<videovortex> Video Vortex Amsterdam 2011 - Session Ideas Feedback
Rachel Somers Miles
rachel at networkcultures.org
Thu Jul 22 15:04:45 CEST 2010
Here at the Institute of Network Cultures we’re starting the planning
for the big Video Vortex event here in Amsterdam next March 11-12,
2011, held at TrouwAmsterdam. The event will consist of a conference,
an exhibition, parties (of course), workshops, screenings and so on.
We’ve started to draft a preliminary template of session themes and
rough session titles for the conference, and wanted to ask for your
input. What do you, the Video Vortex community think?
Do you think the proposed sessions are interesting approaches?
Do you find something less interesting or important?
Is there something crucial missing? What is urgent/emerging and should
The official call for contributions, with a more detailed explanation
of sessions, for the conference will be going out mid-September, but
we wanted to get input from the Video Vortex list/community on these
tentative session themes before posting it.
To get the conversation going, reply to the Video Vortex listserv
Also take a look at the new face of the Video Vortex blog.
Looking forward to your responses,
All the best,
Video Vortex Amsterdam 2011 Team
1. Open Everything:
What is the current state of the art of open source, open content,
open video, open and alternative platforms, etc. with respect to
online video practices? What issues are faced, tackled, arrived at,
explored, remedied when considering, and working with open practices?
This session will be concerned with both editing software and delivery
systems, codecs, hardware, platforms and issues of open video itself.
2. Youtube as Archive or the Question of Dynamic Database vs. Static
With a massive and diverse assortment of videos, is Youtube indeed an
archive, or is it something else? If it is an archive, what in fact is
it an archive of; is it a collection of videos, or an archive that
represents little vignettes of cultural interest, whether memes,
historic moments, tv show clips etc.? And is anyone archiving Youtube?
How are Youtube and other sorts of online video collections (whether
institutionally owned or not) understood, practiced, used, designed,
and reflected upon in terms of the opposition between the dynamic
database and the static collection? And does such a stringent
opposition actually exist? In the context of Youtube as a potentially
dynamic database and a place of heavy social commentary and
participation, is there interesting theory around the usefulness of
creating channels on Youtube? How are people using the video lists
they create, and what can been gleaned from this? How does all of this
relate to the era of comment culture?
3. Beyond Keen and Lanier: Critique of the Amateur:
This session seeks to deal with some of the following questions:
Is the era of appropriation over – is remix just a deadly boring
routine rather than a creative source of inspiration? Are we beyond
remix? What is next? A return to a true and pure 'authentic' image
Are the amateur and professional indeed in competition in the realm of
online video? What should the role of art education be to overcome and
understand the barrage of amateur work that is easily created, shared
and presented? What kind of art literacy is required, how are art
education institutions dealing with this, or are they, and what kind
of language exists to discuss a separation between the amateur and the
professional artist, and is this required? Are there art education
institutions discussing the production of video for online purposes,
and if so, what kinds of issues are tackled, and technical training
The professional world of advertisement has fully integrated itself
with the amateur approach, such as playing with remix culture and
invoking a feeling of rawness. Should we aim for professional
standards that really engage with the world of online video that don’t
just build on professional standards of television and film – and what
would these be – is it indeed the interactive capabilities of online
video that make these professional structures different from those of
tv and film? What techniques, structures, genres etc. exist in the
professional realm of online video, compared to those of the amateur?
4. Video Activism Online:
Examples and explorations of online video as a form of activism,
including both online portals and platforms that offer a space to post
important human rights issue videos for example, and the ways that
people in various locations around the world are using video as a
tactical tool for political mobilization. This will consider both
those that use video as a form of grassroots activism, and the ways in
which authoritative powers, such as the police, understand and use
video against activist actions. Furthermore, this session will explore
the ethics of online video in the context of considering the issues
and implications related to posting and making certain kinds of video
material available online.
5. Big Players in the Game of Online Video:
This session will examine the big players in the world of online
video. How are corporations and governments using online video? For
example, what kind of surreptitious practices like impersonating
grassroots organizations and guerrilla marketing are companies
adopting for commercial purposes, appropriating and making use of the
possibilities of online video and its easily viral nature? How are
governments and officials turning to, and using, online video etc.?
6. Artist Perspectives:
What’s currently on the minds of artists making use of, or engaging
with, online video? What kinds of issues are they dealing with and
what kind of work is being made? This session is also interested in
exploring how professional artists understand their position in
relation to the expansive amount of amateur work being created and
presented via online video and remix culture.
-------------- next part --------------
An HTML attachment was scrubbed...
More information about the videovortex