Video Vortex #8 will be held May 17th-19th, 2012 in the The Museum of Contemporary Art Zagreb, Croatia

Call for contributions

We are pleased to announce that the 8th edition of Video Vortex will take place at the Museum of Contemporary Art in Zagreb, Croatia, between the 17th and the 19th of May, 2012. So far Video Vortex has
taken place twice in Brussels and Amsterdam and once in Ankara, Split and Yogyakarta. The Video Vortex network was founded in in 2007 and deals with the cultural, political and artistics aspects of online video. Video Vortex 8 is organized by the Kazimir Association in Split and The Museum of Contemporary Art, Zagreb in collaboration with the Institute of Network Cultures in Amsterdam.

The moving image and the Internet are still defining the parameters of their mutual relationship. The conference will focus on issues concerning changes in contemporary art and cinema as well as broader cultural, social and technological issues.

Video Vortex 8 will consist of a conference, an exhibition, screenings and performances. This call pertains to the conference. Artists who will present work at the conference will also be included in the accompanying exhibition. If you have an idea for an alternative way to present your work on one of the themes below please let us know. For all themes we expect up to a 500-word abstract while for artist presentations we would like also to receive documentation via URL.

Themes:

1. Contemporary art and online video

Museums which follow and present ontemporary Art as well as Centres for Art, Media and Technology have specific contexts in which they present and preserve the moving image in the 21st century. Spatial issues and exclusivity are put in relation to the constant virtual presence of artwork. Fast changing technologies are undermining the very sense of the preservation of the moving image in an online
context.

2. Theoretical discourses and online video.

Concepts related to the aesthetics and structure of the moving image. Including, but not limited to, online-only production, torrent-based original programming, YouTube-centered narrative and artwork, community-funded cinema and scholarship in an online environment.

3. Social networks and online video in the region.

Reports on new the discourses of online video in Middle and Southeast Europe.

4. Techno-colonialism, surveillance and control of the distribution of
the moving image.

Shutting down or channelling online video. The possibility of stealing the online-originating revolutions in North Africa. The technological dominance and control of worldviews and basic human value systems. The
speed of communication and what is left to those isolated from it.

5. The perspective of online cinema.

The relationship between film and the Internet. What is happening to independent cinema due to technical accessibility and online quality in the making, producing and distribution of films? Do we see specific
new film forms in the online environment? The end of 35mm film. How does digital cinema distribution work, from DCP (Digital Cinema Package) passwords to open online video/film collections or cinematic databases?

6. Artists talk about their own work and research in online video.

Presentations of artistic practices related to the Internet from artists participating in the exhibition which runs concurrently with the conference. These practices include working on the web and using the web as a medium and using the Internet as found footage; in other words, it is channeling the art process through Internet-based communication. Other topics could include the Internet as a public presentation venue for artists and discussions about curating online.

7. Technological aspects of new developments in participatory video.

The moving image on the Internet has opened itself to tagging, telepresence and social communication. Can it still open itself further through visual browsers and HTML5? With HTML5 authors can script their own user interface, but there is also a way to trigger a user interface provided by the user agent – is this a seed for a new manner of online video communication? Does it indicate developments of open personalization and/or the further fragmentation of users? Other issues could include technologies of the private and the public spheres.

Practical information:

The deadline of submission of proposals and abstracts is 20th January, 2012.
Proposals and questions should be addressed to Brian Willems:brianwillems@gmail.com.

The conference itself is free and if possible the presenters or institutions to which they are attached should take care of the travel and accommodation expenses.

By Stijnie Thuijs

Koen Leurs - 'Vernacular Spectacles? Dutch-Moroccan Youth on Youtube'. Photo by Anne Helmond.

After praising the wonderful lunch that was sure to revitalize the Video Vortex audience, Koen Leurs introduces his topic: the YouTube use of Dutch-Moroccan youth, born in the Netherlands but with natively Moroccan parents. Leurs explains how the right-wing politics in Holland are casting a shadow of negativity on the former immigrants and how the media present us with a black and white image. Anti-immigration, islamophobia, ‘Kopvoddentaks’ and street terrorists have become widely known and supported terms.

Koen shows us a video, a news report about the short film “Kop of Munt” , which shares a thought as to what would happen if all Moroccans would leave Holland. It’s meant sarcastically, but the media has picked it up as a heavy subject and made a fuss.

All this negative media attention causes presumptions about Dutch-Moroccan youth. But it is interesting to see them as they really are and perhaps how they handle all the bad news. Leurs wanted to find out how they constitute their identity through YouTube.

Koen Leurs – Video Vortex

Being a PhD student in Gender Studies at the Media and Culture Studies Department at Utrecht University, Leurs executed surveys (1500+) and in-depth interviews (43) with the subjects (Dutch-Moroccan youth between the age of 12 and 18), as well as an analysis of the digital material. He found that the DM youth use YouTube more often than Dutch youth and that it’s more woven into their everyday life. He also found that there are three ways of consumption for the DM youth. First, the nostalgic, ‘vernacular spectacles’. It is nostalgic longing for a home that no longer exists or has ever existed (Boym 2001). YouTube is their home in a sense, as the youngsters are ‘watching movies about where we come from’. The clips are symbolic anchors, a symbolic travel to a real, and at the same time magical place. Second is the consumption of differential music, ‘video’s of affinity’, such as those of Ali B and Yes-R. Third there is the knowledge brokering, which stands for a more broad and globally oriented consumption. Important to note here, is that this assumption parallels with the three types of orientation for migrated youth that Hepp, Bozdag and Suna found: origin-oriented, ethno-oriented and world-oriented.

What’s most important is that the Dutch-Moroccan youth doesn’t fit into boxes. They constitute their own identity, for a portion through the use of YouTube and other media, and combine practices and the best of three worlds (past home, present home and global culture). Above all, they watch clips that do not correspond with the negative mainstream opinion at all. Yes, they are positioned in a situation of in-betweenness, but the Dutch-Moroccan youth in Holland knows its way around the web and consumes what it likes best, not willing to apply to the negative public sphere.

Natalie Bookchin in conversation with Geert Lovink. Photo by Anne Helmond.

Artist Natalie Bookchin took time to talk to Geert Lovink about online video and her artistic practice at yesterday’s Video Vortex #6 in Amsterdam.

To open the conversation, Natalie screened Laid Off, a part of her series Testament, which offered a 4-minute impression of her work, capturing the current global financial situation and mass unemployment in the US.

Laid Off

Below is part 1 of the conversation we got to hear between Geert Lovink and Natalie Bookchin, and adapted to include further information.

G: You’re teaching at CalArts, you worked in the 90’s with the internet, developed games, and now suddenly you’re working with online video. How did you stumble into this?

N: I had also been very involved in thinking about online space as a site not only to make work but to distribute and exhibit it.

In the 90s I had been working, distributing, and exhibiting my work online. In  2005, I began to find the Internet too noisy and too crowded, and wanted to return to offline space in my work. I began to collect images from private security webcams that I found through a glitch in Google’s search engine technology which picked up thousands of webcams regardless of whether or not they are intended to be public. The cameras offered an unusual view of the contemporary global landscape mediated through surveillance technology. I became interested in depicting the world as it was described by the technology, and so rather than looking at the recording devices in the landscape, I looked through the cameras, drawing attention to the formal elements of this perspective, its odd and awkward angles of view and composition, its often fixed perspective, the limited tonal range, the dirty lens, and the distance from and limited contact or lack of relationship between the camera — which has no operator present — and its subject. From this material I developed, Network Movies, a series of videos and video installations that I made between 2005 and 2007, where I sampled data flows of images from webcams from around the world to create portraits of global landscapes. Limited bandwidth and cheap cameras produced jumpy, mechanical motion and grainy, low-resolution images that revealed their technological conditions and were reminiscent of early cinema.  I began to make installations and videos offline, in order to provide a more embodied experience, absent in the distracted online space –with its small screen and potential for multitasking.

G: Your video work that uses online footage started with one installation didn’t it? When was the first one?

N: The first piece I made with YouTube footage was trip – a 63-minute single-channel video I completed in 2008, in which I documented a trip around the world using clips I culled from YouTube.  From these clips, I pieced together a trip around the world from the point of view of tourists, human rights workers, locals, soldiers, and many others.  The first point perspective put viewers in the position of a continually changing figure of the traveler, driving from tourist destination, across borders, and through war zones.

G: It’s a gallery installation piece with the look and feel of a collaborative global road movie. There you have your first experiences of making databases, how you select the videos and put them together. Let’s talk more about your approach. Now that we’ve seen Laid Off, it appears that it really must have been an enormous amount of work. It looks very complex. Technically, how did you do this? The syncing?

N: There is no database, nothing is automated – I simply searched, watched and collected the videos. For me, YouTube is in many ways a big heap of trash, out of which, with a lot of digging, treasures can be found. It’s not a platform so much as a site that hosts (and buries) videos. I don’t think it’s a community- so calling it social media is a misnomer. I don’t think there is conversation to be had on it through boxes for comments, or likes or dislikes. So I search.

I search for videos with an idea of what I hope to find, but I am often taken in unexpected directions. For example, with my current work-in-progress Now he’s out in public and everyone can see, I began with the idea that I was going do a piece about the reenactment and retelling of the recent Tiger Woods scandal. As I watched videos, I saw vloggers suddenly slip from discussing Woods, to Obama, or O.J. Simpson or Michael Jackson, or other African American public figures who had also been involved in media-driven scandals. As I watched and edited the videos and realized that the slips were key to the piece, it no longer became a piece about Tiger Woods, but instead about blackness as scandal. This was something I hadn’t known when I started the piece. The way I find and work with material is not and can’t be automated because it is through the process of searching and watching that I discover what it is I am making.

G: Ok, but let’s go back to your method, maybe you know the book by Richard Senatt, The Craftsman. When I think of you painfully putting this together, it’s like a digital craft, not using sophisticated software. But you use sophisticated ways to search for terms, in different languages.

N: Yes, for Trip I did search in different languages. In general, I use many combinations of keywords as I search, and I revise my search terms often as I develop each work. You’ve discussed in previous Video Vortex conferences the subjectivity of tags, which in some ways is very useful for me as I search, but it can also make it very difficult to find videos. I have many problems with the way YouTube structures its search engine – I’m not looking for the most popular videos, I’m looking for the most varied.

G: A lot of the videos you use are very personal. Are the people in these clips talking to family or friends?

N: Sometimes the vloggers make reference to other vloggers or to their subscribers, but mostly they don’t. They have all chosen to make their videos public – to make a public speech. Because of the layers of mediation, and because they are mostly at home in private spaces, their speech often becomes intimate, which creates a tension between the sometimes excruciating privateness of their speech and location, and the very publicness of the screening venue.

My Meds

N: In this one it’s not so much about the individuals, it’s much more about the choral group speaking together, in some way, in the other one there is a sense of individual personality that comes through at certain moments and then fades back into a collective voice.

G: Your work really reflects on theories of online subjectivity, new liberal labour and living conditions. It’s amazing to see this visualised. You can read a lot of books about the individual lives that people have, which you bring together in your work. Did this grow out of theoretical notions like the multitude, in which people retain their individual voices but are nonetheless part of something bigger?

N: In Mass Ornament I thought a lot about the relation of the individual to the collective, and the shift from Fordism to post-Fordism. Although I force a collective out of many separate individuals and spaces, the rectangular format of each video reminds viewers that ultimately each speaker, or dancer, is isolated. In this way my depiction of a collective remains partial, and produces a visual tension between the imagined collective and the isolated individual.

G: And that comes out best in Mass Ornament. It has that sentiment of them aspiring to dance together, even though they’re not aware of that when they’re filming themselves.

N: Yes, although many are in fact responding to other videos. In this way, they are dancing with an imagined community in mind.

–

End of Part 1.

(Part 2 of 2 – In conversation with Natalie Bookchin)

Mass Ornament

G: How did you come to use this idea of a ‘mass ornament’?

N: I began with the desire to do a piece that investigated the changing online status of video. Here, the emphasis is no longer on a single isolated video but on multiple chains of related videos, chains of responses, re-enactments, and remixes, and these responses are both to previous videos in the chain or to mass culture imagery.

G: In Mass Ornament you pay special attention to the audio track, it leads you through the work. This changes in Testament, where the image itself is not carrying the sequence and the sound becomes very very important.

N: Yes that is absolutely true. Sound, or rather speech, is the determinant factor in Testament. I primarily edit for sound rather than image. At first I thought, “how in the world am I going to make it a visually compelling piece?” but it turns out that image is critical – the image of the faces of the speakers give the fragmentary speech more weight, and grounds it from descending into a series of anonymous rants.  The scale of the image in the installation and the direct gaze of the speaker to the viewer create a sense of empathy between the two. Unlike Mass Ornament, I haven’t added sound, I’ve just cleaned it up and edited it, paying attention to rhythm and musicality and of course to what is being said. In Mass Ornament, I got rid of the original music tracks from most of the clips; besides adding my own musical tracks, in some sequences I’ve added ambient sounds of the rooms and of the bodies in the rooms. I did this to individuate separate spaces and dancers, creating a presence of the room and the individuals, so that even with a unifying musical track, we would be reminded of the individual in their particular space. I did not want to depict the individual reduced to an abstraction, to a “mass ornament”.

G: To come back to this motive: a heterogeneous, participatory culture that we know, the YouTube genealogy, and turning that into a collective statement made by you as an individual artist, people nonetheless see something happening here. A transformation is taking place, going beyond what people experience and express themselves. Have you had any responses from people who simply promote participatory culture?

N: No I haven’t! Although some people do tend to be relieved that I put my videos online. There are different ways to think about participation: does participation mean allowing others to add comments or to “like” or “dislike” a video? In my projects, I am searching for more substantive participatory impulses, whether that means identifying with a social body larger than the individual, or articulating shared political subjectivities.

G: Some would be relieved that finally there’s an artist synthesizing all this noise; people are complaining about information overload, but now there is Natalie Bookchin…

N: In some way I’m just paying attention, digging for, and compiling some of the stories we are currently telling to ourselves and others online.

G: Your works are all designed to be experienced in a gallery setup, and not on a computer. Is that a step forward or step back? And are you going to keep producing only for the museum?

N: I show the work in museums, but it is also available online. Each space reaches a different audience, and provides a different experience. The work is not online art (or net.art!) although it speaks to both online and offline space. It seems appropriate to me that the viewing experience also speaks to, and is available in, both locations.

For a chance to meet Natalie Bookchin in person and have a more in depth look at her work:

Tuesday 15 March 2011
SMART Project Space
Arie Biemondstraat 101-111 (Auditorium), Amsterdam
Time: doors 19.00 / starts 19:30-21:30
Tickets: 4 euros at the door

Natalie Bookchin in conversation with Geert Lovink. Photo by Anne Helmond.

Sam Gregory - 'Remix Video, Aggregated Video and Human Rights Activism'. Photo by Anne Helmond.

Sam Gregory, program director at WITNESS presented his thoughts on using online video as a political tool at Video Vortex #6 in Amsterdam yesterday.

Gregory began with presenting an image – a frame grab from the footage shot almost exactly 20 years ago, of the Rodney King beating by the Los Angeles Police Department. This footage, not only generated massive media attention and debate in the USA, but was the seed for WITNESS – to support the use of video in Human Rights advocacy to change policies, behaviours, laws and practices.

Video activism and video advocacy was the main focus of Gregory’s presentation.

“With the ever-increasing availability of tools to create, share everyday video; witnessing and documentation of Human Rights violation is becoming increasingly commonplace, across amateurs to professionals”.

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Arjon Dunnewind - 'Impakt Channel: Content with Context'. Photo by Anne Helmond.

Being the festival, artistic and general director of Impakt, Arjon Dunnewind is in charge of a database of art related content for which he has to decide the most appropriate way of uploading to the web. An important factor to take into account, he explains, is that the audience on the web has different expectations than ‘offline audience’. Online archives are the next phase and make us rethink how we structure the art collection, connect both the online and offline audience  and exploit the merits of the online environment to use them in the best possible way.

How to involve an audience?
According to Dunnewind this can be done by providing the viewers quality instead of quantity. This means no comment space below the art content. Arjon would rather have a platform without any comments than low quality comments and spam on his channel. Moderation and hierarchy are keywords for the Impakt Channel, only inviting experts to give their opinion and opening little by little. Arjon wouldn’t mind never to open it for ordinary users though – as it can degrade the quality.

Legal issues
A struggle for Dunnewind are the legal issues. Foremost, who is responsible for the content and the legal issues is not always clear. While being online for supposedly 20 years, only since 5 years has there been options for artists as to in which degree their work is allowed to be published. There is no standard agreement with the artists (all permission has to be confirmed in direct contact with the artist) and more importantly: the artists themselves haven’t always cleared the legal issues of the materials used in their pieces. On the sunny side of the legal issues is that the organization is relatively small, so they don’t receive a lot of complaints. Also there is not much historical material in the database and the legal methods Impakt uses now actually bond the artist and the organization really well. Which results in allowing to put the work online.

The Impakt Channel : Give context to content. Or: how to make a difference
To differentiate yourself from video websites such as YouTube – which offer little to no context -  could be done in various ways. To Arjon, a way is to do that is to offer unique content. Also building a unique platform with alternate possibilities and limitations is a manner. Furthermore, connecting the online channel with the offline events, art projects and festivals, including bonus material for example, are adequate ways to create context. As are the display of background information, articles, introductions and comments by invited experts, interviews and curatorial texts from the original programs.

All that said, Arjon concludes with his wish for the online Impakt environment. ‘We want the Impakt Channel to become a new platform’, he says. A platform that creates exhibitions online, a flexible, dynamic, autonomous space on which can be experimented.

Rachel Somers Miles and Geert Lovink addressing the authors and audience during the launch of the second Video Vortex reader. Photo by Anne Helmond.

On Saturday, the 12th of March 2011, a few minutes before six, the second Video Vortex reader was being presented to the audience of the sixth edition of the Video Vortex conference. Editors Geert Lovink and Rachel Somers Miles invited the contributors to the second volume, who were present en masse, to celebrate the launch of the book on stage.

Rachel Somers Miles. Photo by Anne Helmond.

Rachel Somers Miles and Video Vortex Reader II Contributors. Photo by Anne Helmond.

Rachel Somers Miles, Video Vortex Reader II Contributors and Geert Lovink. Photo by Anne Helmond.

Video Vortex Reader II contributors. Photo by Anne Helmond.

Annelies Termeer - 'Instant Cinema: Sharing the Screen'. Photo by Anne Helmond.

Annelies Termeer was the third speaker during the lecture themed It’s Not a Dead Collection, It’s a Dynamic Database. She is ad interim head of digital presentation at the EYE Film Institute, formerly known as the Film Museum. The project she is affliated with is called InstantCinema. The goal of the website is to facilitate filmmakers with a platform that affords them to easily upload their films and connect with likeminded people. An important part of the target audience exists of experimental filmmakers, who now have a platform that has the ability to unite the separate spheres of the online communities, the art world and the film world.

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Sandra Fauconnier – 'Mediating Video Art Online'. Photo by Anne Helmond.

Sandra Fauconnier, working as an archiver for the Netherlands Media Art Institute (NIMk), delivered a speech about video art distribution during the overarching theme It’s Not a Dead Collection, It’s a Dynamic Database. The NIMk curates and distributes works of art online through its website, which contains a searchable catalogue. The archive contains objects ranging from the seventies to contemporary works by established as well as upcoming Dutch and foreign artists. Fauconnier spoke about the ways in which the shift from the pre-digital to the digital era has faced the NIMk with challenges to how it was archiving its works.

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Catrien Schreuder - 'ArtTube: Museum Boijmans van Beuningen'. Photo by Anne Helmond.

First things first: ArtTube is not an art collection database, and is not an archive; it is an educational platform bringing videos about art and design. With this remark Catrien Schreuder opened her presentation on Museum Boijmans van Beningen‘s video platform, ArtTube. This amidst a panel, “It’s Not a Dead Collection, it’s a Dynamic Database,” where indeed art collections and archives predominated.

Though her presentation in itself didn’t shed any particular new concepts or ideas to the field of online video platforms, things did get interesting once the question and answer started. In her presentation Schreuder had commented on how the interactive parts of their website weren’t being used much, but rather were filled with spam. This triggered questions from the audience on the possibility that they were gatekeeping too much (limiting the videos on ArtTube mainly to content produced by the museum and its authorized experts). Furthermore, a member from the audience asked: “Isn’t a new platform’s worst nightmare no visitors, no content, no comments and no participation instead of spam?” After all, the title of this panel put the emphasis on the dynamism of video collections online, a dynamism that is often associated with user participation, connectivity and interactivity.

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