In Sicht von oben, ‘Powers of Ten’ und Bildpolitiken der Vertikalität (Spector Books, Leipzig, 2022) German media theorist and curator Vera Tollmann analyses the power aspects of the technical view from above. The context here is not so much the first manned flight with a balloon in 1783 in Paris but the iconic 1968/77 short film Powers of Ten by Charles and Ray Eames, which can be considered the first virtual camera trip. Her study can be seen as material image analysis along the lines of Friedrich Kittler’s optical media and is strongly informed by the work of Hito Steyerl. Part one deals with the verticality of the image regime, while part two focuses on the vertical aspect and part three theorizes scale and scalability.
MULTIFILE
US new media artist Ben Grosser and I met at the 2013 Unlike Us #3 Institute of Network Cultures event in Amsterdam where he presented his Demetricator, a free web browser extension that hides all the metrics on Facebook. I have followed his work ever since. We got in contact again in 2019 when he premiered his video art clip Order of Magnitude.[1] The cut-up piece features Mark Zuckerberg’s obsession with growth. Instead of taking the traditional critical approach, Ben Grosser magnifies particular words that return in each and every one of his sentences: more, millions, billions, trillions. Covering the earliest days of Facebook in 2004 up through Zuckerberg’s compelled appearances before the US Congress in 2018, Grosser viewed every one of these recordings and used them to build a supercut drawn from three of Mark’s most favoured words: more, grow, and his every utterance of a metric such as two million or one billion. Inside the exploding galaxy of Facebook there are no limits of growth. After a few minutes the viewer gets exhausted and is ready to swipe the video away, stand up and walk out: the exact opposite response to what we experience when we’re on Facebook, Instagram, or WhatsApp. The emptiness of the guy suffocates. Well done, Ben.
MULTIFILE
International education is a relatively new field and until recently, there was no formal education to prepare practitioners. This means that people working in international education are a colourful and diverse group, coming from a wide range of disciplines, which definitely adds to the attraction of the field. I call international education a field rather than a discipline since it is composed of a variety of established disciplines, such as languages, educational sciences, psychology, business, anthropology, history and even, in my case, classical archaeology. For this lecture, I have chosen to return to my original discipline and discuss global learning as the stages of an archaeological excavation. Cutting though the subsequent layers represents a history of international education but also my own professional history. By digging deeper down, layer after layer, I hope to uncover the essence of global learning in order to make its benefits available for all our students. This lecture consists of four sections. In the first section, I want to go back to the time when archaeology was a new discipline and see what we can learn from the research conducted at that time. In the second section I will reveal the layers of internationalisation and global learning until we come to the layer that we are currently exploring. In the third section, I will look at some of the factors and trends that will have an impact on global learning in the years to come. This shows that circumstances are quite different from when the excavation started and that global education is therefore dynamic. Finally, I will discuss what research the Research Group Global Learning will conduct, how and with whom, in the coming years.
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.
