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Resolution

Examining resolution as both technical measure and epistemic threshold, this interview investigates how contemporary visual cultures mediate knowledge, perception, and experience. Rather than interpreting information as a neutral abstraction, Matteo Bettini frames it as a process of interpretation and rearticulation, shaped by the limits and affordances of the media. Moving between information design and collective image-making, he examines resolution as a way of sensing, where clarity, ambiguity, and performance continually negotiate what becomes visible, legible, and shareable.

Metamorphic Zone

Your background is in Information Design from the Design Academy Eindhoven. Personally, I think it’s a very innovative approach to design. But “information” often sounds quite abstract to most people and almost too all-encompassing. It seems like it could apply to any subject today. Drawing from your practice, how do you define information, and how do you approach understanding it?

Matteo Bettini

I joined the programme in 2021 and finished it in 2023. My background is in graphic design, and later I joined Density Design, a department at Politecnico di Milano that was engaged with the visualisation of data.

Then I moved to the Netherlands for the programme Information Design, run at the time by Joost Grootens. Probably from the perspective of other practitioners, I was following a familiar field of study, but for me, it was an expansion that allowed me to explore new directions.

Information Design is less a defined field than a framework. Information itself is any knowledge you encounter or any question you ask. Information design, in both a design and an artistic context, is about how you explain that question or any possible answer.

In this case, it is fundamentally pedagogical. My work is about how I first understand a subject, and then how I would explain it to someone else. The designer’s role exists in the process of receiving, reshaping, and reintroducing something into the flow of information.

Metamorphic Zone

The view of the medium as an interface for exchanging information is what makes me interested in your collective, 4KHD, which describes itself in terms of a “new resolution.” Typically, resolution is a technical property of digital screens, images, or videos. Your description, however, suggests something more dynamic, something always in flux, carrying both information and energy. I really liked this interpretation. Could you elaborate on it?

Matteo Bettini

The collective is integral to my practice, though it operates in a different realm with different approaches. It’s free from the market and operates in another space. It began with ideas directly connected to the field of information design. For us, images are information maps; you can read how reality is constructed through pixels and extract more than what is immediately visible.

The name ‘4KHD’ is deliberately playful, combining two resolutions to suggest an impossible standard. It is an exaggeration, reflecting on how today’s reality is mediated through pixels, with devices constantly pushing toward higher resolution and closer proximity to ‘reality’. Our work exists at the intersection of image creation, the representation of reality, and studies of territory and landscape, so the name fits these themes.

What interests me is that every piece of information has a resolution through which we understand it, and another resolution when we try to convey it. For me, resolution marks the threshold between what is comprehensible and what is too vague or, conversely, too detailed to grasp. Its interpretation depends on one’s background and perspective. In my work, resolution becomes metaphorical: I value information that exists across multiple resolutions or carries ambiguity in its encoding, where meaning is embedded in the medium or technology itself, rather than solely in the content.

Metamorphic Zone

This connects to another phrase from the collective: “high performance of low resolution.” This seems to align with your idea that resolution is relative and personal, depending on how people perceive it. Could you explain the link between resolution and performance, and how “low” and “high” play out in your work?

Matteo Bettini

The motto came from our connection to outdoor and sports culture, which is mediated by images, often spectacular or extreme. Image-makers and sportspeople became intertwined. In our collective, everyone works with images, including engineers, designers, and artists, all linked by this fascination.

We asked how resolution shapes meaning. Sometimes we deliberately use low resolution to test the boundaries of an image or to question how performance and space are recorded. Performance operates on two levels here: the physical performance of bodies and the technical performance of devices. Devices are constantly pushed to new limits, 4K, 8K, 360, and beyond. The aim is often to erase the device from the situation, creating images closer and closer to what we perceive.

These overlaps between the body, the device, and image performance are at the core of my practice. For me, this is where performance really lives: in the shifting relations between bodies, devices, and images, constantly overlapping, influencing one another, and at times dissolving into something else altogether.

A Place without a Name

Un-rendered satellite image zoom tile of Monte Rosa (Western Lyskamm).
Google Maps, 2025.
Un-rendered satellite image zoom tile of Monte Rosa (Western Lyskamm).
Google Maps, 2025.

To name a place is to choose both its distance and its detail. How near it feels, and how clearly it comes into view. Years ago, while collecting all the toponyms of a mountain I had looked at countless times, I realized I had never truly paid attention to most of them, nor had I ever wondered what they meant. Perhaps that’s how we all come to know the names around us – taking their existence for granted, as if they had always been there, even before the place itself took shape. But what began as a linguistic exercise soon became a visual one. Words, long before maps and images, make use of resolution and scale to describe the visible world.

This short text belongs to a project which originally took the shape of a glossary. Its subject is not just any mountain, but a well-known and very much represented one: the Monte Rosa massif. Perhaps because it contains one of the highest peaks in Europe, or because with its glaciers it long served as a boundary, over centuries, it has been named and renamed. Its peaks were “conquered,” explored, measured, painted, written about, photographed, and mapped. This mountain, more than any other, reveals a layered strata of naming practices and eras, creating a “geological” dimension of words as much as of rock and ice.

Most of the toponyms that survived until today are the ones that got into official cartographies; therefore, those recorded during military explorations or state surveys, the systematic acts of naming that accompanied the control and exploitation of territories.

In the Western Alps, where Germanic, Romance, and Italian populations mixed across borders, mountains and even their smallest features accumulated hundreds of names long before modern state control. Some of these names made it onto maps, others survived only in oral tradition, and many have likely been lost altogether. The names that we have today form a vast geographical glossary, one that records all the ways we made sense of the mountain: a place of work, a space for imagination, a laboratory for science, a land for nationalism, and finally a playground for sports.

Toponyms, therefore, act as contextual annotations, operating at different scales and distances, much like the things they signify. Some encompass vast areas, perceptible only from afar but impossible to fully grasp up close. Others focus on a single detail, even a single rock, rendering them unrecognizable unless you are precisely there. Some describe phenomena visible only from a particular angle at a specific moment. Some are simple, descriptive names that you will find everywhere else.

First topographic map of Monte Rosa Der Monte-Rosa, von Welden, 1824.
First topographic map of Monte Rosa Der Monte-Rosa, von Welden, 1824.


Monte Rosa [45.936920, 7.866769]
Let’s start from the one, main name, for the whole thing. One of the earliest disillusions of my childhood was discovering that the name Monte Rosa did not, as I had once believed, speak of the mountain’s pink tones at sunset, but rather came from an ancient language blend (rouja) meaning quite simply, “ice.” Mountains as this one were defined by their main visual feature, having their surface covered in snow all over the year.

Details of a map where three different names are attached to the Monte Rosa  area: M. Rosa, M. Silvio, Glacieres. Carta del Piemonte e della Savoia, Visscher, 1695.
Details of a map where three different names are attached to the Monte Rosa area: M. Rosa, M. Silvio, Glacieres. Carta del Piemonte e della Savoia, Visscher, 1695.


Col de Theodule [45.943188, 7.708797]
Mountain peaks, for much of human history, were not considered more than places to be observed: not destinations to be reached, nor features deserving individual names. They were immense presences to be circumnavigated through their accessible points – the passes. These, together with other lower elevation features such as valleys, settlements, and rivers, have perhaps the oldest name of them all: they were routes of exchange, of trade and communication, the only parts of a mountain considered relevant. Most of the toponyms of this area I’ve found recorded before 1800, were all places below 3500 meters of elevation.

Un-rendered satellite image zoom tile of Monte Rosa (Northern Lyskamm). Google Maps, 2025.
Un-rendered satellite image zoom tile of Monte Rosa (Northern Lyskamm). Google Maps, 2025.


Corno Nero [45.914646, 7.861876]
At that time, when the highest lands were considered dangerous zones not to be entered, many mountain names were purely descriptive, drawn from their visible appearance when seen from somewhere lower: we still find some of these examples in names as Corno Nero (Black Horn), Schwarzberg (Black Rock), Weisstor (White tower), Monte Moro (Dark Mountain).

These were places of which people had no direct physical experience yet (were not reached) and were not places of work (not height at which you could hunt, collect plants or breed animals). Therefore they existed just at a distance.

“White” (weiss) belonged to those peaks which were year-long covered in snow; “black” (schwarz), on the contrary, defined the ones generally keeping a dark color through seasons, therefore the ones with exposed rock faces and steep slopes. These names are very common and can still be found in any other valley. At a certain elevation, mountains were looking either snowy or rocky, and these names were classifiers rather than individual descriptions. None would actually want to reach one of these places, but perhaps just identify where the world would end and the ice would start.

Un-rendered satellite image zoom tile of Monte Rosa (Northern Lyskamm). Google Maps, 2025.
Un-rendered satellite image zoom tile of Monte Rosa (Northern Lyskamm). Google Maps, 2025.


The Lost Valley [45.921666, 7.843766]
The presence of the glacier and its prominent mountains are still impressive today, and not looking at them is barely impossible. Its white slopes in full summer stands out visually and they remind of another world. It’s therefore possible to imagine that these lands were the perfect setting for the creation of myths and apparitions, but also curses and darkness. Some toponyms keep these imaginative stories alive, such as the myth of a disappeared town, an imaginary place said to have existed in a “lost valley” in the middle of the glacier long before the snow covered it all. The tale may have arisen from a simple misreading of the landscape – someone mistaking a distant view of Switzerland for a nearby valley – or perhaps from deeper fears of the glacier advancing through the mountains. In 1778, the myth and reality briefly met when seven mountaineers decided to go on an expedition in search of this lost town. Although it was never found, the peak reached was called after a discovery that never happened, but recording the beginning of a different era: the end of the fearful time and the beginning of the explorations. The story survived through the toponym Punta Felik (the name of the lost town) and Roccia della Scoperta (“rock of the discovery”).

One of Monte Rosa southern side’s glaciers in a very rare image from 1868, with the comparison of its extension from 1984 (S line). La Montagna di Ghiaccio, 1991.
One of Monte Rosa southern side’s glaciers in a very rare image from 1868, with the comparison of its extension from 1984 (S line). La Montagna di Ghiaccio, 1991.


H [45.936920, 7.866769]
The number of toponyms and the amount of expeditions, new routes and people interested in these places were of course growing fast. Before having actual names, the major highest points were first organized in 1820 by a local called Joseph Zumstein as peak A, B, C, D, E, F, G, H, and I, in height order. Defining the highest point of them all was soon the main ambition. This first attempt was in the end wrong in measurement and the highest peak was later assigned to H.

Illustration with Monte Rosa peaks names. CAI Journal n.59, 1892.
Illustration with Monte Rosa peaks names. CAI Journal n.59, 1892.


Spitze Ohne Name [45.913571, 7.857928]
The actual starting point of this work was originally when I found a weird toponym, “Spitze Ohne Name”, which means Peak without a name, a placeholder label given in 1824 to a summit of the Monte Rosa massif. Like many place-names, this one may have truly existed only in a map, in this case the one drawn by Ludwig von Welde, an Austrian army general known to be one of the first to fill with words the blank spaces of those vast, iced lands. With this name, he started to chart what at that time had only been reached by few and observed from far by many. He even named without having any idea what name to give, because a map demanded no empty space.

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