31,Default,,0000,0000,0000,,{\i1}applause{\i0}
Dialogue: 0,0:00:48.31,0:00:53.79,Default,,0000,0000,0000,,Rosa Menkman: Thank you. Thank you for\Nbeing here on this like - very late part
Dialogue: 0,0:00:53.79,0:00:59.43,Default,,0000,0000,0000,,of the whole conference and I mean when I\Nwas checking in everybody seemed so tired
Dialogue: 0,0:00:59.43,0:01:04.68,Default,,0000,0000,0000,,it was really funny to experience this\Nlike latency in everybody. So I'm Rosa
Dialogue: 0,0:01:04.68,0:01:08.90,Default,,0000,0000,0000,,Menkman, I'm from the Netherlands\Neverybody speaks German to me here, it's
Dialogue: 0,0:01:08.90,0:01:13.10,Default,,0000,0000,0000,,really funny because my name sounds German\Nbut actually when you say something in
Dialogue: 0,0:01:13.10,0:01:19.09,Default,,0000,0000,0000,,German I will speak back in English. But\Nplease speak to me when you want to.
Dialogue: 0,0:01:19.09,0:01:26.54,Default,,0000,0000,0000,,In 2015, I'm gonna talk from 2015 onwards,\NI was invited to be a research fellow in a
Dialogue: 0,0:01:26.54,0:01:31.05,Default,,0000,0000,0000,,big Institute in the Netherlands to do\Nresearch on resolutions and this was a
Dialogue: 0,0:01:31.05,0:01:36.32,Default,,0000,0000,0000,,huge honor for me and I dropped everything\Nin London where I used to live at the time
Dialogue: 0,0:01:36.32,0:01:40.82,Default,,0000,0000,0000,,and went and moved back to Amsterdam which\Nactually was not my favorite city in the
Dialogue: 0,0:01:40.82,0:01:47.26,Default,,0000,0000,0000,,world at all. So I went there and three\Ndays before my, my contract started which
Dialogue: 0,0:01:47.26,0:01:53.29,Default,,0000,0000,0000,,we had already signed like a month back\Nand everything: I was fired because the
Dialogue: 0,0:01:53.29,0:01:58.90,Default,,0000,0000,0000,,head of the department had looked into my\Naccreditation and my PhD that I was doing
Dialogue: 0,0:01:58.90,0:02:02.91,Default,,0000,0000,0000,,at the time, had started somewhere else\Nand had not the right accreditations since
Dialogue: 0,0:02:02.91,0:02:08.73,Default,,0000,0000,0000,,I ported it from Cologne to London and so\NI would have to revisit the whole
Dialogue: 0,0:02:08.73,0:02:14.03,Default,,0000,0000,0000,,institutional network and get my stuff\Nright in time to start. Now that was not
Dialogue: 0,0:02:14.03,0:02:19.78,Default,,0000,0000,0000,,possible. And so I was,... how do you say\Nthat "properly for a live stream". I was
Dialogue: 0,0:02:19.78,0:02:27.48,Default,,0000,0000,0000,,like dropped the kitty dead. So I got\Nreally,... how you say like - sad in
Dialogue: 0,0:02:27.48,0:02:34.93,Default,,0000,0000,0000,,Amsterdam. Alone, without a cause and kind\Nof angry with institutions and this is
Dialogue: 0,0:02:34.93,0:02:40.95,Default,,0000,0000,0000,,when at a certain time I got out of my\Ndarkness and went to the Californian
Dialogue: 0,0:02:40.95,0:02:46.13,Default,,0000,0000,0000,,desert to live alone in the middle of\Nnowhere and this talk will be about two
Dialogue: 0,0:02:46.13,0:02:52.60,Default,,0000,0000,0000,,works that I made, or two institutions,\Ntwo exhibitions: one is the institution
Dialogue: 0,0:02:52.60,0:02:58.20,Default,,0000,0000,0000,,institutes - like a double or a plural -\Nfor resolution disputes and then the
Dialogue: 0,0:02:58.20,0:03:03.17,Default,,0000,0000,0000,,second one which is kind of a more in-\Ndepth research is behind white shadows.
Dialogue: 0,0:03:03.17,0:03:10.19,Default,,0000,0000,0000,,And I made these and the research kind of\Nstarted in the deserts where I was looking
Dialogue: 0,0:03:10.19,0:03:14.58,Default,,0000,0000,0000,,from my house into this little village.\NYou have to imagine the desert there's not
Dialogue: 0,0:03:14.58,0:03:19.44,Default,,0000,0000,0000,,a lot but straight from my patio I could\Nsee this - this is from Google Street for
Dialogue: 0,0:03:19.44,0:03:23.71,Default,,0000,0000,0000,,you - so you can't really see it very well\Nbut this is a Little Baghdad and Little
Dialogue: 0,0:03:23.71,0:03:29.05,Default,,0000,0000,0000,,Baghdad as a military place where people\Nbomb the hell out of at night so you wake
Dialogue: 0,0:03:29.05,0:03:34.46,Default,,0000,0000,0000,,up you hear and feel this infrasounds then\Nyou know the military is having some fun
Dialogue: 0,0:03:34.46,0:03:41.38,Default,,0000,0000,0000,,or something like that.\NSo I was inspired by a research that was
Dialogue: 0,0:03:41.38,0:03:48.14,Default,,0000,0000,0000,,done in the zone by Trevor Paglen - Trevor\NPeglon you all should know is a Hacker and
Dialogue: 0,0:03:48.14,0:03:55.92,Default,,0000,0000,0000,,artist - political artist and technologist\Nand he made a work called "symbology".
Dialogue: 0,0:03:55.92,0:04:01.14,Default,,0000,0000,0000,,That's a research on all the military\Npatches in the U.S.A. He went to Area 51,
Dialogue: 0,0:04:01.14,0:04:06.78,Default,,0000,0000,0000,,drove around it and interviewed people to\Nsee what all those patches meant and he
Dialogue: 0,0:04:06.78,0:04:11.63,Default,,0000,0000,0000,,found out there is a secret language in\Nthese patches and so while I was there and
Dialogue: 0,0:04:11.63,0:04:18.58,Default,,0000,0000,0000,,I could see and hear and feel all these\Nsecret military operations I still had no
Dialogue: 0,0:04:18.58,0:04:25.49,Default,,0000,0000,0000,,idea what was happening so I was really\Ninspired by like not really understanding
Dialogue: 0,0:04:25.49,0:04:29.44,Default,,0000,0000,0000,,all the data, all the information, all the\Nfeelings you have while you're sitting on
Dialogue: 0,0:04:29.44,0:04:33.68,Default,,0000,0000,0000,,your patio. And this with the symbology\Nresearch made me to create these two
Dialogue: 0,0:04:33.68,0:04:38.54,Default,,0000,0000,0000,,patches which are kind of like the keys to\Ntwo works of the institutions: "Institutions
Dialogue: 0,0:04:38.54,0:04:43.95,Default,,0000,0000,0000,,for Resolution Disputes" and "Behind the\NWhite Shadows". One is the black on black
Dialogue: 0,0:04:43.95,0:04:50.26,Default,,0000,0000,0000,,patch which is an encrypted patch and the\Nsecond one is a white on white patch and
Dialogue: 0,0:04:50.26,0:04:58.51,Default,,0000,0000,0000,,it glows in the dark, because I like that.\NWith this started also because you know
Dialogue: 0,0:04:58.51,0:05:02.67,Default,,0000,0000,0000,,the Institute had dropped me but I still\Nwanted to do my research. I started to do
Dialogue: 0,0:05:02.67,0:05:07.84,Default,,0000,0000,0000,,it by myself and I started to call it\N"Beyond Resolution" mostly because I was
Dialogue: 0,0:05:07.84,0:05:12.24,Default,,0000,0000,0000,,dropped from the school but also because\Nyou know I wanted to understand what was
Dialogue: 0,0:05:12.24,0:05:16.68,Default,,0000,0000,0000,,happening between these things that I can\Nsense but that are not resolved for me to
Dialogue: 0,0:05:16.68,0:05:21.71,Default,,0000,0000,0000,,be read. So I started this "beyond\Nresolutions" the website and I research
Dialogue: 0,0:05:21.71,0:05:27.32,Default,,0000,0000,0000,,resolutions from vernacular, a habitual,\Ngenealogical, a tactical and a skill
Dialogue: 0,0:05:27.32,0:05:31.77,Default,,0000,0000,0000,,perspective. So I think these are five\Nvery interesting ways to break resolutions
Dialogue: 0,0:05:31.77,0:05:38.59,Default,,0000,0000,0000,,down and to understand that resolutions\Nare not always ways to "solve" an image, a
Dialogue: 0,0:05:38.59,0:05:44.10,Default,,0000,0000,0000,,text, whatever. But also a way to\Ncompromise certain data and to not be able
Dialogue: 0,0:05:44.10,0:05:49.65,Default,,0000,0000,0000,,to understand it, to make things\Nunintelligible or to obfuscate or even cut
Dialogue: 0,0:05:49.65,0:05:56.11,Default,,0000,0000,0000,,out particular pieces of information. So\Nthis was not the first time I had a fight
Dialogue: 0,0:05:56.11,0:06:02.28,Default,,0000,0000,0000,,with an institutional network. When I was\Nyoung already, I was really inspired by,
Dialogue: 0,0:06:02.28,0:06:07.02,Default,,0000,0000,0000,,you know like all kids actually, I was\Ninspired by the universe and specifically
Dialogue: 0,0:06:07.02,0:06:11.68,Default,,0000,0000,0000,,sound in space and I wanted to research\Nsound in space but my teacher told me it's
Dialogue: 0,0:06:11.68,0:06:16.38,Default,,0000,0000,0000,,not possible because there is no sound in\Nspace. Only years later I found out that
Dialogue: 0,0:06:16.38,0:06:20.55,Default,,0000,0000,0000,,there is actually sound in space. You need\Nto just transcode it in the right way. You
Dialogue: 0,0:06:20.55,0:06:24.45,Default,,0000,0000,0000,,can transcode specific frequencies and\Nthat's when I started to understand
Dialogue: 0,0:06:24.45,0:06:28.90,Default,,0000,0000,0000,,there's much more to data than just the\Nways we normally show it, so I have
Dialogue: 0,0:06:28.90,0:06:33.47,Default,,0000,0000,0000,,started in my classes to explain to my\Nkids I've been teaching this year to
Dialogue: 0,0:06:33.47,0:06:38.51,Default,,0000,0000,0000,,colloquia here in Germany and also some in\Nother countries, just visiting
Dialogue: 0,0:06:38.51,0:06:43.22,Default,,0000,0000,0000,,lectureships there. I was starting to\Nteach about the rheology of data. A
Dialogue: 0,0:06:43.22,0:06:51.25,Default,,0000,0000,0000,,rheology is a term from physics and it\Nmeans kind of the fluidity of matter and
Dialogue: 0,0:06:51.25,0:06:56.70,Default,,0000,0000,0000,,the siphoning of data so here you see you\Nknow just a normal spectrum that you can
Dialogue: 0,0:06:56.70,0:07:00.84,Default,,0000,0000,0000,,listen to but you also see a little\Nrainbow - very simplified rainbow - and I
Dialogue: 0,0:07:00.84,0:07:05.42,Default,,0000,0000,0000,,teach my kids in one of the first classes\Nthat you can actually listen to rainbows
Dialogue: 0,0:07:05.42,0:07:09.36,Default,,0000,0000,0000,,if you just sonofy them and what that\Nmeans because there's a whole political
Dialogue: 0,0:07:09.36,0:07:16.86,Default,,0000,0000,0000,,field here in medicine and in big data\Nresearch sometimes so sonofing certain
Dialogue: 0,0:07:16.86,0:07:22.76,Default,,0000,0000,0000,,pieces of data gives us a completely new\Ninsight. This year I had to teach a class
Dialogue: 0,0:07:22.76,0:07:28.40,Default,,0000,0000,0000,,of painters and they don't do computation\Nat all. They're actually scared of it: one
Dialogue: 0,0:07:28.40,0:07:33.13,Default,,0000,0000,0000,,of the kids told me a "but you know, you\Nmake arts or you make artistic work with
Dialogue: 0,0:07:33.13,0:07:38.38,Default,,0000,0000,0000,,your computation, how do you find emotions\Nin that? How can you - I mean it's not
Dialogue: 0,0:07:38.38,0:07:44.57,Default,,0000,0000,0000,,possible computers are without analysis,\Nwhere is actually the emotion in paint? You
Dialogue: 0,0:07:44.57,0:07:48.29,Default,,0000,0000,0000,,know you put it in there". so I have all\Nthese like very basic problems that I
Dialogue: 0,0:07:48.29,0:07:52.18,Default,,0000,0000,0000,,encounter when I teach these kids about\Nvery complex ways of thinking about your
Dialogue: 0,0:07:52.18,0:07:57.81,Default,,0000,0000,0000,,data or complex or maybe so not complex\Nthat it becomes complex for them like
Dialogue: 0,0:07:57.81,0:08:01.80,Default,,0000,0000,0000,,taking away all the institutional\Nframeworks and really going to the core
Dialogue: 0,0:08:01.80,0:08:08.30,Default,,0000,0000,0000,,and how can you translate them- So this is\Na work by Beflix and I try to use it as an
Dialogue: 0,0:08:08.30,0:08:13.65,Default,,0000,0000,0000,,example of how data and painting can come\Ntogether this is a string of data that he
Dialogue: 0,0:08:13.65,0:08:18.99,Default,,0000,0000,0000,,painted on a piece of fabric, but then he\Ngives you the program that can be any
Dialogue: 0,0:08:18.99,0:08:22.90,Default,,0000,0000,0000,,object and you can wrap it around the\Nobject and then it becomes a painting
Dialogue: 0,0:08:22.90,0:08:27.65,Default,,0000,0000,0000,,depending on the program that, you know,\Nshows that that piece of data. I think
Dialogue: 0,0:08:27.65,0:08:33.18,Default,,0000,0000,0000,,it's a very interesting way to connect the\Nmateriality of paint and the materiality
Dialogue: 0,0:08:33.18,0:08:37.50,Default,,0000,0000,0000,,of data and to kind of bridge the gap and\NI'm kind of explaining these things also
Dialogue: 0,0:08:37.50,0:08:42.37,Default,,0000,0000,0000,,because I think all of us are educators in\Na certain way. Specifically if you're a
Dialogue: 0,0:08:42.37,0:08:45.88,Default,,0000,0000,0000,,hacker you're dealing a lot with opening\Nup information and trying to make it like
Dialogue: 0,0:08:45.88,0:08:51.85,Default,,0000,0000,0000,,understandable for other people or yeah\Nobfuscated then you have to understand how
Dialogue: 0,0:08:51.85,0:08:58.02,Default,,0000,0000,0000,,other people read it. So what I'm trying\Nto do is also give you some problems that
Dialogue: 0,0:08:58.02,0:09:02.71,Default,,0000,0000,0000,,I've been running into while I've been\Nteaching this whole year like crazy to
Dialogue: 0,0:09:02.71,0:09:06.76,Default,,0000,0000,0000,,make some side money since I have no more\Nmoney. Now you've been thinking probably
Dialogue: 0,0:09:06.76,0:09:11.55,Default,,0000,0000,0000,,like "What is this crazy presentation\Nshe's giving with the clouds and weird
Dialogue: 0,0:09:11.55,0:09:19.32,Default,,0000,0000,0000,,slides?". It's part of a work that I've\Nmade a few - wait I have to go to here -
Dialogue: 0,0:09:19.32,0:09:24.85,Default,,0000,0000,0000,,yeah it's a 3d work it was inspired by\Nwork that was called "compressed process"
Dialogue: 0,0:09:24.85,0:09:29.99,Default,,0000,0000,0000,,it was a way to get my videos out of the\Nquadrilateral frame because one way that
Dialogue: 0,0:09:29.99,0:09:35.15,Default,,0000,0000,0000,,resolutions make us think about our media\Nis the way they are embedded so if I put
Dialogue: 0,0:09:35.15,0:09:39.90,Default,,0000,0000,0000,,my video for instance on Vimeo I know it's\Na work of video that I can probably skip
Dialogue: 0,0:09:39.90,0:09:44.79,Default,,0000,0000,0000,,through. If I want to make a piece of\Nvideo arts and I want to really think
Dialogue: 0,0:09:44.79,0:09:51.24,Default,,0000,0000,0000,,about materiality of that piece of video\Narts and then put it on Vimeo I kind of
Dialogue: 0,0:09:51.24,0:09:55.98,Default,,0000,0000,0000,,defeat this purpose, right? It becomes\Nthis like really boring object that I mean
Dialogue: 0,0:09:55.98,0:10:03.17,Default,,0000,0000,0000,,if I watch a video art online which I\Nrarely do but if I do it I skip every 15
Dialogue: 0,0:10:03.17,0:10:08.64,Default,,0000,0000,0000,,seconds or maybe minutes. I mean if I look\Nthrough my own videos on Vimeo then I have
Dialogue: 0,0:10:08.64,0:10:12.19,Default,,0000,0000,0000,,hardly any full place. So I started to\Nfeel really like this is defeating the
Dialogue: 0,0:10:12.19,0:10:16.69,Default,,0000,0000,0000,,purpose of my research. So starting to\Nmake applications to put videos in: to
Dialogue: 0,0:10:16.69,0:10:23.78,Default,,0000,0000,0000,,make weird slideshow things and this is a\Nwork that I released and I release it and
Dialogue: 0,0:10:23.78,0:10:29.69,Default,,0000,0000,0000,,got a really WIRED review by WIRED Germany\N- thank you very much. and they said:
Dialogue: 0,0:10:29.69,0:10:34.96,Default,,0000,0000,0000,,"it's a flop as a video game: it's super\Nannoying" now I was just making a piece of
Dialogue: 0,0:10:34.96,0:10:40.52,Default,,0000,0000,0000,,video art in a 3d environment but what I\Nrealized is that you can never escape your
Dialogue: 0,0:10:40.52,0:10:47.09,Default,,0000,0000,0000,,resolution. Video is what is in a flat\Nscreen: the moment I put my videos in 3d
Dialogue: 0,0:10:47.09,0:10:51.84,Default,,0000,0000,0000,,as a texture that you can navigate: it\Nbecomes a video game even if there's no
Dialogue: 0,0:10:51.84,0:10:57.52,Default,,0000,0000,0000,,goal but just to watch some silly stuff\Nfloat around: so you can never escape your
Dialogue: 0,0:10:57.52,0:11:02.01,Default,,0000,0000,0000,,resolutions every time you're\Ndeconstructing a resolution, you're also
Dialogue: 0,0:11:02.01,0:11:08.15,Default,,0000,0000,0000,,reconstructing a new resolution so you're\Nalways building compromises and debuilding
Dialogue: 0,0:11:08.15,0:11:15.85,Default,,0000,0000,0000,,compromises. So that said, I was really\Nannoyed with the Institute that fired me
Dialogue: 0,0:11:15.85,0:11:20.52,Default,,0000,0000,0000,,and I started the "Institutions for\NResolution Disputes" and this was really
Dialogue: 0,0:11:20.52,0:11:26.69,Default,,0000,0000,0000,,to show them like "Look: I want to win\Nfrom you" - basically I don't know how to
Dialogue: 0,0:11:26.69,0:11:31.82,Default,,0000,0000,0000,,say this properly. I will skip a few\Nslides because I am going through time
Dialogue: 0,0:11:31.82,0:11:38.88,Default,,0000,0000,0000,,very fast. This is a resolution target:\NI'm using this slide because this is
Dialogue: 0,0:11:38.88,0:11:45.32,Default,,0000,0000,0000,,actually an aerial photography target from\N1951 for analog photography. It was used
Dialogue: 0,0:11:45.32,0:11:53.70,Default,,0000,0000,0000,,also in the Californian desert by the\NAmerican military I was living two hours
Dialogue: 0,0:11:53.70,0:11:58.23,Default,,0000,0000,0000,,drive away from this, so one day I drove\Nthrough the desert in my little car and
Dialogue: 0,0:11:58.23,0:12:03.72,Default,,0000,0000,0000,,almost got stuck but I survived and I saw\Nit and realized later that there is a work
Dialogue: 0,0:12:03.72,0:12:07.41,Default,,0000,0000,0000,,by Hito Steyerl inspired by this pattern.\NAnd it's beautiful and all about
Dialogue: 0,0:12:07.41,0:12:12.39,Default,,0000,0000,0000,,resolutions and in this work she is\Nsaying: "this is a resolution target. It
Dialogue: 0,0:12:12.39,0:12:17.62,Default,,0000,0000,0000,,measures the resolution of the world as a\Npicture, resolution determines visibility
Dialogue: 0,0:12:17.62,0:12:24.97,Default,,0000,0000,0000,,whatever is not captured by resolution is\Ninvisible and what I'm trying to do is
Dialogue: 0,0:12:24.97,0:12:31.12,Default,,0000,0000,0000,,expand the visibility and make things\Nvisible that are normally not visible". I
Dialogue: 0,0:12:31.12,0:12:39.33,Default,,0000,0000,0000,,gonna skip a few slides and go to a work\Nthat I made when I was finally coming back
Dialogue: 0,0:12:39.33,0:12:43.64,Default,,0000,0000,0000,,from the desert and invited by Transfer\NGallery in New York to make a solo show
Dialogue: 0,0:12:43.64,0:12:54.98,Default,,0000,0000,0000,,about my anger. At that time I was\Nactually approached by the Museum of
Dialogue: 0,0:12:54.98,0:12:59.28,Default,,0000,0000,0000,,Modern Art in Amsterdam to buy a big work\Nof mine "venacular file format" - it's a
Dialogue: 0,0:12:59.28,0:13:06.19,Default,,0000,0000,0000,,work that kind of deconstructs different\Nkinds of compression languages and shows
Dialogue: 0,0:13:06.19,0:13:10.20,Default,,0000,0000,0000,,what is the basis and the politics of\Nthese compressions so I used the same
Dialogue: 0,0:13:10.20,0:13:15.34,Default,,0000,0000,0000,,image I put a similar glitch in it or\Nsimilar data abstraction and see what
Dialogue: 0,0:13:15.34,0:13:19.81,Default,,0000,0000,0000,,comes out and by this, these aesthetics\Nthat come out on the surface, I try to
Dialogue: 0,0:13:19.81,0:13:24.38,Default,,0000,0000,0000,,explain how this compressions are built.\NWhen the museum wanted to buy it they
Dialogue: 0,0:13:24.38,0:13:30.97,Default,,0000,0000,0000,,wanted to buy the research archive which\Nmeans 16 gigabytes of broken data
Dialogue: 0,0:13:30.97,0:13:36.70,Default,,0000,0000,0000,,basically all put into folders of like\Nthis is a JPEG when it's broken like this.
Dialogue: 0,0:13:36.70,0:13:42.78,Default,,0000,0000,0000,,So what do you do when you sell 16\Ngigabytes of broken data and how do you
Dialogue: 0,0:13:42.78,0:13:50.64,Default,,0000,0000,0000,,show it? I started to research what else\Nwas happening in this work. I'm going to
Dialogue: 0,0:13:50.64,0:13:58.100,Default,,0000,0000,0000,,boot up a new presentation because\Nunfortunately,... yeah I started to
Dialogue: 0,0:13:58.100,0:14:05.97,Default,,0000,0000,0000,,realize that my work actually has lived\Nbeyond this particular research. This is
Dialogue: 0,0:14:05.97,0:14:11.05,Default,,0000,0000,0000,,also my face but I started to see it in\Nmany places I started to see it on
Dialogue: 0,0:14:11.05,0:14:17.48,Default,,0000,0000,0000,,teacups, I started to see it on sweaters,\Na lot of glitch iPhone and Android apps
Dialogue: 0,0:14:17.48,0:14:21.74,Default,,0000,0000,0000,,use it as their icon, I started to see\Nthat people used my face and clicked on it
Dialogue: 0,0:14:21.74,0:14:26.61,Default,,0000,0000,0000,,and then they were making a glitch. So\Nthis work expanded from its research
Dialogue: 0,0:14:26.61,0:14:32.69,Default,,0000,0000,0000,,archive and the PDF that was constructed\Nout of it to something completely copied
Dialogue: 0,0:14:32.69,0:14:39.43,Default,,0000,0000,0000,,without copyright and commodified and\Nstrange for me. I lost my own face in a
Dialogue: 0,0:14:39.43,0:14:44.45,Default,,0000,0000,0000,,way and then I started to realize that -\Nthis is not - I'm not the only one that
Dialogue: 0,0:14:44.45,0:14:51.98,Default,,0000,0000,0000,,has lost their face so I did a little bit\Nof research and found for instance this
Dialogue: 0,0:14:51.98,0:14:55.68,Default,,0000,0000,0000,,work by James Bridle, who's been doing\Nresearch on the render ghosts. If you're
Dialogue: 0,0:14:55.68,0:15:01.39,Default,,0000,0000,0000,,walking through London and you see all\Nthese billboards of new architectural
Dialogue: 0,0:15:01.39,0:15:05.100,Default,,0000,0000,0000,,constructions being built then you always\Nhave these render ghosts put inside of
Dialogue: 0,0:15:05.100,0:15:11.83,Default,,0000,0000,0000,,them. And he made a whole archive of\Ntrying to understand who these people are.
Dialogue: 0,0:15:11.83,0:15:17.80,Default,,0000,0000,0000,,This is his render research blog in which\Nhe has a whole archive of different kinds
Dialogue: 0,0:15:17.80,0:15:24.10,Default,,0000,0000,0000,,of people and when he finally researched\Nwhere these people came from he came to a
Dialogue: 0,0:15:24.10,0:15:31.56,Default,,0000,0000,0000,,kind of a company that sells render BOTS\Nor render images that were based in New
Dialogue: 0,0:15:31.56,0:15:36.07,Default,,0000,0000,0000,,Mexico. And so he went to New Mexico to\Nsee if you could find these people and to
Dialogue: 0,0:15:36.07,0:15:42.59,Default,,0000,0000,0000,,ask did anybody ask you if they could use\Nyour face. But he found nobody that looked
Dialogue: 0,0:15:42.59,0:15:48.91,Default,,0000,0000,0000,,like these people of course - of course -\Nbecause... Finally he found somebody in a
Dialogue: 0,0:15:48.91,0:15:53.04,Default,,0000,0000,0000,,bar that told them like look if you really\Nlook close to these people they really
Dialogue: 0,0:15:53.04,0:15:58.15,Default,,0000,0000,0000,,don't look like people in New Mexico these\Nare fancy people and most of them are -
Dialogue: 0,0:15:58.15,0:16:02.75,Default,,0000,0000,0000,,maybe Asian - but definitely not very much\Nlooking like the people that walk the
Dialogue: 0,0:16:02.75,0:16:09.27,Default,,0000,0000,0000,,streets of New Mexico and finally he never\Ngot the answer but he did realize that
Dialogue: 0,0:16:09.27,0:16:14.07,Default,,0000,0000,0000,,these people were probably never asked to\Nbe used. So this is one example of the
Dialogue: 0,0:16:14.07,0:16:20.52,Default,,0000,0000,0000,,line in which I've seen this kind of co-\Noptation of or objectification of humans.
Dialogue: 0,0:16:20.52,0:16:27.43,Default,,0000,0000,0000,,This is a research by Constant Dullart, he\Npresented it in the 32c3. It's called
Dialogue: 0,0:16:27.43,0:16:33.51,Default,,0000,0000,0000,,"Jennifer in Paradise". It's part of "a\Npossibility of an army talk". If you ever
Dialogue: 0,0:16:33.51,0:16:37.81,Default,,0000,0000,0000,,want to look it back it's a beautiful\Ntalk. Here Constant found the photo of
Dialogue: 0,0:16:37.81,0:16:44.12,Default,,0000,0000,0000,,Jennifer. Jennifer was the soon-to-be wife\Nof John Knoll the programmer of Photoshop
Dialogue: 0,0:16:44.12,0:16:50.56,Default,,0000,0000,0000,,and John tried to test his Photoshop\Nsoftware on an image and that image was
Dialogue: 0,0:16:50.56,0:16:57.69,Default,,0000,0000,0000,,the image of his - not so very properly\Ndressed girlfriend Jennifer at the time
Dialogue: 0,0:16:57.69,0:17:04.28,Default,,0000,0000,0000,,and one of the lines that I think are most\Nstriking of this work is when he says "did
Dialogue: 0,0:17:04.28,0:17:11.15,Default,,0000,0000,0000,,you ever ask permission to Jennifer? Do\Nyou realize that you're objectifying your
Dialogue: 0,0:17:11.15,0:17:17.16,Default,,0000,0000,0000,,own soon-to-be wife?". It's an open letter\Nto Jennifer but there are some remarks in
Dialogue: 0,0:17:17.16,0:17:23.70,Default,,0000,0000,0000,,an other article in which he says these\Nthings. So I realized I mean this
Dialogue: 0,0:17:23.70,0:17:31.31,Default,,0000,0000,0000,,tradition but worse even.. switching again\Nbecause there's not I cannot port a lot of
Dialogue: 0,0:17:31.31,0:17:37.82,Default,,0000,0000,0000,,slides in my strangely build software.\NPart of a more longer tradition or a
Dialogue: 0,0:17:37.82,0:17:44.35,Default,,0000,0000,0000,,longer tradition of Caucasian test carts\Nwhile I was using my face as a test card
Dialogue: 0,0:17:44.35,0:17:50.62,Default,,0000,0000,0000,,for glitch so how do images fall apart -\Nthere's actually a long tradition of the
Dialogue: 0,0:17:50.62,0:17:56.71,Default,,0000,0000,0000,,use of the white face or the white model\Nin photography and other image processing
Dialogue: 0,0:17:56.71,0:18:05.36,Default,,0000,0000,0000,,technologies. So here are some "normal"\Ntest images these are very pretty ladies.
Dialogue: 0,0:18:05.36,0:18:12.88,Default,,0000,0000,0000,,Here is an image of Teddy. Her name is\NTeddy Smith she was the Playboy centerfold
Dialogue: 0,0:18:12.88,0:18:23.04,Default,,0000,0000,0000,,of the 1960s and she was used for a paper\Non theatre. Here is Lena.jpg. Lena was a
Dialogue: 0,0:18:23.04,0:18:33.67,Default,,0000,0000,0000,,Playboy centerfold of 1973 and when in\N1972 and then in 1973 Nasarah Met a
Dialogue: 0,0:18:33.67,0:18:38.38,Default,,0000,0000,0000,,researcher originally from Bangalore tried\Nto write about a new compression standard
Dialogue: 0,0:18:38.38,0:18:46.01,Default,,0000,0000,0000,,using DCT - discrete cosine transform -\Nwhich became later the basis of JPEG he
Dialogue: 0,0:18:46.01,0:18:50.86,Default,,0000,0000,0000,,was not really met with a lot of\Nenthusiasm. However when he finally did
Dialogue: 0,0:18:50.86,0:18:56.83,Default,,0000,0000,0000,,publish his paper on DCT. California\Npicked up really fast and in one of the
Dialogue: 0,0:18:56.83,0:19:06.79,Default,,0000,0000,0000,,labs a few guys found an image to test his\Npremise of the DCTs and this was Lena. And
Dialogue: 0,0:19:06.79,0:19:12.04,Default,,0000,0000,0000,,Lena was the basis of the compressions\Nthat we still use most often in art. If
Dialogue: 0,0:19:12.04,0:19:16.40,Default,,0000,0000,0000,,you walk through for instance the kebab or\Nwhatever and you see these big photos of
Dialogue: 0,0:19:16.40,0:19:21.60,Default,,0000,0000,0000,,kebabs on on the front of the for instance\Nif you go to Sonnalae you will see a kebab
Dialogue: 0,0:19:21.60,0:19:27.20,Default,,0000,0000,0000,,printed out really big and you serious\Nlike kind of blocky kebab parts that is a
Dialogue: 0,0:19:27.20,0:19:35.33,Default,,0000,0000,0000,,block that has been tested on Lena but\Nonly tested on Lena.So the people in this
Dialogue: 0,0:19:35.33,0:19:42.16,Default,,0000,0000,0000,,particular research place they were using\Nan image of the 1972 centerfolds scanned
Dialogue: 0,0:19:42.16,0:19:48.08,Default,,0000,0000,0000,,it in with their own Moorhead scanner.\NThey had a self-built circuit bent
Dialogue: 0,0:19:48.08,0:19:51.79,Default,,0000,0000,0000,,Moorhead scanner with three channels a\Nred, green and blue, but one of the
Dialogue: 0,0:19:51.79,0:19:57.99,Default,,0000,0000,0000,,channels or one of the that the scanning\Nmechanisms was a little bit slower. So
Dialogue: 0,0:19:57.99,0:20:01.69,Default,,0000,0000,0000,,they lost one line - she got a little bit\Nthinner even in the photo so she looked a
Dialogue: 0,0:20:01.69,0:20:11.08,Default,,0000,0000,0000,,little bit better and they used only this\Nphoto it's 512 by 512 pixels. So from a
Dialogue: 0,0:20:11.08,0:20:15.96,Default,,0000,0000,0000,,media archaeological perspective this is a\Nvery strange object but also if you think
Dialogue: 0,0:20:15.96,0:20:22.92,Default,,0000,0000,0000,,about politics they use just this image as\Na one-size-fits-all, but compression in our
Dialogue: 0,0:20:22.92,0:20:28.12,Default,,0000,0000,0000,,daily lives is not one-size-fits-all. It's\Nnot "physics it's just physics" we're
Dialogue: 0,0:20:28.12,0:20:33.33,Default,,0000,0000,0000,,using different objects to compress our\Nimages with. So what would it mean if we
Dialogue: 0,0:20:33.33,0:20:39.68,Default,,0000,0000,0000,,now use still the Lena compression when\Nit's just another kind of image is there
Dialogue: 0,0:20:39.68,0:20:45.74,Default,,0000,0000,0000,,maybe a racist undertone in this kind of\Ncompression? There was a lot of research
Dialogue: 0,0:20:45.74,0:20:53.50,Default,,0000,0000,0000,,and a lot of like kind of like.. not anger,\Nbut, like, criticism from mostly the female
Dialogue: 0,0:20:53.50,0:21:00.83,Default,,0000,0000,0000,,community. Finally this is not the end of\Nthe Caucasian test card, we still have
Dialogue: 0,0:21:00.83,0:21:11.86,Default,,0000,0000,0000,,this kind of usage of white images in all\Nour technologies for instance in the HP
Dialogue: 0,0:21:11.86,0:21:19.28,Default,,0000,0000,0000,,webcams a few years ago. They were only\Ntested on white people and once they went
Dialogue: 0,0:21:19.28,0:21:27.23,Default,,0000,0000,0000,,to sales, to retail they would not track any\Nblack images and any black faces because
Dialogue: 0,0:21:27.23,0:21:32.25,Default,,0000,0000,0000,,they were never tested on this. There was\Nalso the Nikon Coolpix Camera that always
Dialogue: 0,0:21:32.25,0:21:39.21,Default,,0000,0000,0000,,would ask Asian features: "Are you maybe\Nclosing your eyes?". So they were never
Dialogue: 0,0:21:39.21,0:21:45.73,Default,,0000,0000,0000,,tested on any but Caucasian faces so this\Nwhole history of using a Caucasian test
Dialogue: 0,0:21:45.73,0:21:50.58,Default,,0000,0000,0000,,object is still apparent in everyday\Ntechnologies. And it's really problematic
Dialogue: 0,0:21:50.58,0:21:55.91,Default,,0000,0000,0000,,and I realized that I kind of -\Nunknowingly - kind of was playing a role
Dialogue: 0,0:21:55.91,0:22:00.69,Default,,0000,0000,0000,,in this by also using my own face and\Nletting this be the face for
Dialogue: 0,0:22:00.69,0:22:10.28,Default,,0000,0000,0000,,deconstructing facial or vernacular file\Nformats the compression of images. So by
Dialogue: 0,0:22:10.28,0:22:16.00,Default,,0000,0000,0000,,behind the white shadows I showed my\Nresearch archive I also showed the
Dialogue: 0,0:22:16.00,0:22:24.06,Default,,0000,0000,0000,,research archive of other image,... images\Nthat used by Caucasian females. And I
Dialogue: 0,0:22:24.06,0:22:33.01,Default,,0000,0000,0000,,finally showed the work that I made for\Nthe whole... I said when I do a lot of
Dialogue: 0,0:22:33.01,0:22:40.00,Default,,0000,0000,0000,,research on compressions I realised that\Nwhen I try to explain it often when I
Dialogue: 0,0:22:40.00,0:22:44.43,Default,,0000,0000,0000,,really got into the mathematics I lose my\Nstudents completely. So I was starting to
Dialogue: 0,0:22:44.43,0:22:49.95,Default,,0000,0000,0000,,try to build kind of works that would not\Njust be mathematical but try to get the
Dialogue: 0,0:22:49.95,0:22:55.79,Default,,0000,0000,0000,,emotions that the painters wanted in my\Nwork back and so I started to kind of
Dialogue: 0,0:22:55.79,0:23:02.43,Default,,0000,0000,0000,,anthropomorphize my object. So for\Ninstance JPEGs are built out of blocks. I
Dialogue: 0,0:23:02.43,0:23:06.87,Default,,0000,0000,0000,,started to really make works in which the\Nblocks works talking about the experience
Dialogue: 0,0:23:06.87,0:23:16.15,Default,,0000,0000,0000,,of compressing a particular image. One of\Nthe works was DCT siphoning. I will play
Dialogue: 0,0:23:16.15,0:23:27.32,Default,,0000,0000,0000,,it in the background really quickly - if\Nit wants to. Yeah, there it is: So that
Dialogue: 0,0:23:27.32,0:23:30.45,Default,,0000,0000,0000,,doesn't really want to play but that\Ndoesn't it's because it's also playing on
Dialogue: 0,0:23:30.45,0:23:36.38,Default,,0000,0000,0000,,my own screen. Anyway: In DCT siphoning\Nthere is two blocks it's inspired by the
Dialogue: 0,0:23:36.38,0:23:45.51,Default,,0000,0000,0000,,Roman flatland by James Abbott. And in\Nflatland there's an object in a flatland
Dialogue: 0,0:23:45.51,0:23:50.64,Default,,0000,0000,0000,,that has to learn about different\Ncomplexities of space, Euclidean space. In
Dialogue: 0,0:23:50.64,0:23:55.86,Default,,0000,0000,0000,,this particular inspiration I'm taking two\Nblocks that have to learn about different
Dialogue: 0,0:23:55.86,0:24:00.79,Default,,0000,0000,0000,,complexities of compression so they go\Nfrom the dots to pixels to the lines which
Dialogue: 0,0:24:00.79,0:24:05.93,Default,,0000,0000,0000,,are for instance the basis of GIFs to the\Nblocks their own space for JPEGs to
Dialogue: 0,0:24:05.93,0:24:13.27,Default,,0000,0000,0000,,wavelets and to vector objects or even\Nlidar technologies. And they experience it
Dialogue: 0,0:24:13.27,0:24:20.18,Default,,0000,0000,0000,,how humans would experience it. The little\None sometimes gets really scared, while
Dialogue: 0,0:24:20.18,0:24:25.44,Default,,0000,0000,0000,,the big one kind of knows what to expect\Nand tries to hold him by the hand and
Dialogue: 0,0:24:25.44,0:24:29.28,Default,,0000,0000,0000,,tries to explain like look you don't have\Nto be scared here: It's just lines, it's
Dialogue: 0,0:24:29.28,0:24:35.75,Default,,0000,0000,0000,,just vectors etc. So it's kind of like,\Nhow humans experience things that they
Dialogue: 0,0:24:35.75,0:24:42.22,Default,,0000,0000,0000,,cannot read that are a eligible to them\Nand how when we see something that we
Dialogue: 0,0:24:42.22,0:24:50.26,Default,,0000,0000,0000,,cannot understand, often just dismiss it\Nand don't want to read it and I find this
Dialogue: 0,0:24:50.26,0:25:02.48,Default,,0000,0000,0000,,really important. And I think also just\Nto... to try to explain that when you
Dialogue: 0,0:25:02.48,0:25:06.68,Default,,0000,0000,0000,,dismiss stuff, you're dismissing actually\Na piece of information. It might be really
Dialogue: 0,0:25:06.68,0:25:11.62,Default,,0000,0000,0000,,important and it might be eligible, I\Ncannot just show the kids that I'm
Dialogue: 0,0:25:11.62,0:25:15.23,Default,,0000,0000,0000,,teaching like "Look, there is something\Nyou just don't understand it" so what I'm
Dialogue: 0,0:25:15.23,0:25:20.55,Default,,0000,0000,0000,,trying to do is build these works to show\Nhow they are acting towards their
Dialogue: 0,0:25:20.55,0:25:24.05,Default,,0000,0000,0000,,compressions and there are digital\Ntechnologies and explain them like "Look,
Dialogue: 0,0:25:24.05,0:25:33.28,Default,,0000,0000,0000,,you're acting just like this little block\Nthat runs away from the compression". So
Dialogue: 0,0:25:33.28,0:25:39.87,Default,,0000,0000,0000,,what I wanted to close with is the\Nconclusion of the two exhibitions: The
Dialogue: 0,0:25:39.87,0:25:45.61,Default,,0000,0000,0000,,"Institutions of Resolution Disputes" and\N"Behind White Shadows" and that's the
Dialogue: 0,0:25:45.61,0:25:50.97,Default,,0000,0000,0000,,question: every time we're using\Ntechnologies they're following particular
Dialogue: 0,0:25:50.97,0:25:58.77,Default,,0000,0000,0000,,resolutions - resolution sets through\Nstandards for instance by the ISO or other
Dialogue: 0,0:25:58.77,0:26:05.89,Default,,0000,0000,0000,,standardizing institutions. We have to\Nalways ask who set these standards, who
Dialogue: 0,0:26:05.89,0:26:11.44,Default,,0000,0000,0000,,made these resolutions and what are they\Ncompromising. Because if we're not asking
Dialogue: 0,0:26:11.44,0:26:16.37,Default,,0000,0000,0000,,what are they compromising we might become\Nblind to other options. For instance,
Dialogue: 0,0:26:16.37,0:26:21.26,Default,,0000,0000,0000,,video is not just the quadrilateral\Nobject, right? if video would be something
Dialogue: 0,0:26:21.26,0:26:25.96,Default,,0000,0000,0000,,more than just what's happening within\Nthis quadrilateral frame, this window,
Dialogue: 0,0:26:25.96,0:26:29.68,Default,,0000,0000,0000,,then I would have different, I could make\Ndifferent shapes of video. I could put
Dialogue: 0,0:26:29.68,0:26:33.59,Default,,0000,0000,0000,,them on top of each other I could make\Ncollage of videos that would have
Dialogue: 0,0:26:33.59,0:26:37.35,Default,,0000,0000,0000,,different timelines and different\Nsoundtracks and I could really play with
Dialogue: 0,0:26:37.35,0:26:43.25,Default,,0000,0000,0000,,what video also is. Because in the end\Nvideo is just a moving story that can have
Dialogue: 0,0:26:43.25,0:26:47.86,Default,,0000,0000,0000,,different levels. But because of computer\Ntechnologies and other technologies before
Dialogue: 0,0:26:47.86,0:26:52.71,Default,,0000,0000,0000,,it, we've become stuck in the resolution of\Nvideo and we've compromised the other
Dialogue: 0,0:26:52.71,0:26:59.61,Default,,0000,0000,0000,,options and these compromises are not just\Nin fun: They are in actual real-life -
Dialogue: 0,0:26:59.61,0:27:04.32,Default,,0000,0000,0000,,realities that give problems to us or that\Nmake problems for other people. And that's
Dialogue: 0,0:27:04.32,0:27:09.86,Default,,0000,0000,0000,,why we need to ask, always: who is setting\Nthe accordances of our resolutions and
Dialogue: 0,0:27:09.86,0:27:18.12,Default,,0000,0000,0000,,what is being compromised. Who is casting\Nthe shadows behind our technologies. And
Dialogue: 0,0:27:18.12,0:27:22.53,Default,,0000,0000,0000,,so I wanted to close with a quote by\NHannah Arendt which is "Define and create
Dialogue: 0,0:27:22.53,0:27:27.91,Default,,0000,0000,0000,,the future - do not be defined just by\Nyour past" and I think we should also use
Dialogue: 0,0:27:27.91,0:27:32.77,Default,,0000,0000,0000,,our technologies these ways. We can still\Ndefine and create our futures we can
Dialogue: 0,0:27:32.77,0:27:40.60,Default,,0000,0000,0000,,create our own PowerPoints in weird 3d\Ntechnologies and we can make videos that
Dialogue: 0,0:27:40.60,0:27:46.39,Default,,0000,0000,0000,,are not quadrilateral and then get burned\Nby like WIRED's reviews or whatever.
Dialogue: 0,0:27:46.39,0:27:50.85,Default,,0000,0000,0000,,That's okay. You know it's actually fun to\Nget an angry review because people are
Dialogue: 0,0:27:50.85,0:27:58.62,Default,,0000,0000,0000,,just really boring. So the work these\Ndesigning is downloadable from my
Dialogue: 0,0:27:58.62,0:28:06.46,Default,,0000,0000,0000,,websites. The paper "behind white shadows"\Nalso and I would like to end here and
Dialogue: 0,0:28:06.46,0:28:10.30,Default,,0000,0000,0000,,maybe take a question if there is a\Nquestion. Thank you.
Dialogue: 0,0:28:10.30,0:28:19.66,Default,,0000,0000,0000,,{\i1}Applause{\i0}\NHerald: We have about two minutes for
Dialogue: 0,0:28:19.66,0:28:27.63,Default,,0000,0000,0000,,questions. There are four microphones two\Non this side two on this side and yeah
Dialogue: 0,0:28:27.63,0:28:33.29,Default,,0000,0000,0000,,microphone 2 - please ask your question.\NMic2: Thanks for a great talk. It's great
Dialogue: 0,0:28:33.29,0:28:37.06,Default,,0000,0000,0000,,to see a concept like discrete cosine\Ntransformation and run length encoding
Dialogue: 0,0:28:37.06,0:28:43.18,Default,,0000,0000,0000,,being a present in art work and also I\Nfound out many years ago that in the JPEG
Dialogue: 0,0:28:43.18,0:28:49.42,Default,,0000,0000,0000,,standards there's an optional way of\Ncompressing JPEGs instead of Huffman encoding
Dialogue: 0,0:28:49.42,0:28:53.40,Default,,0000,0000,0000,,you can use rhythmic encoding and it's\Nnever enabled by any browser so those
Dialogue: 0,0:28:53.40,0:28:59.05,Default,,0000,0000,0000,,JPEGs are never used that are should be\Nmostly smaller and use more... less
Dialogue: 0,0:28:59.05,0:29:03.86,Default,,0000,0000,0000,,bandwidth. Have you seen any people that\Nactually would like to introduce a
Dialogue: 0,0:29:03.86,0:29:09.53,Default,,0000,0000,0000,,rhythmic encoding or other compression\Nstandards or variants of it. Just to well
Dialogue: 0,0:29:09.53,0:29:13.07,Default,,0000,0000,0000,,use more computing power and save\Nbandwidth?
Dialogue: 0,0:29:13.07,0:29:19.29,Default,,0000,0000,0000,,Rosa: I think one of my favorite artists\Nworking with JPEG is Ted Davis. He's based
Dialogue: 0,0:29:19.29,0:29:25.69,Default,,0000,0000,0000,,out of Basel and he's been doing really\Nbreaking the JPEG compression down really
Dialogue: 0,0:29:25.69,0:29:29.97,Default,,0000,0000,0000,,from like the basics and then you can\Nreally write into the JPEG compression.
Dialogue: 0,0:29:29.97,0:29:38.34,Default,,0000,0000,0000,,But I don't think he tackled even a\Nrhythmic encoding. Yeah actually I did, I
Dialogue: 0,0:29:38.34,0:29:43.70,Default,,0000,0000,0000,,didn't show this but in the end I wanted\Nto and I will show it to you because
Dialogue: 0,0:29:43.70,0:29:50.14,Default,,0000,0000,0000,,you're asking about JPEGs. This is a work\Nthat I made when I was actually fired by
Dialogue: 0,0:29:50.14,0:30:02.16,Default,,0000,0000,0000,,the Institutes and it uses the DCTs and\Nwhen I was fired they made it cryptography
Dialogue: 0,0:30:02.16,0:30:07.76,Default,,0000,0000,0000,,Design Awards and I thought now you fired\Nme I will make a game with you. I would
Dialogue: 0,0:30:07.76,0:30:12.62,Default,,0000,0000,0000,,send you some cryptography. So I made my\Nown kind of like encryption which is of
Dialogue: 0,0:30:12.62,0:30:17.28,Default,,0000,0000,0000,,course I mean even cryptography design\Nseems like really silly so I thought okay
Dialogue: 0,0:30:17.28,0:30:22.78,Default,,0000,0000,0000,,I will do something really silly I use the\NDCT that you're asking about. DCT it is
Dialogue: 0,0:30:22.78,0:30:31.38,Default,,0000,0000,0000,,discrete cosine transform consists of 64\Nmacro blocks. I mapped every macro block to
Dialogue: 0,0:30:31.38,0:30:36.75,Default,,0000,0000,0000,,every glyph of the alphabet so the 64 most\Nused characters and then I wrote them a
Dialogue: 0,0:30:36.75,0:30:42.09,Default,,0000,0000,0000,,message a really angry message actually\None of the institutions is completely
Dialogue: 0,0:30:42.09,0:30:46.58,Default,,0000,0000,0000,,against them is one of the five\Ninstitutions of the exhibition. And guess
Dialogue: 0,0:30:46.58,0:30:52.91,Default,,0000,0000,0000,,who won that competition. I don't think I\Never read it because they're too lame to
Dialogue: 0,0:30:52.91,0:30:57.15,Default,,0000,0000,0000,,read the shit. But I think they did\Nsomething nice back. "Nice" means that I
Dialogue: 0,0:30:57.15,0:31:01.61,Default,,0000,0000,0000,,got one tenth of the money they were\Nsupposed to pay me in this silly computer
Dialogue: 0,0:31:01.61,0:31:09.28,Default,,0000,0000,0000,,here but I feel like in a way I fucked up.\NI said it anyway. So I won a little bit
Dialogue: 0,0:31:09.28,0:31:15.67,Default,,0000,0000,0000,,that day but just 1/10 of what I lost.\NThank you.
Dialogue: 0,0:31:15.67,0:31:21.43,Default,,0000,0000,0000,,{\i1}Applause{\i0}\NHerald: Is there another question from the
Dialogue: 0,0:31:21.43,0:31:27.02,Default,,0000,0000,0000,,internet, signal angel? No. Then I I would\Nlike to have the opportunity to ask a
Dialogue: 0,0:31:27.02,0:31:33.60,Default,,0000,0000,0000,,question myself because I did work in\Nsuper resolution microscopy. Did you ever
Dialogue: 0,0:31:33.60,0:31:39.60,Default,,0000,0000,0000,,look into super resolving biological\Nstructures I've seen some Moire patterns
Dialogue: 0,0:31:39.60,0:31:44.50,Default,,0000,0000,0000,,in your work, in your presentation right\Nnow did you ever touch that or what did
Dialogue: 0,0:31:44.50,0:31:49.41,Default,,0000,0000,0000,,you do with Moire patterns?\NRosa: Moire patterns? Yes oh yeah okay so
Dialogue: 0,0:31:49.41,0:31:54.36,Default,,0000,0000,0000,,for me I was talking a little bit about\Nthe nicology of compression complexities.
Dialogue: 0,0:31:54.36,0:31:59.83,Default,,0000,0000,0000,,So really going from the line to the dots\Nto the lines to the blocks to the wavelets
Dialogue: 0,0:31:59.83,0:32:05.13,Default,,0000,0000,0000,,to the... you know like very complex, I\Nwould say also zip files are part of that
Dialogue: 0,0:32:05.13,0:32:09.92,Default,,0000,0000,0000,,complexity like when everything just gets\Nchaotic when we as humans don't have
Dialogue: 0,0:32:09.92,0:32:18.81,Default,,0000,0000,0000,,Euclidean space necessary to compare to it\Nthen it becomes really messy. But anyway,
Dialogue: 0,0:32:18.81,0:32:26.13,Default,,0000,0000,0000,,they go through line environments and in\Nthis line environment the little one gets
Dialogue: 0,0:32:26.13,0:32:29.86,Default,,0000,0000,0000,,really excited because he can play through\Nthe Moire patterns and actually he's
Dialogue: 0,0:32:29.86,0:32:35.57,Default,,0000,0000,0000,,having a little romantic moment with one\Nof the Moire which is also a joke because
Dialogue: 0,0:32:35.57,0:32:41.25,Default,,0000,0000,0000,,you know a lot of people only like to like\Nthings they understand already. They, I
Dialogue: 0,0:32:41.25,0:32:44.24,Default,,0000,0000,0000,,mean the exercise is always in\Nunderstanding something that is more
Dialogue: 0,0:32:44.24,0:32:48.23,Default,,0000,0000,0000,,complex but that's what most people are\Nscared of. So it's easy to fall in love
Dialogue: 0,0:32:48.23,0:32:53.59,Default,,0000,0000,0000,,with a line if you're a block it's hard to\Nfall in love with the wavelet right. So I
Dialogue: 0,0:32:53.59,0:32:58.79,Default,,0000,0000,0000,,mean but anyway that's not really your\Nquestion you're asking about Moire in
Dialogue: 0,0:32:58.79,0:33:04.42,Default,,0000,0000,0000,,biology and I've never worked with Moire\Nin biology. Was that an answer?
Dialogue: 0,0:33:04.42,0:33:11.15,Default,,0000,0000,0000,,Herald: Yeah, yeah thanks! Ok any question\Nleft? I think we are out of time. Yes a
Dialogue: 0,0:33:11.15,0:33:15.66,Default,,0000,0000,0000,,big round of applause for our speaker Rosa\NMenkman.
Dialogue: 0,0:33:15.66,0:33:19.30,Default,,0000,0000,0000,,{\i1}Applause{\i0}
Dialogue: 0,0:33:19.30,0:33:31.19,Default,,0000,0000,0000,,{\i1}34C3 postroll music{\i0}
Dialogue: 0,0:33:31.19,0:33:40.00,Default,,0000,0000,0000,,subtitles created by c3subtitles.de\Nin the year 2020. Join, and help us!