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copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
institutions of Resolution Disputes [iRD]
Even though the iRD mimics an institute, in reality it is not a classic, institutional organ. Instead, the iRD multiplexes the term institution, by revisiting its usage in the late 1970s. Back then, Joseph Goguen and Rod Burstall formulated the term institution as a ‘more compound framework’, that dealt with the growing complexities at stake when connecting different logical systems (such as databases and programming languages) within computer sciences. While these institutions were put in place to connect different logical systems, they were not logical themselves.
Inspired by the idea of hyper functional, yet illogical frameworks, the iRD is dedicated to researching the interests of anti-utopic, obfuscated, lost and unseen, or simply ‘too good to be implemented’ resolutions.
The institutions of Resolution Disputes [iRD] call attention to media resolutions.
While ‘the resolution’ generally simply refers to a determination of functional settings in the technological domain, the iRD stresses that a resolution is indeed an overall agreed upon settlement (solution). However, the iRD believes that a resolution also entails a space of compromise between different actors (objects, materialities, and protocols) in dispute over norms (frame rate, number of pixels etc.). Generally, settings either ossify as requirements and de facto standards, or are notated as norms by standardizing organizations such as the International Organization for Standardization. We call this progress*.
However, resolutions are non-neutral standard settings that involve political, economical, technological and cultural values and ideologies, embedded in the genealogies and ecologies of our media. In an uncompromising fashion, quality (fidelity) speed (governed by efficiency) volume (generally encapsulated in tiny-ness for hardware and big when it comes to data) and profit (economic or ownership) have been responsible for plotting this vector of progress. This dogmatic configuration of belief x action has made upgrade culture a great legitimizer of violence, putting many insufficient technological resolutions to rest. While a resolution can thus be understood as a manifold assemblage of common - but contestable - standards, it should also be considered in terms of other options; those that are unknown and unseen, obsolete and unsupported within a time and (technological) space.
Resolutions inform both machine vision and human ways of perception. They shape the material of everyday life in a pervasive fashion.
As the media landscape becomes more and more compound, or in other words, an heterogenous assemblage in which one technology never functions on its own, its complexities have moved beyond a fold of everyday settings. Technological standards have compiled into resolution clusters; media platforms that form resolutions like tablelands, flanked by steep cliffs and precipices looking out over obscure, incremental abysses that seem to harbor a mist of unsupported, obsolete norms.
The platforms of resolution now organize perspective. They are the legitimizers of both inclusion and exclusion of what can not be seen or what should be done, while ‘other’ possible resolutions become more and more obscure.
It is important to realize that the platforms of resolutions are not inherently Evil*. They can be impartial. We need to unpack these resolutions and note that they are conditioning our perception. A culture that adheres to only one or a few platforms of resolutions supports nepotism amongst standards. These clusters actively engage simpleness and mask the issues at stake, savoring stupidity, and are finally bound to escalate into glutinous tech-fascism.
The question is, have we become unable to define our own resolutions, or have we become oblivious to them?
Resolutions do not just function as an interface effect*, but as hyperopic lens, obfuscating any other possible alternative resolutions from the users screens and media literacy. When we speak about video, we always refer to a four cornered moving image. Why do we not consider video with more or less corners, timelines, or soundtracks? Fonts are monochrome; they do not come with their own textures, gradients or chrominance and luminance mapping. Text editors still follow the lay-out of paper; there is hardly any modularity within written word technologies. Even ghosts, the figments of our imagination, have been conditioned to communicate exclusively through analogue forms of noise (the uncanny per default), while aliens communicate through blocks and lines (the more ‘intelligent’ forms of noise).
The user is hiking the resolution platforms comfortably. He is shielded from the compromises that are at stake inside his resolutions. Unknowingly suffering from this type of technological hyperopia, he keeps staring at the screens that reflect mirage after mirage.
A resolution is the lens through which constituted materialities become signifiers in their own right. They resonate the tonality of the users hive mind and constantly transform our technologies into informed material vernaculars.
Technology is evolving faster than we, as a culture, can come to terms with. This is why determinations such as standards are dangerous; they preclude alternatives. The radical digital materialist believes in informed materiality*: while every string of data is ambiguously fluid and has the potential to be manipulated into anything, every piece of information functions within adhesive* encoding, contextualization and embedding. Different forms of ossification slither into every crevice of private life, while unresolved, ungoverned free space seems to be slipping away. This is both the power and the risk of standardization.
We are in need for a re-(Re-)Distribution of the Sensible*.
The iRD offers a liminal space for resolution studies. Resolution studies is not only about the effects of technological progress or about the aesthetization of the scales of resolution. Resolution studies is a studies on how resolution embeds the tonalities of culture, in more than just its technological facets.
Resolution studies researches the standards that could have been in place, but are not. As a form of vernacular resistance, based on the concept of providing ambiguous resolutions, the iRD employs the liminal resolution of the screen as a looking-glass. Here, hyperopia is fractured and gives space to myopia, and visa versa. This is how iRD exposes the colors hidden inside the grey mundane objects* of everyday life.
The iRD is not a Wunderkammer for dead media*, but a foggy bootleg trail for vernacular resistance.
Progress has fathered many dead technologies. A Wunderkammer, or curiosity cabinet of media resolutions would celebrate these dead objects by trapping them inside a glass bell, relieving them indefinitely of their action radius. While the iRD adheres to the settlements of governing media resolutions, it also welcomes ventures along the bootleg trails of the tactical undead*. These undead move beyond resolution, through the literacies of the governing techno-cultures, into liminal spaces. They follow the wild and uncanny desire paths that cut through sensitive forms and off-limit areas into speculative materialities, futures and critical turns*. They threaten the status quo of secure forms of media and provide the ambiguity that is so necessary for inspiration, action and curiosity.
The iRD believes that methods of creative problem creation* can bring authorship back to the layer of resolution setting.
Resolution theory moves against what seems like an unsolvable puzzle of flattening reality. The iRD function one way trail straight into the Sea of Fog and towards the abyss of techno-norms. The iRD can however also be a modular framework, that opens and expands standards through inspection and reflection. As any good theory of media, resolution theory is a theory on literacy. Literacy of the machines, the people, the people creating the machines and the people being created by the machines. Through challenging the platforms of resolution, it can help the wanderer to scale actively between these states of hyperopia and myopia. It can uncover crystal cities of fog as well as shine a light on the soon to be distributed futures. Here we can mine for the yet unscreened timonds.
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see.
~ Dorothea Lange
Mesh skull necklaces available at the *Perception* Booth at the Unhinged festival.
Mod/Transfer permissions.
30 Days of Perception - Day 9
Today, it's all about stillness, both of mind and body.
I wanted to sit in a quiet place, just doing nothing - to see how long I could do this without wanting to move. I managed 15 minutes. No book, no telephone, nobody else there. I was in an open area in a small park and decided to sit motionless, just looking at the sky. There were trees a little way off from me, and as I sat very still, tiny birds started to get closer. They first flew to the trees and then landed on the ground around my bench, taking no notice of me at all. Had I become invisible?
In this age of always needing to DO something, it was a beautiful experience just to sit in stillness and BE.
One of the main difficulty, when models are photographed in a studio, is to give the viewer
the right perception of its size without taking attention away from it. This model is long by 38 inches,or 96.5 cm. Although I have made models as long as 6 feet, I like to stay between 3 to 4 feet. Indeed models of this level of details, finish - and cost - are best to be displayed within a showcase which in the case of this model would be of a size like 45 inches in the length, 15 inches in the width, and 24 inches high, which is considerable and akin to the size of a small table.
Khulna, Bangladesh.
The boys are observing something straight on a side, other the policeman is viewing (may be the lady over the opposite side of the road) on the opposite direction... but both are stepping ahead of their destination...
And yeah, It's a Rainy day... :)
A Rainy Song for all of You!
I took advantage of the fact that it was raining in my office... I created a conceptual art piece called Perception Precipitation, consisting of paper towels, a leaking roof, the random pattern of rain on the paper and the sound of the water hitting said paper.
This piece, though simple looking, is fraught with meaning, commenting of the random interactions of the world outside of the workplace and how it lands on the desks of minions making their lives miserable, on how Nature overcomes Man's best efforts to order his world, and on how mutability (represented by water) inserts itself randomly on the orderly lives below (represented by the careful grid of paper towels) punishing them and affecting them randomly, changing them, and slowly destroying and wearing away their carefully pressed facades that they use to face the world and hide their inner selves.
Bids for this installation start at $400,000 (Daddy needs to pay fer a brand new house!).
This clever sculpture is concave instead of convex, demolishing expectations and playing with your parallax.
Asheesh probably wasn't supposed to hop this fence and put Herbert in front of the sculpture, but at least he didn't disobey the sign that said "do not touch the art". I started singing "This Land Is Your Land" as Asheesh stepped over the fence, but nobody got it.
Leather Overbust Corset and Neck Corset. 7 sizes: Standard sizes XXS-L, plus special sizes M+ and Bx. Copy/Mod
maps.secondlife.com/secondlife/Mint Tulip/24/203/22
With a faster Sense, how different would the World look for us?
Gedankenexperiment:
What if from another Point of View Everything is stillstanding - just on another Point of the Timeline? Perhaps Time and Space are one and the same..?
The Ventilator on the Left is exaktly the same as on the Right (same Speed), but it´s taken with Flash and the sekond One is without...
Week 30
Pretty crazy that there is only 22 weeks left! Glad today was over, it was a rough one. I'm trying plan the next couple of weeks in advance for once.
Strobist info:
SB-900 camera right, slightly aimmed at myself
SB-700 camera left, slightly aimmed at myself
Triggered with cybersyncs
This is one of the latest nonsensical catch-phrases being taught by repeatedly invoking it as fact in the new "woke" world being forced on Society.
Sometimes the phrase is quoted as “Perception is their reality”, which is closer to the truth, but it still doesn’t make someone’s perception necessarily the truth.
This phrase “Perception is reality” was used most recently on Survivor where a group of young women decided they were ‘uncomfortable’ with one of the guys who was touching them ‘inappropriately’. It was used repeatedly in the discussion at Tribal Council, where one very “woke” man said regardless of how the touching was intended, no matter how incidental, if the woman perceived it as inappropriate, then it was inappropriate because “perception is reality” and “her perception is her truth”.
Then they voted her off the island.. Why? Was it because the truth is, no one could afford to take the chance that she might turn her "perception" against them next and ruin them in real life? Or maybe because *their* perception was that she might use her status as a helpless victim to make herself invincible in the game.
“HER perception is HER truth”. Which is another way of saying we can't contradict her. It's also a way of saying each of us gets to decide what is and isn’t real (to us..), what is and isn’t inappropriate, what is and isn’t fair. We get to decide what is and isn’t the color blue, who did and didn’t break the law, and what is and isn’t “Constitutional”.
Which would explain why Nancy Pelosi, Adam Schiff et al continually claim Donald Trump is a lawless tyrant, who must be brought down by any means necessary! It's their perception and must be respected as one version of the truth. After all, there is no absolute truth. There is only the truth that we perceive. And that, my friends, is the definition of chaos.
They are living in their own reality, where whatever they perceive to be the truth, IS the truth. Well.. THEIR truth, anyway..
We have a name for people who live in their own reality. And we don’t allow them to buy guns, work in nuclear power plants, or join the military, the police or fire departments. But they seem to do very well in the fields of journalism, teaching, and politics!
Created for Down Under Challenge # 180.
We hold these perceptions to be self evident, that not all that fly are created equal......
Vielen Menschen ist 2022 bewusst geworden, dass Krieg nicht an den Grenzen Europas Halt macht. Ihre Vorstellungen sind so abgeblättert wie das Schild dieses ehemaligen Ateliers.
"Adieu ideal world"
To many persons 2022 meant their perceptions chipped off like the sign of this former studio "Atelier heile Welt"
“No man has the right to dictate what other men should perceive, create or produce, but all should be encouraged to reveal themselves, their perceptions and emotions, and to build confidence in the creative spirit.”
~Ansel Adams
For my Flickr groups…
Self-Explanatory. After my own childhood, and 26 years in the navy, I really hate drunks. This does not stop me from laughing at depictions of them, of course.
The bloody ivory damask underbust corset features 18 steel bones encased within a beautiful 14-panel silk damask shell, hand-flossed with gold thread. The corset also features a historically spaced split-front busk, "rabbit ear" lacing, floating modesty panel, and silver grommets and aglets. And blood, lots of blood!
Standard sizing with the addition of an M+ size created specifically for very curvy avatars that don't fit into the standard sizes, and a Bx size for top-heavy avatars.
Available in-world at Perception and on the Marketplace.