README.first is a bilingual collection of mini-essays, published in the run up to the Plokta filmfestival. We’ve asked writers, researchers, theorists, artists, programmers, and others to pick an online video that functions as a stepping stone for their thought and practice and to comment shortly on why they find the video so significant, funny, or outright disturbing. The resulting reflections speak about Silicon Valley obsessions, our mediated social lives, the impact of technology on centuries old games, and more.Plokta showcases film as a frame of socio-technological themes and discussions. With these essays we want to broaden the scope to one of the most significant developments in visual culture of the past decades: the rise of online video. At the Institute of Network Cultures (INC), online video has been a research topic already since 2007, in a continuous project named Video Vortex. Together, Plokta and INC, hope to stimulate reflections before, during and after the festival on what the moving image has to say to us.
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Most film viewers know the experience of being deeply absorbed in the story of a popular film. It seems that at such moments they lose awareness of watching a movie. And yet it is highly unlikely that they completely ignore the fact that they watch a narrative and technological construction. Perhaps film viewers experience being in a story world while simultaneously being aware of its construction. Such a dual awareness would seem paradoxical, because the experience of the one would go at the cost of the other. We argue that the solution of this paradox requires dropping the notion of an undivided consciousness, and replacing it with one of consciousness as coming in degrees. In this chapter we present both cognitive and film-analytic arguments for differential awareness of story and narration/technology, and argue that a characteristic of absorption is to be found in story world super-consciousness.
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In 1896 Svante Arhenius discovered that fossil fuels are a source of carbon dioxide. In 1965 the US Presidents science advisory panel reported that pollution is a major threat to society. In the 1970s atmospheric scientists Manabe, Wetherald and Sawyer confirmed that human activities are contributing factors to climate change. Richard Maxwell and Toby Miller explored the environmental impact of media technology in 2012. Kääpä explored sustainability in media in 2018, yet in 2022 sustainability in Film, TV and Media is still in its infancy, while other sectors are taking strong measures to reduce their carbon footprint. This report synthesis Elkington’s’ triple bottom line with Porters’ value chain in Film, TV, and media production as framework to teach sustainability. Research highlights the importance of Small Medium Enterprises (SMEs) in the sector and underscores Green Production strategies that reduce the carbon footprint. Research reveals that the sector has the unique potential to change the way audiences perceive sustainability using Green Content strategies and highlights the sustainability problem in distribution. Results suggest that educational institutions in Film, TV, and Media must do more to integrate sustainability into their curricula to unleash the full potential beyond sector boundaries.
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Doel van dit project is de ontwikkeling van een virtual lab voor het bevorderen van het aanleren 21e eeuwse vaardigheden van leerlingen in de context van bèta burgerschapsvorming. In het consortium “Samen werken aan Bèta Burgerschap” (http://www.techyourfuture.nl/a-436/samen-werken-aan-bèta-burgerschap) werkt het lectoraat Vernieuwingsonderwijs intensief samen met basis- en middelbare scholen, bedrijven en maatschappelijke instellingen aan de ontwikkeling en implementatie van programma’s van leeractiviteiten waarin burgerschapscompetenties worden aangeleerd in het domein van de bèta en techniek. Het betreft bovendien een programma dat niet alleen beroepsvoorbereidend is maar ook burgerschapsvormend, aangezien we bèta en techniek in een bredere maatschappelijke context plaatsen. In de programma’s van leeractiviteiten worden 21e eeuwse vaardigheden gestimuleerd zoals kritisch denken, probleem oplossen, communicatie, samenwerking en ook ICT vaardigheden en levenslang leren. Een van de programma’s van leeractiviteiten is Plastic Soep, dat ontwikkeld is door en voor het voortgezet onderwijs in samenwerking met TCC de Tijl (VWO 2), WETSUS en het lectoraat International Water Technology van Saxion. WETSUS is een instelling waar internationaal onderzoek wordt gedaan naar duurzame watertechnologieën (zie https://www.wetsus.nl/home/what-is-wetsus). In het project worden leerlingen gevraagd welke oplossing het meest doeltreffend is voor het opruimen van plastic zwerfafval uit de oceanen. Tijdens het programma van leeractiviteiten onderzoeken leerlingen hoe plastic wordt geproduceerd en afgebroken en welke processen bijdragen aan de plastic soep. Het programma van leeractiviteiten is inmiddels in 19 klassen toegepast en geëvalueerd. Om het aanleren van 21e eeuwse vaardigheden van leerlingen tijdens het programma te optimaliseren wil het consortium een virtual lab ontwikkelen. Virtuele labs zijn webgebaseerde simulaties van authentieke laboratoriumtests; het lab worden beschikbaar gesteld in de Go-Lab omgeving. Het lab biedt leerlingen de mogelijkheid om te leren door het uitvoeren van virtuele experimenten. Belangrijk voordeel van een virtual lab is dat experimenten snel en eenduidig kunnen worden uitgevoerd, uitkomsten snel beschikbaar en te interpreteren zijn en onderliggende verschijnselen in de bèta en techniek zichtbaar kunnen worden gemaakt. Bovendien kunnen applicaties, die het aanleren van 21e eeuwse vaardigheden ondersteunen en stimuleren, in het virtuele lab worden geïntegreerd.
This PD project explores alternative approaches to audiovisual technologies in art and creative practices by reimagining and reinventing marginalized and decommodified devices through Media Archaeology, artistic experimentation, and hands-on technical reinvention. This research employs Media Archaeology to uncover “obsolete” yet artistically relevant technologies and hands-on technical reinvention to adapt these tools for contemporary creative practices. It seeks to develop experimental self-built devices that critically engage with media materiality, exploring alternative aesthetic possibilities through practice-based investigations into the cultural and historical dimensions of media technologies. These developments provide artists with new creative possibilities beyond mainstream commercial standardized tools and infrastructures. A key component of this project is collaborative innovation with artist-run analog film communities, such as Filmwerkplaats. By fostering knowledge exchange and artistic experimentation, this research ensures that reinvented tools remain relevant to both analog film communities and contemporary media art practices. The intended outcomes directly benefit two key groups: • Artist-run film labs gain sustainable methods for evolving their practices, reducing dependence on scarce, out-of-production equipment. • Digital-native artists are introduced to alternative methods for engaging with analog processes and media materiality, expanding their creative toolkit. This collaboration also strengthens art and design education by embedding alternative technological perspectives and research methodologies into curricula, providing students and practitioners with resourceful, sustainable approaches to working with technology. It advocates for a more diverse educational paradigm that incorporates media-technological history and critical reflection on the ideologies of linear technological progress. Ultimately, this research fosters critical discourse on media culture, challenges the dominance of corporate proprietary systems, and promotes innovation, redefining the relationship between creativity and technology.
The growing energy demand and environmental impact of traditional sources highlight the need for sustainable solutions. Hydrogen produced through water electrolysis, is a flexible and clean energy carrier capable of addressing large-electricity storage needs of the renewable but intermittent energy sources. Among various technologies, Proton Exchange Membrane Water Electrolysis (PEMWE) stands out for its efficiency and rapid response, making it ideal for grid stabilization. In its core, PEMWEs are composed of membrane electrode assemblies (MEA), which consist of a proton-conducting membrane sandwiched between two catalyst-coated electrodes, forming a single PEMWE cell unit. Despite the high efficiency and low emissions, a principal drawback of PEMWE is the capital cost due to high loading of precious metal catalysts and protective coatings. Traditional MEA catalyst coating methods are complex, inefficient, and costly to scale. To circumvent these challenges, VSParticle developed a technology for nanoparticle film production using spark ablation, which generates nanoparticles through high-voltage discharges between electrodes followed by an impaction printing module. However, the absence of liquids poses challenges, such as integrating polymeric solutions (e.g., Nafion®) for uniform, thicker catalyst coatings. Electrohydrodynamic atomization (EHDA) stands out as a promising technique thanks to its strong electric fields used to generate micro- and nanometric droplets with a narrow size distribution. Co-axial EHDA, a variation of this technique, utilizes two concentric needles to spray different fluids simultaneously.The ESPRESSO-NANO project combines co-axial EHDA with spark ablation to improve catalyst uniformity and performance at the nanometer scale by integrating electrosprayed ionomer nanoparticles with dry metal nanoparticles, ensuring better distribution of the catalyst within the nanoporous layer. This novel approach streamlines numerous steps in traditional synthesis and electrocatalyst film production which will address material waste and energy consumption, while simultaneously improve the electrochemical efficiency of PEMWEs, offering a sustainable solution to the global energy crisis.
