Exploration of the Video Essay format about the impact of political and cultural factors in the Philippines.
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Een digitaal netwerk is van strategisch belang voor mens, organisatie en regio. Hoe kunnen we social media en andere vormen van digitale netwerken nu functioneel doordacht, efficiënt en effectief inzetten? Hebben we voldoende media wijsheid in pacht? Zijn we voldoende ‘digital media literate’? Aandacht voor en het ontwikkelen van digital media literacy wordt in het Horizon Report 2011 van EDUCAUSE “de belangrijkste kritieke uitdaging” voor de komende jaren genoemd. Het rapport spreekt van “een key skill voor elke discipline en professie“. Demografische ontwikkelingen als vergrijzing en ontgroening hebben gevolgen voor de arbeidsmarkt. De oplossing kan worden gezocht in employability van de beroepsbevolking: van baan- naar werkgarantie. Aangezien digital media literacy een key skill voor elke discipline en professie is en dat digitaal netwerken van strategisch belang is, is het bevorderen van digital media literacy een belangrijke randvoorwaarde voor het realiseren van employability. Deskundigheid moet door HR-diensten in kaart worden gebracht. HR-diensten kunnen met Strategisch HRM (SHRM) employability bevorderen. In het essay neem ik de lezer, met digital media literacy in zijn of haar koffertje, mee via de demografische problematiek in de regio (Limburg, Euregio) naar Zuyd (daar waar ik zelf werk).
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How do global audiences use streaming platforms like YouTube, Netflix and iPlayer? How does the experience of digital video change according to location? What strategies do people use to access out-of-region content? What are the commercial and governmental motivations behind geoblocking?Geoblocking and Global Video Culture explores the cultural implications of access control and circumvention in an age of VPNs. Featuring seventeen chapters from diverse critical positions and locations – including China, Iran, Malaysia, Turkey, Cuba, Brazil, USA, Sweden and Australia.
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EU president Ursula von der Leyen wants Europe to tap into its inner avant-garde. In her inaugural State of the Union speech from September 16, 2020, she pledged to revive the historical Bauhaus - the experimental art school that married artistic form with functional design, founded a century ago in Weimar, Germany. Their objective was to democratize the experience of aesthetics and design through affordable commodity objects for the masses. Today, the European Union sees a chance to create a new common aesthetic born out of a need to renovate and construct more energy-efficient buildings. “I want NextGenerationEU to kickstart a European renovation wave and make our Union a leader in the circular economy,” von der Leyen said. The new Bauhaus is not just an environmental or economic project, “it needs to be a new cultural project for Europe. Every movement has its own look and feel. And we need to give our systemic change its own distinct aesthetic—to match style with sustainability. This is why we will set up a New European Bauhaus—a co-creation space where architects, artists, students, engineers, designers work together to make that happen. This is shaping the world we want to live in. A world served by an economy that cuts emissions, boosts competitiveness, reduces energy poverty, creates rewarding jobs and improves quality of life. A world where we use digital technologies to build a healthier, greener society.”
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Dasha Ilina’s video work Advice Well Taken: Folk Tales of Digital Savation uses the ‘techlore’ concept to find out what ‘urban legends’ are in the age of smartphones. You can watch the ‘director’s cut’ of the video installation here. You can also have a look at a selection of the catalogue here. The 2023 Impakt Festival information about the installation can be found here. The essay was commissioned by Dasha Iina for the catalogue that came out in November 2023 during the Impakt Festival in Utrecht, where the video installation premiered. Read the ‘cookie conversation’ with the artist here, conducted by the Impakt Festival.
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Human rights violations and onlyfans streamers, unboxing and sniping, #pewpew and #militarycurves, war and ahegao.The Kawayoku Inception by Noura Tafeche is an archival project that aims to shape under a new taxonomy contemporary digital elusiveness and the ultimate stage of violence sublimation.Presented here as a video-essay The Kawayoku Inception intend to show a new perspective of questioning the way we are used to elaborate violence in the realm of human visual perception.The environment of such investigation is of course, the internet, a bristly meadow that breeds our digital lives, our atomized lonesome online experiences daily imbibed by incalculable quantities of images we are incessantly, (un)voluntarily over-exposed to.Kawayoku is an imperfect linguistic crasis freely taken from Japanese language Kawaii > cute + Bōryoku > violence
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Niet de intelligente technologie als kunstmatige intelligente, maar de manier waarop mensen deze technologie inzetten levert een verantwoorde toepassing op. Op dit moment wordt innovatie op het gebied van data, algoritme en computerkracht nog niet maximaal benut. Met enig sociaal onbenul, of met gebrek aan inbedding via wetgeving, kunnen ondenkbare scenario’s werkelijkheid worden. We verkennen er hier een aantal waarbij technologie op een verrassende manier wordt ingezet. Daarbij zijn voorbeelden van hyperpersonalisering van adviezen, het recht op ongezien zijn en preventieve handhaving, en voorbeelden waar digitale representaties toe kunnen leiden. Van hieruit kunnen we de discussie starten hoe we als samenleving technologie willen duiden en inzetten. Hoe kunnen we van gebruiker van slimme systemen komen tot een rol als opdrachtgever van ondersteunende technologie?
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Natalie Bookchin’s work is synonymous with the Video Vortex network and the rise of YouTube. Whereas we got to know each other’s work in the turbulent net.art late nineties years, this particular story started with a DVD I got from Natalie, containing The Trip (2008), a video collection of early YouTube fragments, which Natalie reassembled into an imaginary travel around the globe, shot during car trips on all continents. What has always defined Natalie Bookchin’s work is her ability to recreate unity out of dispersed fragments. We, as users, may feel lost and desperate, but the artist gives us hope again that we can overcome distraction and senseless multi-tasking by creating an all-together new meta narrative that is human—again. This is database cinema as you always imagined it, overcoming the isolation of the individualized voice-as-image while paying respect to the unique status that each of us has.
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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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