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2010-02-22T16:12:00.000-08:00

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I am a voyager of videoscapes: I create conceptually synesthetic artworks, that use both visual and aural glitch (or other noise) artifacts at the same time. These artifacts shroud the black box, as a nebula of technology and its inner workings.

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 an opportunity to concentrate better on its form - to interpret its structures and to learn more from what I can actually see. They 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.
B288Y4S4TAV5

∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵
∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵∵ ∵ ∵ ∵∵ ∵ ∵ ∵ ∵ ∵∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵

∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵∵ ∵ ∵ ∵ ∵ ∵∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵

∵ ∵ ∵ ∵∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵

∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵∵ ∵ ∵ ∵

∵ ∵ ∵ ∵ ∵
l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡͡|̲̲̲͡͡͡|̡̡̡ ̡ ̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡͡|̲̲̲͡͡͡|̡̡̡ ̡ ̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ı̴̡̡ ̡͌l̴̡̡̡̡̡ı̴̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ı̴̡̡ ̡͌l̡̡̡̡l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡͡|l̡*̡̡ ̴̡ı̴̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ı̴̡̡ ̡͌l̡̡̡̡l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡̲̲̲͡͡͡|̡̡̡ ̡ ̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ı̴̡̡ ̡͌l̡̡̡̡∵ ∵

∵ ∵ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡͡|̲̲̲͡͡͡|̡̡̡ ̡ ̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ı̴̡̡ ̡͌l̡̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡͡|̲̲̲͡͡͡|̡̡̡ ̡ ̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ı̴̡̡ ̡͌l̡̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡͡|̲̲̲͡͡͡|̡̡̡ ̡ ̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ı̴̡̡ ̡͌l̡̡̡̡

∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵

∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵

∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵

∵ ∵ ∵ ∵ ∵ ∵∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵
∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵

∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵

∵ ∵ ̡̡̡̡

∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵
∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵∵ ∵ ∵ ∵∵ ∵ ∵ ∵ ∵ ∵∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵

∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵∵ ∵ ∵ ∵ ∵ ∵∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵

∵ ∵ ∵ ∵∵ l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡͡|̲̲̲͡͡͡|̡̡̡ ̡ ̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ı̴̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡͡|̲̲̲͡͡͡|̡̡̡ ̡ ̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ı̴̡̡ ̡͌ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵

∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵∵ ∵ ∵ ∵

∵ ∵ ∵ ∵ ∵

∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵ ∵

∵ ∵

█████████ ░░░░░░░░░░░░░░░░░░░░░

to watch my acousmatic Videoscapes ∆ click here ∆

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.
Formed as an analogy on landscape, the videoscapes I make (and that are shown on this site) show an environment or architecture that is not created out of science or functionality, but as an experience of sound and video. It is a research of madness and reason, discontinuities and flows, inconsistencies and order, flaws and functionality and paradoxes and consistencies. These videoscape are part of the domain of the feedback ecology; they focus on new ways of seeing - with little preconceived understanding - and subsequently on theorizing the human thinking about technology. The feedback within these videoscape thus creates an opportunity for self reflexivity, self critique and self expression.

》》》》》》》》》》》》》》》》》》☉☉☉☉Glitch studies manifesto☉☉☉☉☉

2010-02-21T04:32:00.000-08:00

███ Demolish the eerie ▼oid (1:02') █
(video: Rosa Menkman, Music: Extraboy, 2010)
Extraboy used a rain vst, PIPPO vst and C64 noise to compose a complimentary soundscape.

████ Infinitely pliable, yet holding shape █
In "Demolish the eerie ▼oid" I exploit macroblocking, by opening a DV file in texteditor and playing around with the code.
What became clear to me is that multiple things can happen – and I am not sure (yet) what pieces of code trigger what results. In one of the first tries I encountered some quite mystifying, but nice new organizations of color (chrominance) structures. The matrix of macroblocks is still completely intact but the chrominance values are very off.

More background theory to this project here

2008-12-16T15:43:00.000-08:00

Performative fail (4:26')
(video: Rosa Menkman, 2008)
This video is made with the help of a collection of failing hard drive sounds, while the video is a collage of failed pdf screengrap videos.
This was the first time I made a (kind of) music-video / sound-video all on my own.

Performative fail was screened / featured / on exhibition
04-'10 – Screening. Critical Glitch Artware / Notacon / Blockparty, Cleveland, Ohio US.
09-10-'09 – exhibited at The Persuit of Failure: the rejects (online)
00-03-'09 – screening at the Glitch Night @ UCF Cinematheque. Florida, US.
20-11-'09 – featured at Rhizome by Ceci Moss.
06-03-'10 – featured at Vagueterrain by Greg J. Smith

2008-12-16T14:00:00.000-08:00

Radio Dada (3:47')
(video: Rosa Menkman, music: Extraboy, 2008)
The video-images are constructed out of nothing but the image created by feedback (I turned a high-end camera on a screen that was showing, in real time, what I was filming, creating a feedback loop). Then I glitched the video by changing its format and subsequently exporting it into animated gifs. I (minimalistically) edited the video in Quicktime. Then I sent the file to Extraboy, who composed music for the video. The composing process started with a hand held world radio. Extraboy scanned through frequencies and experimented with holding the radio in different parts of the room while touching different objects. Eventually he got the radio to oscillate noise in the tempo that he perceived in the video. The added synthesizer sounds were played live to further build on the non-digital sound and rhythm. This was later contrasted with drums which were digitally synthesized and processed through effects with a very digital sound to them. Just like with the video, the digital and analogue media and aesthetics of sound are mixed into one coherent whole.

Radio Dada has been screened / exhibited / featured
05-'10 – Screening and broadcasting of Radio Dada at Versi9n Chicago, Us
04-'10 – Screening. Critical Glitch Artware / Notacon / Blockparty, Cleveland, Ohio US.
04-'10 – exhibited at Videospace, Budapest, Hu.
06-'09 – screening at TERRITORIOS DIGITALES 2009, Sevilla, Sp. Photo
05-'09 – featured at Art of Artifacts, Intermerz (online)
05-'09 – featured at The Pixel Project
05-'09 – screening at Lev Festival, Gijon, Sp.
11-'08 – exhibited at Haip. photo

2008-12-16T13:38:00.000-08:00

Eastern Fire Swim (4:30')
(video: Rosa Menkman, music: Goto80, 2008)
Constructive instability. Purposfully unfocused. Intended blur.

The tv is glitched, analogue-ous-ly, by colliding both the video and antenna input. The sound is made with the new tracker software Defmon that Goto80 uses. (un)fortunately this also glitched, digitally (the sounds got stuck). There is also a recording of this here

2008-12-16T12:38:00.000-08:00

Egypt (2:50')
(video: Rosa Menkman, music: Extraboy)
Extraboy send me the music and when I listened it, I could only think of moving blobs that never evolved nor be seperated from eachother. Only when the more recognizable high pitched sounds and subdued thunder became part of the horizon, things seemed to go somewhere. But the horizon stayed a boundary in spacetime, an area smudged by black holes, through which events could never reach the outside observer.
Light emitted from inside the horizon seemed to never fully reach the observer, and anything that passed through the horizon from the observer's side disappeared. I was never completely sure where the movements took me... Sideways? Upwards? Forwards? Or was it movement towards degrading?

The video is constructed from moving lines smudged by compression artifacts.

2008-12-16T11:38:00.000-08:00

First Born / Still Born (5:04')
(video: Rosa Menkman, music: Extraboy 2008 / 2010)
First Born is made with the help of a pdf screengrap glitch that overlays a video of google earth. In some ereas the satellites fail to stitch the photos correctly

Still born is the a never finished remake of First Born. RIP Oaktabarn.

A place for submissive degradation, idyllic tormenting and rhetoric voids. It passively terrorizes my being, I understand now that there is no nature without culture. No difference without repetition. No such thing as silence.
Noise can only exist encapsulated within organized, meaningful structures. Viral ecologies in which the artifact can be an interface to the aura.

2008-12-16T11:21:00.000-08:00

Sunshine in my Throat (0:27')
(video: Rosa Menkman, 2007)
While traveling through networks she discovered she existed. One day somebody committed burglary into her brain. Her shell was cracked and she became one of those people with hacked souls. She thought she had seen it all, but now she was a cyborg with a parallel memory.
She must be a decompression.

|||I|I|I|II|I||| Our best machines are made of sunshine; they are all light and clean because they are nothing but signals, electromagnetic waves, a section of a spectrum.
— Haraway, Donna. “A Manifesto for Cyborgs” 1985.

2008-12-16T10:39:00.000-08:00

Načechrané Obláčky and Flebb (3:47')
(video: Rosa Menkman, music: Extraboy, 2007)

Dromology. ‘Dromos’ from the Greek word to race (Virilio 1977:47). Meaning: the 'science (or logic) of speed'. He notes that the speed at which something happens may change its essential nature, and that that which moves with speed quickly comes to dominate that which is slower. 'Whoever controls the territory possesses it. Possession of territory is not primarily about laws and contracts, but first and foremost a matter of movement and circulation.'

Načechrané Obláčky and Flebb is a response to the Video Vortex conference in Brussels. In this conference Adrian Miles talked about YouTube and videodistribution on the web in general. Miles' main issue was the question where online video ends - at what point is it ‘complete’? What are the limits imposed by technology, or are these limits lingering clichés of narrative form (as opposed to Manovich’s ‘database’)? Can online video be imagined differently, outside the frames of cinema and TV?
Miles wants to rethink video. According to him, online video distributing sites will only have a future if they make their content granular; tagging scenes and shots, linking between them and in so doing making it easy to remix content at the level of the smallest possible unit. He wants to open up a space that he calls soft video.
Since blip (the video distribution site I use) or any other video distributing website doesn’t incorporate the options that make soft video possible (yet), I wanted to try if there are other ways to get closer to at least some sense of granularity- an experiment with time
Načechrané Obláčky and Flebb is a music video consisting of two separate screens. One, (the upper) screen is linear and synced with the music. The second, lower screen is a random video that can be remixed or scratched by the viewer, using the timeline as a tagging system.
Načechrané Obláčky and Flebb doesn’t realise Miles soft video. But it might be a start to think about options to get there.

2008-12-16T09:39:00.000-08:00

Rosa Moln
(video: Rosa Menkman, music: Extraboy)
New video machines can show us new perspectives and new videoscapes where norms can be questioned and alien territories can be explored.

2008-12-16T06:39:00.005-08:00

Together in my freezer AKA Washmountain
(video: Rosa Menkman, music: Extraboy)
Video made through my microscope, from melting ice - the machine showed me a new macro perspective, a videoscape.

2008-07-10T01:44:00.000-07:00

corrupt tango

<<>> Dear mr compression
I write a 1000 poems to you
Is this what they call progress?
Warmly yours,
the noxious angel of history

2007-07-10T01:42:00.000-07:00

This is a render of part 1. of the Collapse of PAL (1. Eulogy, 2. Obsequies and 3. Requiem for the blue plains of phosphor), as performed at TV-TV on the 25th of May 2010, Copenhagen, DK.
SOUND & TELEVISION is a transmission art project that explores the performativity of television in light of the challenges brought about by a converging mediascape. Signal, noise, liveness and flow along with standardized production formats are all aspects of the television medium which are reshaped in digital, networked media. Rather than a stream-lined sound-image of digital convergence, SOUND & TELEVISION strives to act as a springboard for an aesthetic "media-clash" reflecting on the political-aesthetic of old and new media forms.
SOUND & TELEVISION invited me to work with the materiality of audiovisual flows to realize a performance exploring the performativity of television.
In this performance, the transmission itself became the artwork. The performance reflects on different significant aspects of the changing conditions of broadcasting. In the new DVB-T (digital terrestrial television) environment, the very transmission format of TV has changed, from symmetric analog to asymmetric data flows, encoded in the MPEG format and decoded through software implemented in everything from flat-screen TV's, set-top-boxes and PC's. "The cracking of LCD screens" ...all is not smooth in this world of digitally compressed TV.

In "The Collapse of PAL" (Eulogy, Obsequies and Requiem for the planes of blue phosphor), the Angel of History (as described by Walter Benjamin) reflects on the PAL signal and its termination. She concludes that in the end, the signal still exists as a trace left upon the newer "better" technologies. PAL can, even though the technology is terminated, be found here, as a historical form that newer technologies inherited and appropriated.
The Angel also realizes that the new DVB signal, that has been chosen over PAL, is differently, yet also flawed.

I developed The Collapse of PAL on request by SOUND & TELEVISION (in Copenhagen, Denmark), is based on analogue PAL video, compressions, glitches and feedback artifacts and is complimented with (obsolete) soundscapes that come from both analogue and digital media.
For the video-part I used a NES, some image bending, a broken photo camera (CCD chip is loose), digital compression artifacts and video bending artifacts (DV, interlacing, datamoshing and black bursts) and feedback. For the sound I used a cracklebox, feedback, a telephone eurosional, morsecode an old cassia keyboard, feedback filters and a couple of DV-compressed video soundbends.

2006-09-04T10:17:00.000-07:00

65 76 65 72 79 74 68 69 6e 67 20 69 73 20 6d 75 72 64 65 72 65 64 20 62 79 20 74 68 65 20 68 61 6e 64 73 20 6f 66 20 74 69 6d 65
Video and sound by me. Created by editing dv compression in an hex editor.

2006-09-04T10:16:00.000-07:00

Digital ate the cassette tape
Daniel Wilsons asked me to help him with the practical part of his master thesis graduation. 

Sound mix by Daniel Wilson (he sampled the sound of a test tape/card, the eurosignal \\which I used to wake up with many mornings when I was young// and generation loss). Video is by me.  

2006-02-18T05:06:00.000-08:00

Gravitational radiation

my appearance is your canvas
your quirks are your brush
imperfections caused through decay

all your wildness does not need to be tamed
no need for acceptance
the positive feedback
there are no norms anymore

all your wildness does not need to be tamed
there is no acceptance
there is nothing present
only incineration we must face

How to understand your devastation
How to make paths through something I still not recognize
…I can only follow your tides of madness

I travel along, no more defined by time
No more now or before
I am on the spot, transforming within the real

what were once possibilities is now faded
gravitational radiation
gravitational radiation
a new orbit has started

Washmountain 2 / Together in my freezer (2:36')
(video: Rosa Menkman, music: Extraboy, 2009)
Result of the use of Quicktime 7 pro. I exported Washmountain to .avi (Cinepak 256 grays, least quality). The result was this mad color surprise.

Screening
15-04'10 – Screening of Together in my Freezer @ Critical Glitch Artware / Notacon / Blockparty, Cleveland, Ohio US.
09-11'09 – Screening of Together in my Freezer @ Eye&Ear Clinic, Chicago, US.

2006-02-18T04:56:00.001-08:00

Experiments with compression artefacts.
(video: Rosa Menkman, sound/music: Extraboy, Rosa Menkman and Skype, 2009)

Two version of To Smell and Taste Black Matter - to show a part of the process (this step resulted in some black / dropped pixels).
(Synesthetic) musicvideo, created by exporting footage into different Compressions (such as least quality/animated/256 colors mov to least quality/256 colors/uncompressed avi, etc), resulting in artifacts such as dropped and bleeding pixels, noise and weird forms of interlacing.
The original footage is taken from a lofi webcam recording, in which Extraboy is performing an unfinished song...

2006-02-18T04:56:00.000-08:00

Accidents in celluloid and pixel (2:36')
(video: Rosa Menkman, music: Goto80, 2009)
All footage was originally part of a selection of celluloid films the Filmmuseum Amsterdam offered for the Celluloid Remix project. The three videos I choose to remix all have particular accidents as subject; A petrol burning in Vlissingen (1917) and two train disasters (1917 and 1926).
The changes in terms of materiality (the grain) of the video are created by different compression accidents (or compression artifacts). Through remixing the celluloid I drew an analogy between the materiality of the celluloid and the digital pixel (I did not use any filters except for lumakey in the middle of the video to make a transition and adjusting the contrast).
Even though, the original footage changed so much it is sometimes hard to recognize. This is because some digital compressions changed the grain of the video into squares while others added particular (random) colors to the video.
This is actually another analogy between celluloid (only in celluloid this happens over a longer time span). In this video I think it becomes clear that compression glitches are a new materiality in the digital realm.

Soundtrack: Goto80 offered me his raw sound material (10 min) created on the ARP 2500, during his residency at WORM, Rotterdam. I edited a little bit to make it shorter.

Screening
25-09-'09 - Celluloid Remix / Nederlands Film Festival, Filmtheater 't Hoogt 1, Utrecht, Netherlands.

2006-02-18T04:55:00.000-08:00

Compress Process (3:28')
(video: Rosa Menkman, music: Extraboy, 2009)

The whole video is created with one and the same skype video recording; its basically a selfportrait of me jumping around.
This video was successively compressed in three different (glitchy) ways. The first compression made the colors of the video unstable. In windows, the colors changed to black and white while on the mac, the video still had color. It also became pixelated (0'27-0'35).
The second compression made the video bleed. You can see what I mean with bleeding from 0'37 to 1'17. These are basically the more messed up parts of the video.
The third compression made the video very grainy, (for instance, from 2'50-3'06). Instead of playing frame by frame, the video seems to make collages of itself by putting layers triggered by the sound on top of eachother. A very weird compression mode that I also exploited in To Smell and Taste Black Matter (only seems to work when you add .wav sound to the video and compress with animation codec set on least quality).
The only filter I used was a contrast filter and a filter for keying some whites out. I also edited the video to the music.
Extraboy made the music for the video. The beginning of the song is consists of a speech synthesis fighting for room with a song composed of text and exe-data. All performed on the Amiga. Gradually this sound gets highly compressed, and at the same time the (g)rainy sounds of a malfunctioning VST enters. That is followed by a new version of the song that was recorded in the original skype video.

Screening
15-04'10 – Screening of Together in my Freezer @ Critical Glitch Artware / Notacon / Blockparty, Cleveland, Ohio US.

Washmountain

2006-02-18T04:50:00.000-08:00

Lately I have been very much into Quicktime.. I like to say its one of my favorite softwares. Its has so many glitchy compressions. One of the glitches that I really enjoy is a very easy one I used for a remake of the old Washmountain (music by Extraboy) and also for the accidents in celluloid and pixel.
Use Quicktime 7 pro (don't know about the new one!) and export any video to .avi (Cinepak 256 grays, least quality). The result is a mad acid techno 090909 color surprise! yeahaa!
Even better: fastforward in the HD gets you a green youtube remix!

2006-02-18T04:49:00.001-08:00

Rosa Moln (3:39')
(video: Rosa Menkman, music: Extraboy, 2009)
More about this process here

Rosa Moln

2006-02-18T04:49:00.000-08:00