Short abstract:This paper brings a media theoretical perspective on mediatized wars. It argues that the affordances and use cultures of popular social media platforms turn wars into live media events, involving both people who are living under war and those joining in from a distance.Long abstract:This paper brings a media theoretical perspective on mediatized wars. It argues that the affordances and use cultures of popular social media platforms turn wars into live media events in which liveness – a sense of “being now here together” (Hammelburg, 2021) – involves both people who are living under war and those joining in from a distance.This involvement is of a very different kind than what we know from earlier wars that were mediated through radio and television; the logics of platformed media have permeated and transformed everyday life (Altheide, 2018; Deuze, 2012; Hepp, 2019). Many people living under war share their personal experiences and thoughts through TikTok and Instagram, involving followers worldwide as witnesses at a distance. Further, these war followers are not only involved as witnesses, very often they also add their own social media content to the “event-sphere” (Volkmer and Deffner, 2010) of the war, and by doing so they write themselves into it.Drawing from media theory on liveness and empirical material – photos and videos – from TikTok and Instagram concerning the wars in Ukraine and Russia, and Israel and Gaza, this paper shows how wars as live events are constructed. In its analyses of different modes of involvement in these live war event-spheres, it addresses the issue of positionality.
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The evolution of emerging technologies that use Radio Frequency Electromagnetic Field (RF-EMF) has increased the interest of the scientific community and society regarding the possible adverse effects on human health and the environment. This article provides NextGEM’s vision to assure safety for EU citizens when employing existing and future EMF-based telecommunication technologies. This is accomplished by generating relevant knowledge that ascertains appropriate prevention and control/actuation actions regarding RF-EMF exposure in residential, public, and occupational settings. Fulfilling this vision, NextGEM commits to the need for a healthy living and working environment under safe RF-EMF exposure conditions that can be trusted by people and be in line with the regulations and laws developed by public authorities. NextGEM provides a framework for generating health-relevant scientific knowledge and data on new scenarios of exposure to RF-EMF in multiple frequency bands and developing and validating tools for evidence-based risk assessment. Finally, NextGEM’s Innovation and Knowledge Hub (NIKH) will offer a standardized way for European regulatory authorities and the scientific community to store and assess project outcomes and provide access to findable, accessible, interoperable, and reusable (FAIR) data.
This is the fourth episode of Art in Permacrisis, a podcast on the organization of art workers in the face of the ever-growing stack of crises. How can artists make a living without selling their souls? Can we imagine and practice a sustainable art economy beyond precarity? How should we transform the circulation of artworks, the curriculum of art and design academies, the exhibition programs of museums, and the organization of collectives and unions? We invite speakers with combined backgrounds in art, theory, and organizing to share their insights.At the Shadia Abu Ghazaleh Campus of the People’s Free University in Amsterdam, we talked to Yazan Khalili. Yazan is an artist, architect, and cultural activist living in and out of Palestine. Some of Yazan’s many roles are: PhD candidate at the Amsterdam School of Cultural Analysis, co-founder of Radio Alhara (since 2020), and co-founder of The Question of Funding-collective (since 2019). Our conversation focuses on crisis and the crisis economy as a defining force in the arts. We also discuss the practice of infrastructural critique, or how to build alternative art institutions from the bottom up. And, of course, we talk about Palestine.
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