▋▅▉▝▊ || beyond resolution

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<channel>
	<title> ▋▅▉▝▊ &#124;&#124; beyond resolution</title>
	<link>https://beyondresolution.info</link>
	<description> ▋▅▉▝▊ &#124;&#124; beyond resolution</description>
	<pubDate>Tue, 27 May 2025 09:13:39 +0000</pubDate>
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		<link>https://beyondresolution.info/12940483</link>

		<pubDate>Sat, 02 May 2020 10:56:46 +0000</pubDate>

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&#60;img width="3832" height="4001" width_o="3832" height_o="4001" data-src="https://freight.cargo.site/t/original/i/fd2abc1858060eb7de216198cf46066d1debde38e03bfc3ce110397c5f7e84c5/WEIRD_SPECTRUM.png" data-mid="222312749" border="0" data-rotation="0" alt="SPECTRUM" data-caption="&#38;lt;span style='font-size:14px; display:block; margin-top:-3px; padding:0; line-height:1.1;'&#38;gt;SPECTRUM&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/1000/i/fd2abc1858060eb7de216198cf46066d1debde38e03bfc3ce110397c5f7e84c5/WEIRD_SPECTRUM.png" /&#62;
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&#60;img width="185" height="186" width_o="185" height_o="186" data-src="https://freight.cargo.site/t/original/i/fc11fa537b2c997ab1e7b9bc621c7e26aec1c6f53c44ec079be28a647f2e43b1/Progress-copy.png" data-mid="81440206" border="0" alt="COLLAPSEOF PAL" data-caption="&#38;lt;span style='font-size:14px; display:block; margin-top:-3px; padding:0; line-height:1.1;'&#38;gt;COLLAPSE&#38;lt;br&#38;gt;OF PAL&#38;lt;/span&#38;gt;" src="https://freight.cargo.site/w/185/i/fc11fa537b2c997ab1e7b9bc621c7e26aec1c6f53c44ec079be28a647f2e43b1/Progress-copy.png" /&#62;
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		<title>Header copy copy</title>
				
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		<pubDate>Sun, 13 Oct 2024 21:43:27 +0000</pubDate>

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		<title>1</title>
				
		<link>https://beyondresolution.info/1-1</link>

		<pubDate>Tue, 27 May 2025 09:12:29 +0000</pubDate>

		<dc:creator> ▋▅▉▝▊ &#124;&#124; beyond resolution</dc:creator>

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		<title>2</title>
				
		<link>https://beyondresolution.info/2</link>

		<pubDate>Tue, 27 May 2025 08:59:28 +0000</pubDate>

		<dc:creator> ▋▅▉▝▊ &#124;&#124; beyond resolution</dc:creator>

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	&#38;nbsp;
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GOOGLE DOC FLAT TXT VERSION&#38;nbsp;


	Collapse of PAL

//////////////////////////// produced for TV-TV curated by Kristoffer Gansing and Linda Hilfling Ritasdatter (2010) This rendered version of the Collapse of PAL was produced during my residency at LabMIS São Paulo in 2011,thanks to IMPAKT (NL). 
Live performance in Brasil with Defi, Optical Machines and B. Fleischmann, commissioned by David Quiles Guilló / Nova Rojo


	The Collapse of PAL (rendered version, 2010)

	
	* HOROLOGY
 * MATERIALITY
* GENEALOGY

* SCOPE * SCALE 
* CRISIS
* ATLAS
	
HOROLOGY: PROGRESS AS PENROSE-STAIRS TO NOWHERE


	&#60;img width="998" height="773" width_o="998" height_o="773" data-src="https://freight.cargo.site/t/original/i/6efa9e4b9176ed0536713858406a95e187a340f1df590c02a3a3a28d76a10fdb/ANALOG.png" data-mid="233766830" border="0"  src="https://freight.cargo.site/w/998/i/6efa9e4b9176ed0536713858406a95e187a340f1df590c02a3a3a28d76a10fdb/ANALOG.png" /&#62;
	

 In&#38;nbsp;the Collapse of PAL, the Angel mourns analogue signals superseded by Digital Video Broadcasting (DVB). She wants to make whole what has been broken but remains passive, rationalising PAL’s demise as inevitable: the signal was just not good enough.


New to digital image processing, she still believes each update introduces improvement. But unbeknownst to her, the digital paradigm has already locked her into the endless ascent of a PenRose-Staircase to Nowhere (the  paradox of Progress)


	&#60;img width="1008" height="1005" width_o="1008" height_o="1005" data-src="https://freight.cargo.site/t/original/i/900752afdcb9d14f823ba62cf9126648c1b22759ff9aac4ca7e48a0dd21bef97/__3_PENROSE.png" data-mid="233926234" border="0"  src="https://freight.cargo.site/w/1000/i/900752afdcb9d14f823ba62cf9126648c1b22759ff9aac4ca7e48a0dd21bef97/__3_PENROSE.png" /&#62;
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	<item>
		<title>3</title>
				
		<link>https://beyondresolution.info/3</link>

		<pubDate>Tue, 27 May 2025 09:13:39 +0000</pubDate>

		<dc:creator> ▋▅▉▝▊ &#124;&#124; beyond resolution</dc:creator>

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&#38;nbsp;A Vernacular of File Formats (2010)curated and acquired with the help of Ward Janssen by the Stedelijk Museum and MOTI&#38;nbsp;in 2016. 
Installation for Stedelijk BASE collection commissioned by Karen Archey.
 PDF available here
	

	* HOROLOGY
 * MATERIALITY
* GENEALOGY

* SCOPE * SCALE 
* CRISIS
* ATLAS
	MATERIALITY: COMPRESSION AS ADDITIVE TRACE


	&#60;img width="590" height="877" width_o="590" height_o="877" data-src="https://freight.cargo.site/t/original/i/ddee6e100b4e8056acff009a5f8314951e36b5d2b5a7bdce7b6197ff8b56d3fb/UNRESOLVED.png" data-mid="233768237" border="0"  src="https://freight.cargo.site/w/590/i/ddee6e100b4e8056acff009a5f8314951e36b5d2b5a7bdce7b6197ff8b56d3fb/UNRESOLVED.png" /&#62;Un/Resolved 
84 meters-long data file painted on canvas, partially wrapped, 2016
 Un/Resolved is inspired by Beflix 29 PARALLEL STRIPES
	When she  finally realizes she is trapped in the endless cycle of upgrades, anxiety sets in.&#38;nbsp;
She starts poking at files and software, triggering artefacts from feedback, compression, and glitches. 
Some breaks do more than distort: they briefly expose otherwise black-boxed operations.


From Un/Resolved, an 84-metre-long file encoded pixel by pixel, she receives a key insight: unlike the analogue PAL television signal, which is a continuous, interlaced  waveform distributed over horizontal scan lines, digital resolution arises from processing discrete samples across multiple axes, including space (pixels/blocks) and time (frames).


Rendering depends on how hardware and software read, display, and transform data: line by line, block by block, and sometimes frame by frame. Resolution is not fixed at capture; it is reshaped at each stage of the render pipeline, from compression and encoding to decoding, display, and interpretation.

Consequently, a&#38;nbsp;digital image  is never entirely static or fixed  but remains fluid, as it is subject to transformations introduced by the processing pipeline.

	
    Radio Dada 
Music by Extraboy. Nov 23, 2008.&#38;nbsp; 
    To Smell and Taste Black Matter (1) 
Music by Extraboy. Feb 15, 2009.
	65 76 65 72 79 74 68 69 6e 67 20 Sound by Rosa. Apr 17, 2010.&#38;nbsp; &#38;nbsp; 
    Washmountain. 
Music by Extraboy 

Sep 6, 2009.Acousmatic Videoscapes (2008 - )&#38;nbsp;


	DCT:SYPHONING. The 64th interval (2015 - .. )

/////////////////////////// a first iteration was conceivedfor a commission by the photographers gallery (2015)

It was then exhibited at the Schafhof in Munich December 2015.

During myOregon Story Board residency 2016 - 2017and finished during my time at Schloss Solitude  
&#38;nbsp;
it released as VR as part of&#38;nbsp;DiMoDA 2.0, (2016)  by Alfredo Salazar-Caro and William Robertson &#38;nbsp;

	
	DCT:SYPHONING. The 64th interval  (2015)


	&#60;img src="https://live.staticflickr.com/65535/54485167289_57c780a64f_c.jpg" width="261" height="800" alt="Key_1" style="width: 101.12px; height: 309.946px;"&#62;
	&#60;img src="https://live.staticflickr.com/65535/54484970886_39a65ce5a4_c.jpg" width="261" height="800" alt="Key_2" style="width: 101.12px; height: 309.946px;"&#62;
	Armed with this understanding of resolution-as-process, the Angel ventures on a&#38;nbsp;glitch safari to better&#38;nbsp;grasp how codecs shape representation.
On one such trip, she observes a Senior DCT training a Junior to transcode data across compression languages: a technique they call ‘SYPHONING.’

They start with simple artefacts: pixels, scanlines and macroblocks. But when they reach the realms of wavelets and vectors, their blocky logic hits its limit and their stack tips into kernel panic.


From a PenRose-Staircase to Nowhere, a few upgrades away, the Angel injects a message into their stream - the rule of Un/Resolved:
 “digital image data unfolds not only across width and height, but along additional axes such as time, depth and spectrum.”But the DCTs have already syphoned into a legacy channel, back to simpler complexities, and don’t receive her guidance.


From the DCT drama, the Angel recognises a new paradox: every upgrade that promises optimisation and clarity, also imposes new system constraints.


Refusing to waste her newfound insight - the Angel forks the DCT algorithm by steganographically encoding messages as DCT error - to support the DCTs in a move beyond  their blocky logic.

The tool she built does more than just encode messages: it  opens a backdoor into JPEG’s hidden architecture, where compression doesn’t simply reduce a file’s size, but  inscribes it with trace evidence. Consequently, resolution becomes material evidence: a forensic surface marked by every act of encoding, decoding, and transcoding it has undergone.
 
 
	&#60;img width="1967" height="1500" width_o="1967" height_o="1500" data-src="https://freight.cargo.site/t/original/i/b95873598c0ac77af8cec60406b8e8cc38b134ffef188ddb5ccb0b7c9a2a2e0d/MENKMAN_SMAL.jpg" data-mid="233768169" border="0"  src="https://freight.cargo.site/w/1000/i/b95873598c0ac77af8cec60406b8e8cc38b134ffef188ddb5ccb0b7c9a2a2e0d/MENKMAN_SMAL.jpg" /&#62;
JPEG FROM A VERNACULAR OF FILE FORMATS, (2009 - 2010),2023 REVISITATION WITH HIDDEN MESSAGE IN DCT
/////////////////////////// a software that lets you write in error.The first iteration was build by Ted Davis, a second by Erik Axel Eggelink

 
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	<item>
		<title>4</title>
				
		<link>https://beyondresolution.info/4</link>

		<pubDate>Tue, 27 May 2025 09:13:39 +0000</pubDate>

		<dc:creator> ▋▅▉▝▊ &#124;&#124; beyond resolution</dc:creator>

		<guid isPermaLink="true">https://beyondresolution.info/4</guid>

		<description>
	
	
	365 Perfect De/Calibration Army (2019 - ... )
	

	* HOROLOGY
 * MATERIALITY
* GENEALOGY

* SCOPE * SCALE 
* CRISIS
* ATLAS
	
GENEALOGY: RESOLUTION AS ENCODED COMPROMISE


	&#60;img width="4924" height="4548" width_o="4924" height_o="4548" data-src="https://freight.cargo.site/t/original/i/4af6a903044bb973c49d266f4e5df8f1961e65c7fc5d40b4780b1385af8bb2eb/LENA_.png" data-mid="233768277" border="0"  src="https://freight.cargo.site/w/1000/i/4af6a903044bb973c49d266f4e5df8f1961e65c7fc5d40b4780b1385af8bb2eb/LENA_.png" /&#62;BWS 
(2017)&#38;nbsp;&#60;img width="250" height="250" width_o="250" height_o="250" data-src="https://freight.cargo.site/t/original/i/230dfeb6c45d3a66e5342301dd56b3b914fd4213433b49a743c8b1160697362b/1_IRD.png" data-mid="233768188" border="0"  src="https://freight.cargo.site/w/250/i/230dfeb6c45d3a66e5342301dd56b3b914fd4213433b49a743c8b1160697362b/1_IRD.png" /&#62;i.R.D. (2015) 
not 1984
	The compression paradox compels the Angel to look more closely into the genealogies of resolution. She convenes a desktop call for all forgotten and unknown faces of colour calibration.As they assemble on her desktop, one problem becomes immediately apparent: almost all  are Caucasian women - digital descendants of Kodak’s original “Shirley Card.”


A root problem becomes  clear at once: the dominance of white skin tones in calibration processes has encoded racial bias into the very standards that shape visual technologies. As a result, protocols systematically fail to recognize, render, or respect the full spectrum of human skin tones — erasing difference, misrepresenting presence, and inflicting  harm.


The implications are architectural. Standardisation does not only organise what can be seen; it enforces a hierarchy of visibility. It sets thresholds for what qualifies as legible, while relegating everything else — bodies, faces, colours — to a domain of loss and misrecognition. In doing so, it determines what remains unrenderable, invisible, and compromised: who and what is left unsupported in  their racist&#38;nbsp;white shadows. 


What begins as a call, becomes a desktop tele-choral of solidarity. They perform Paul McCartney's “We All Stand Together.” In unison, they declare the institutions of Resolution Disputes (i.R.D.) and form its De/Calibration Army.&#38;nbsp;


Behind White Shadows &#38;amp;&#38;amp; Pique Nique Pour les Inconnues (2017 - 2020)&#38;nbsp;
////////////////////////////
is a research project undertaken during my 2019 JMAF residency in Tokyo, Japan.


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	<item>
		<title>5</title>
				
		<link>https://beyondresolution.info/5</link>

		<pubDate>Tue, 27 May 2025 09:13:39 +0000</pubDate>

		<dc:creator> ▋▅▉▝▊ &#124;&#124; beyond resolution</dc:creator>

		<guid isPermaLink="true">https://beyondresolution.info/5</guid>

		<description>
	
	
	WHITEOUT 
(2019 - 2020) ////////////// created after joining the Armada de Chile on a research trip to Antarctica organised by Nicolas Spencer for Polar&#38;nbsp;
it was also inspired by research done for&#38;nbsp; Axis with Mario de Vega and my time at ARTS COLLIDE Barcelona CERN

	
	WHITEOUT (2020)
	

	* HOROLOGY
 * MATERIALITY
* GENEALOGY

* SCOPE * SCALE 
* CRISIS
* ATLAS
	
SCOPE:&#38;nbsp;SELECTIVE CAPTURE AS GROUND TRUTH


&#60;img width="3832" height="4001" width_o="3832" height_o="4001" data-src="https://freight.cargo.site/t/original/i/fd2abc1858060eb7de216198cf46066d1debde38e03bfc3ce110397c5f7e84c5/WEIRD_SPECTRUM.png" data-mid="233848260" border="0"  src="https://freight.cargo.site/w/1000/i/fd2abc1858060eb7de216198cf46066d1debde38e03bfc3ce110397c5f7e84c5/WEIRD_SPECTRUM.png" /&#62;
	
Shaken by the discovery of  racist bias encoded in standard   calibration regimes, the Angel searches for a true colour reference. She builds a  Rainbow Generator, designed to Refract a Spectrum of Lost and Un/Named Colours.
 
When it finally powers on, the Generator fails to reproduce nature’s original glitch: the continuous gradient of the rainbow.
Instead, it renders a banded, artificial, almost cartoon-like spectrum.


After  hours of testing, she isolates the cause of the truncation: an energy-efficient, narrow-band light source.


Though the Rainbow Generator appears to emit full-spectrum white light, this is simulated. Its light source only emits a narrow band of frequencies: just enough to stimulate the three cones of her eye, creating the illusion of white and coloured light, while bypassing vast regions of the actual spectrum.


Ironically, the failed Rainbow exposes its own efficiency-driven bias. Advanced technologies prioritise certain signals over others: by bypassing a broad spectrum of frequencies in favor of energy efficiency, it exposes how standardisation doesn’t just limit what can be resolved; it determines what qualifies as a valid signal in the first place.


The Angel now sees that even the latest technologies (from analogue to digital and hardware to software and lens to filter) may be rooted in fundamentally flawed protocols of exclusion.


In desperation, she considers modifying her body to regain access and control over excluded  frequencies around her. Perhaps all she needs is a different kind of eye: one that is larger, slower, or sensitive to other wavelengths of light.
 
When she finally mounts an antenna in her eye sockets, she gains access to an expanded visual ecology. But the modification quickly leads to a Whiteout: oversaturated with signal, devoid of resolution.


Spectrum of Lost and Unnamed Colours&#38;nbsp;Sound by Debit (2024) 
	&#60;img data-file-id="12942184" src="https://live.staticflickr.com/65535/53996600858_8529eed092_o.jpg" style="width:100%;"&#62;Rainbow Generator (2024). W/ Support from Herman Hermsen and So Kanno.
A Spectrum of Lost and Unnamed Colours(2023 - 2024)

////////////////////////////
was commissioned and produced in the framework of EPFL - CDH Artist in Residence Program 2023, Enter the Hyper-ScientificPartners: EPFL Center for Imaging, Edward Andò, CLIMACT Center for Climate Impact and Action UNIL &#38;amp; EPFLCurator &#38;amp; head of program: Giulia BiniMaster support: Lotte Menkman


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	<item>
		<title>6</title>
				
		<link>https://beyondresolution.info/6</link>

		<pubDate>Tue, 27 May 2025 09:13:39 +0000</pubDate>

		<dc:creator> ▋▅▉▝▊ &#124;&#124; beyond resolution</dc:creator>

		<guid isPermaLink="true">https://beyondresolution.info/6</guid>

		<description>
	
	
	&#38;nbsp; De/Calibration Target (2023)  curated by Nora O’ Murchú 
produced by Transmediale with financial support from Stimuleringsfonds

	
	* HOROLOGY
 * MATERIALITY
* GENEALOGY

* SCOPE * SCALE 
* CRISIS
* ATLAS
	
	
SCALE: MORE DATA, LESS VISIBILITY&#38;nbsp;


	&#60;img width="300" height="301" width_o="300" height_o="301" data-src="https://freight.cargo.site/t/original/i/e172bd87ed45a9158297272bbd6ec2d66b69fce0b7587eeb6567d56473b4d4c6/w.png" data-mid="233768300" border="0"  src="https://freight.cargo.site/w/300/i/e172bd87ed45a9158297272bbd6ec2d66b69fce0b7587eeb6567d56473b4d4c6/w.png" /&#62;

	The Angel finds herself in a wilderness of distortion,
at a loss of resolution,
struggling to render anything.


Amid the noise, she discovers an array tagged  ”Wodan’s Trees.”
It is easy to see why it’s named like this: 
even though its branches appear to grow, they only render an Obsolete Gamut at Zenith - a warning of impending failure.
Wodan, the cyclopean god of knowledge, sacrificed an eye for the foresight of his own demise.


Drawn to this lore of future failure, opposed to her fixation on past collapse, the Angel enters the array without hesitation, hoping to learn from Wodan’s sense of future vision.


But instead, she tumbles into a Myopic double-blind.
As direction collapses,
No up or down, no forward or back.
She floats, suspended, unaware she has fallen into the abyss of her own obsolescence.


Struck by a beam of darkness,
she enters the shadow of her future:
no sense of day or night
no axis of rotation
no north or south.


Progress, once symbolized by the Hologram PenRose-Stairs to Nowhere,  crystallizes as a monumental Spomenik of nonsensical vectors.
Nothing makes sense.
Nothing looks familiar.
The Angel is  in kernel panic.&#38;nbsp;
 

Obsolete Gamut at Zenith (2024)
////////////////////////////
commissioned by Alain Bieber and acquired by Künstpalast Düsseldorf
	&#60;img width="3682" height="2327" width_o="3682" height_o="2327" data-src="https://freight.cargo.site/t/original/i/5c6d02a3243f82f46619a1ce25d4597cb28920e72045ea7bbd56966b27a7398a/53560363167_ee649e6a05_o.jpg" data-mid="233768243" border="0"  src="https://freight.cargo.site/w/1000/i/5c6d02a3243f82f46619a1ce25d4597cb28920e72045ea7bbd56966b27a7398a/53560363167_ee649e6a05_o.jpg" /&#62;Myopia (2015)
////////////////////////////Size Matters. SIZE IN PHOTOGRAPHYFebruary 1, 2024 – May 20, 2024, KunstPalast, DE. 
Myopia was first installed at TRANSFER GALLERY in 2015

&#60;img data-file-id="12942184" src="https://live.staticflickr.com/65535/53994443238_a024f36c56_o.jpg" style="width:100%;"&#62;SPOMENIK 2017. ////////////////////////////4x4 meters projection mapped wooden installation.As installed and produced by TRANSFER Gallery New York. 
Projection mapping on the surface: DCT SYPHONING.


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	<item>
		<title>7</title>
				
		<link>https://beyondresolution.info/7</link>

		<pubDate>Tue, 27 May 2025 09:13:39 +0000</pubDate>

		<dc:creator> ▋▅▉▝▊ &#124;&#124; beyond resolution</dc:creator>

		<guid isPermaLink="true">https://beyondresolution.info/7</guid>

		<description>


	&#38;nbsp;&#38;nbsp;
REFRACTIONS (2022 - 2024) A research project done in the framework of my European Media Art Platform 
residency at NeMe, Limassol, Cyprus (2022). 
with support from Taietzel Ticalos and Marios Isaakidis.

	
	* HOROLOGY
 * MATERIALITY
* GENEALOGY

* SCOPE * SCALE 
* CRISIS
* ATLAS
	
CRISIS: INTEROPERABILITY THROUGH EXCLUSION 


	&#60;img width="1121" height="1120" width_o="1121" height_o="1120" data-src="https://freight.cargo.site/t/original/i/9573f7ddb3c07f76ace28618fa6f8162709ce8c20ad3864b9571c5e64f1b1c9d/3_PENROSE.png" data-mid="233768257" border="0"  src="https://freight.cargo.site/w/1000/i/9573f7ddb3c07f76ace28618fa6f8162709ce8c20ad3864b9571c5e64f1b1c9d/3_PENROSE.png" /&#62;&#38;nbsp; &#38;nbsp;  


Studying the Spomenik’s vector glitch, she recognizes the ghosting artifacts of the PenRose-Stairs just long enough to grasp her problem: she is outside the protocol.

She recalls the DCT Drama,  when optimization installed constraints. 
In this upgrade, her perspective is now obsolete; an unsupported casualty of the Upgrade Paradox. 


Cautiously, she traces the Spomenik’s dynamic edges, and its thick deposits of poor-resolution sediment. One shredded side opens to a viewport, offering a glimpse of a repository of render objects.


Like a media archaeologist from the future, she attempts to reconstruct a PenRose-Stairs. But synthetic data, locked in machine-defined standards, produces nothing but a blue haze of noise. Machine vision for vision machines.

&#38;nbsp;
If her tools can’t resolve the Spomenik, she  needs to find another window.
In a last attempt, she scans frequency bands usually filtered out. On a quiet C-band channel she hears a faint echo: a CyCLOPS.cy corner-reflector, part of a geospatial array  tracking surface deformation. She feeds SPOMENIK data into the network.


The system seems to initiate an adversarial comparison: a generator pushes images up from the blue noise while a discriminator tests for failure.
Phase differentials accumulate, coherence is imposed...  


The misalignments around her dissolve and to her surprise, an im/possible image renders..
While the environment around her remains coherent, the Angel reflects.

 
SPOMENIK at TRANSFER GALLERY 2017.A giant cairn of glitch, a monument commemorating no specific moment or entity is recalibrated into the PenRose- Stairs to Nowhere.
&#38;nbsp;  XILITLA  Music Tonylight (2013)//////////////////////////// was developed during my 2013 EMARE residency at CANTE, Centro de las Artes San Luis Potosi, 2012. Xilitla was curated and acquired by Ward Janssen for MOTI (NL) in 2014

	
</description>
		
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	<item>
		<title>8</title>
				
		<link>https://beyondresolution.info/8</link>

		<pubDate>Tue, 27 May 2025 09:12:27 +0000</pubDate>

		<dc:creator> ▋▅▉▝▊ &#124;&#124; beyond resolution</dc:creator>

		<guid isPermaLink="true">https://beyondresolution.info/8</guid>

		<description>
	
	&#38;nbsp; &#38;nbsp;BLOb of Im/Possible Images (2021) with support from Luzi Gross
 
	
	* HOROLOGY
 * MATERIALITY
* GENEALOGY

* SCOPE * SCALE 
* CRISIS
* ATLAS
	
ATLAS OF DESTITUTE VISION


	&#60;img width="851" height="851" width_o="851" height_o="851" data-src="https://freight.cargo.site/t/original/i/dd7f2dfad22c08da60e8c1b62998500272c6be835bd6a90d43e04af66cbb5456/__LOGO-1.png" data-mid="233768105" border="0"  src="https://freight.cargo.site/w/851/i/dd7f2dfad22c08da60e8c1b62998500272c6be835bd6a90d43e04af66cbb5456/__LOGO-1.png" /&#62;
	She collects limits embedded in the render pipeline, hoping these axes will seed a catalogue of compromised, unsupported, unknown or forgotten image renders:
a scanline, a separator, a progress bar, a ruler, a mesh, a vector, a link, a loop, ...a generator, a discriminator?

From her collection of lines, the Angel assembles a BLOb or Binary Large Object: an uncommitted form that dissolves hierarchy into ambiguous dimension.The BLOb is best thought of as a fluid stack of shifting moiré; a living archive of all im/possible image pipelines.

In front of the BLOb, the Angel considers how resolutions consolidate technologies, while dictating constraints on how she cannot - or chooses not to - use them. They shape what she can render while foreclosing alternatives.

Her next mission is clear: map every limit in the image-processing pipeline and compile an Atlas of Destitute Vision, documenting how each resolution defines what remains unrendered and unseen.

	&#60;img width="1554" height="896" width_o="1554" height_o="896" data-src="https://freight.cargo.site/t/original/i/54fa0ec29287a66f4ce944ed3f5a08e4cb2d361534a362f29e74e9ee3c86bc08/dew.png" data-mid="233768065" border="0"  src="https://freight.cargo.site/w/1000/i/54fa0ec29287a66f4ce944ed3f5a08e4cb2d361534a362f29e74e9ee3c86bc08/dew.png" /&#62;im/possible images (2019 - 2021)
////////////////////////////is a research project in the framework of my Arts at CERN COLLIDE Barcelona award.curated by Monica Bello
	

	&#38;nbsp; .&#38;nbsp;If a myth is an algorithm that functions as a tool distinct to a time and place,then recursively, an algorithm can become a myth, written and transformed by iterative updates and within procedural contexts.
.
	

THE PARADOXES OF RESOLUTION ︎︎︎︎︎︎︎︎︎︎︎ ︎ 

	
Resolution as paradox / the paradoxes of resolutionThe etymology of resolution can be traced to the Latin term re-solvere (“to loosen again”), which already frames it as a paradox. While today's general use of the term describes resolution as a fixed metric (lp/mm, PPI), its root refers to a process.
This tension implies its double state: specification in the form of a number, preset, or artefactual residue. a procedural mediation across the image ecology (capture, processing, compression, platform, reception) 
Resolution studies reads images through this double lens: resolution as a process that negotiates constraints, and resolution as artefact that crystallises those negotiations into standards and traces - the features that make it legible as outcome.
The following paradoxes describe this move from resolution-as-process (constraints, methods, encodings) to resolution-as-artefact (from standard, to default and finally resolution as index). 


 0000 HOROLOGY&#38;nbsp;
Progress as PenRose-Stairs to Nowhere
Every upgrade promises improvements, while manufacturing obsolescence and delaying final resolution. The gospel of progress is an endless loop. 
 

0001 MATERIALITY&#38;nbsp;


[Constraint]: Transmission as noise-dependent (Shannon, 1948)


There is no such thing as noise-free transmission. Noise embeds inflection. Optimisation can not delete noise; it moves it (in time, in frequency, in space, in perception). 


Suppressing noise means engineering a cut-off. That choice decides what counts as detail and what is treated as fluctuation to discard. Every filter is a threshold.


Because noise makes the channel finite, optimisation is unavoidable.


[Method]: Optimisation as constraint (upgrade-as-limit / 1984)


Optimisation filters and sets stricter limits by implementing lower tolerances.


The more uniform a signal or expression, the more straightforward its message.


When selection is formalised as the encoding and decoding of data in storage and transport, it becomes compression.


[Encoding]: Compression as additive trace (deletion as design)


Compression doesn’t just reduce; it rewrites. Its resulting artefacts (pixels, lines, blocks, and so on) are codec- and preset-specific, and can therefore function as forensic fingerprints.


When a field agrees on codecs and bitrates, an optimisation or compression hardens into a standard. This move pivots resolution from technique to formalisation.


 &#38;nbsp; &#38;nbsp; &#38;nbsp; * Vernacular of File Formats&#38;nbsp; &#38;nbsp; &#38;nbsp; * Ecology of Compression Complexities (BY A BLOb)0010 GENEALOGY [Regime] Standardization as obfuscation (clarity via the omission of alternatives)
Standards create order by fixing baselines through calibration regimes. Visibility reflects what the system specifications are designed to render. What falls outside that baseline remains unrendered or misrendered. To render one pathway means to erase another.

[Interface]: Obfuscation as transparencyInterfaces hide these exclusions to simulate a state of seamlessness. The interface feels transparent and immediate because layers of mediation are concealed.Seamlessness is camouflage (the obfuscation of alternatives).

[Protocol]: Interoperability through exclusion (no protocol, no image)
Interoperability is rarely achieved through openness. Instead, it is constituted via enforced uniformity: inclusion via elimination, deprecation, and obsolescence. Protocols are policy written into code as standards, profiles, versions.Parsable inputs are rendered; inadmissible ones are dropped, clipped, or voided. Interoperability is conditional on conformity: it is incompatibility is by design.


[Infrastructure]: Resolution as inherited compromise (pipeline → stack → infrastructure)
Pipelines inherit compromises embedded in earlier architectures and defaults. These defaults reflect historic efficiency driven priorities, defining what, or whom, the system was originally built for.What began as a pipeline (flow) calcified into a stack of dependencies that operate as infrastructure (rules and defaults that condition what can appear). While interfaces evolve, these exclusions persist: sedimented into infrastructure, obfuscated by default settings.
 
 &#38;nbsp; &#38;nbsp; &#38;nbsp; * Genealogy of the Colour Test Card
0011 SCOPE&#38;nbsp;


[Epistemic]: Selective capture as ground truth 


The same logic governs what is is captured. Standards, priors, and curation set thresholds of relevance: what counts as a signal, what is dismissed as noise. This selective perception fabricates an epistemic “truth” mistaken for objectivity; it doesn’t just limit resolution, it defines what can be resolved, or what is measurable, thinkable, and rendered real.


&#38;nbsp; &#38;nbsp;&#38;nbsp; * Spectrum of Lost and Un/Named colours

 
0100 SCALE


[Scale as phenomenology]: Perception as failure


Standardised imaging systems don’t scale neutrally; they impose thresholds of legibility that decide what remains visible and what disappears. Scaling is a politics of admissibility and access.
Spectral: Narrow bands flatten distinctions; excessive bands oversaturated the ability to distinguish (whiteout).

Spatial/temporal scale: At micro-scale, detail fragments into “noise”; at macro-scale, meaning dissolves into abstraction. More data doesn’t mean more understanding.


[Semiosis] Resolution as index (artefact as carrier of meaning)


Legacy resolutions (visible as artefacts) collect meaning beyond their function: they become cues of authenticity, nostalgia, or proof. Defaults harden into signs; residues turn into reference or index.


Process has now ossified in residue, and residue has become meaning.


&#38;nbsp; &#38;nbsp; &#38;nbsp; * FF D8 De/Calibration Target 


0101 CRISIS 
 

[Process] Resolution as process (the image is non-static)


A resolution is data-in-process; a state produced by limits, filters, bends, and breaks imposed by governing protocols. Resolution never resolves in a final image.


Instead, it is a momentary myth crystallised by procedural progress, an algorithm deployed in a specific time and place.


	RESOLUTION DISPUTES While the institutions of Resolution Disputes (i.R.D., 2015) formalized a foundational set of logics structuring inherited systems of image rendering, the entries in the Atlas of Destitute Vision trace newly encountered Resolution Disputes: paradoxes that arise from the Angel’s mapping of failure, oversaturation, illegibility, and compromise.
Paradigm shifts in the phases of the image, or the additive crisis of the image
&#38;nbsp; &#38;nbsp; 0. OBSOLESCENCE OF ANALOG IMAGE PROCESSING TECHNOLOGIES
&#38;nbsp; &#38;nbsp; 1. TRANSITION FROM ANALOG TO DIGITAL IMAGE PROCESSING


&#38;nbsp; &#38;nbsp; 2. PLATFORMED/NETWORKED IMAGE

&#38;nbsp; &#38;nbsp; 3. CRISIS OF THE SYNTHETIC/HYPER IMAGE &#38;nbsp; &#38;nbsp; &#38;nbsp; * BLOb of im/possible Images
Resolution studies, classes and seminars Resolution Studies is grounded in practical teaching and artistic research. It currently involves seven thematic “disputes,” each addressing a fundamental tension within the study of rendering, image culture, and media infrastructure:Each dispute opens a terrain of theoretical and material exploration, inviting research, pedagogy, and speculative practice.

&#38;gt;&#38;gt;&#38;gt; For a deeper theoretical framing, see the long-form essay:
Refuse to let the syntaxes of (a) history direct our futures. [PDF]
	
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