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<font face="Helvetica, Arial, sans-serif">Dear all,<br>
in my opinion the program is already very well articulated and covers a
very wide range of crucial aspects.<br>
<br>
Perhaps one issue that could be deepened is the relation between video
and mobile communication. Indeed the massive global diffusion of
wireless tools (smart phones, PDAs etc.) opened to the fast growing of
a new phenomena: mobile entertainment. Videos have a big part in it and
my interest is to understand what is the impact of video
miniaturization on aesthetics and narrative. Taking the business'
appetite for granted, I wonder if this reflection is an urge also for
artists.<br>
<br>
Interesting questions could rise also about the research method: is it
possible a cross-cultural analysis, or do we need a more situated
approach?<br>
<br>
Best,<br>
V.<br>
<br>
<br>
</font><br>
Geert Lovink wrote:
<blockquote cite="mid6E3919F8-3451-47B4-BCA9-F25D4EF96387@xs4all.nl"
type="cite">Dear all,
<br>
<br>
because of the holidays maybe you missed this email. We're all back at
INC and start to prepare now for the next VV event in Amsterdam on
March 11/12.
<br>
<br>
If you have ideas for lecturers, good speakers, material that we should
screen or exbihit, let us know.
<br>
<br>
Next Wednesday, September 8, we have a meeting about this, here at INC.
<br>
<br>
Below we have proposed six broad themes that we want to work further
over the next months. What do you think we should discuss in Amsterdam?
<br>
<br>
Please send your responses to the list!
<br>
<br>
Best, Geert
<br>
<br>
<br>
On 22 Jul 2010, at 3:04 PM, Rachel Somers Miles wrote:
<br>
<br>
<blockquote type="cite">Dear All,
<br>
<br>
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.
<br>
<br>
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?
<br>
<br>
Do you think the proposed sessions are interesting approaches?
<br>
Do you find something less interesting or important?
<br>
Is there something crucial missing? What is urgent/emerging and should
be discussed?
<br>
<br>
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.
<br>
<br>
To get the conversation going, reply to the Video Vortex listserv
<br>
<br>
Also take a look at the new face of the Video Vortex blog.
<br>
<br>
Looking forward to your responses,
<br>
All the best,
<br>
Video Vortex Amsterdam 2011 Team
<br>
<br>
_______
<br>
<br>
PROPOSED SESSIONS
<br>
<br>
1. Open Everything:
<br>
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.
<br>
<br>
2. Youtube as Archive or the Question of Dynamic Database vs. Static
Collection:
<br>
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?
<br>
<br>
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?
<br>
<br>
3. Beyond Keen and Lanier: Critique of the Amateur:
<br>
This session seeks to deal with some of the following questions:
<br>
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
culture?
<br>
<br>
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
offered?
<br>
<br>
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?
<br>
<br>
4. Video Activism Online:
<br>
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.
<br>
<br>
5. Big Players in the Game of Online Video:
<br>
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.?
<br>
<br>
6. Artist Perspectives:
<br>
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.
<br>
<br>
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