Rosa Menkman
(*1983) is a Dutch visualist who focuses on visual artifacts created by accidents in digital media. The visuals she makes are the result of glitches, compressions, feedback and other forms of noise.
By combining both her practical as well as her academic background, Rosa Menkman merges her abstract pieces within a grand theory artifacts (a glitch studies). Besides the creation of a formal Vernacular of File Formats, within her static work, she also creates (narrative) work in her Acousmatic Videoscapes. In these Videoscapes she strives for new forms of conceptual synthesis (synesthesia) of sound and video artifacts.
Source: Rosa Menkman's blog
Rosa Menkman: "Whenever I use a normal transparent technology, I only see one aspect of the actual machine. I have learned to ignore the interface and all structural components, to be able to understand a message or use a technology as fast as possible.
The glitches I trigger turn the technology back into the obfuscated box that it already was. They shroud its inner workings and the source of the output as a sublime black veil. I perceive glitches without knowing where they originate from. This gives me and the audience an opportunity to concentrate better on their form - to interpret their structures and to learn more from what can actually be seen. An example of such a work is for instance my video Radio Dada (2008). I prefer to show this work and give the explanation of what technically happened only after a discussion of what the audience has seen and heard.
The glitches I create an acousmatic videoscape in which I can finally perceive an output outside of my goggles of speed, transparency and usability. The new structures that unfold themselves can be interpreted as a portal to an utopia, a paradise like dimension, but also as a black hole that threatens to destroy the technology as I knew it.
In the acousmatic videoscapes I make, I use critical trans-media aesthetics to theorize the human thinking about technology; it creates an opportunity for self reflexivity, self critique and self expression. It uses synesthesia not just as a metaphor for transcoding one medium upon another (with a new algorithm), but a conceptually driven meeting of the visual and the sonic within the newly uncovered quadrants of technology."
Source: Videoscapes