Rosa Menkman

Collapse of PAL

Abstract:
In the audiovisual performance The Collapse of PAL Rosa Menkman reflects on the PAL signal and its termination. This death sentence, although executed in silence, was a brutally violent act that left PAL disregarded and obsolete. However, the artist has to conclude that while it might be argued that the PAL signal is dead, it still exists as a trace left upon the new, ‘better’ digital technologies. PAL can, even though the technology is terminated, be found here as a historical form that newer technologies build upon, inherit or have appropriated from. Besides this, the Angel also realizes that the new DVB signal that has been chosen over PAL is different, but at the same time also inherently flawed. The video footage is based on the analogue PAL video signal, compressions, glitches and feedback artifacts that are complimented by (obsolete) soundscapes that originate from both analogue and digital media. For the video Rosa Menkman exploited the analogue PAL signal from an NES, image bending, a broken digital photo camera, digital compression artifacts, video bending artifacts (DV, interlacing, datamoshing and black bursts) and feedback. For the sound she used a Cracklebox, feedback, a European telephone signal, Morse code, an old Casio keyboard, feedback filters and a couple of DV-compressed video soundbends. She also sampled two old videoclips she made for Extraboy and Daniel Wilson.

Biography:
Every technology possess its own inherent accidents. “`OSƒ© ME”IKMƒ©N 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. Although many people perceive these accidents as negative experiences, Rosa emphasizes their positive consequences. By combining both her practical as well as her academic background, she 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.