From agryfp at gmail.com  Wed Jul  1 14:39:04 2009
From: agryfp at gmail.com (andrew paterson)
Date: Wed, 1 Jul 2009 15:39:04 +0300
Subject: <videovortex> Introduction / Clip Kino
Message-ID: <55F24D9B-C07B-448A-AB4E-567ED93402F8@gmail.com>

dear VV list members,
Geert suggested that I introduce myself here, as a first step towards  
getting more involved in VideoVortex community and events.
I have been subscribed since january 2008 but have been a lurker  
during all this time, so it is nice to step out a bit into the light.

I am a Scottish artist-organiser, cultural producer and doctoral  
research candidate at University of Art and Design Helsinki (TaiK).   
Since 2004 I have been contributing also the Pixelache Helsinki  
Festival, and last year joined the organisational board.  You can see  
more of the process I am/have been involved in below link (agryfp.info).

To the subject here,
 From the beginning time of VV, I have been involved in related  
activities and have been watching with interest the emerging  
discursive and symposia coming from your community.  On several  
occasions I have wished to be able to attend the events, or share  
what I had been doing in (mostly) Helsinki, Finland.  I hope to be  
able to do that in the future.

The emerging nature of my own process--which I introduce to you here  
as Clip Kino--didnt give me much chance to reflect, especially when  
it wasn't going as well as I imagined.  After about 20 months of  
promoting and facilitating public screening events based on internet  
video clips, I wish to share my experiences at a wider scale, to  
develop my references and understanding of the issues involved.

Below is a text I wrote adhoc for this email, but I am working on a  
longer text at present, so any feedback or references are welcome.  I  
can share this text at a later date, and it would be nice also to  
have an opportunity to present it in a future VV gathering.

My best regards,
andrew

.

Clip Kino: Helsinki and beyond

'Clip Kino' as a name for self-organised screening events based on  
internet-sourced clips emerged in my application to Eyebeam centre  
for Art and Technology residency in March 2007.  As part of planning  
a youth project there--facilitating a space for young people to show  
and celebrate what they are interested in watching online--this  
proposal was accepted and became the 'Seeders N Leechers R Us'  
project there in Jan-Feb 2008: http://seedersnleechers.info).  This  
interest reflected upon my previous activity in 2003-2005 organising  
workshops encouraging people to share media to a shared database,  
before mass uploading became common ('Aware' platform, now offline,  
presented first in E-culture Fair 2003).

However, it wasn't until teaching a 'Self-organising and Networking'  
course at a small art school in Helsinki that the concept became  
action, due to the student's assignment during Valon Voimat (Forces  
of Light) festival in November 2007, to make a zero-budget public  
cinema.  The Clip Karavaani website is mostly in Finnish (http:// 
clipkaravaani.info/).  If you are interested to learn more about  
this, I can post a section of the text I am writing in reflection.

Following lead from the Clip Karavaani facilitation, I decided to set  
regular screening events at a public library--Kirjasto 10-- in centre  
of Helsinki, one which focused on music and media, had AV  
presentation facilities and was experimenting with new library user  
event formats.  From February-June and October-December 2008, I  
facilitated and promoted screening events in the library under the  
name of 'Clip Kino Helsinki' (http://clipkino.info).

I invited contacts and colleagues, who I knew, to arrange a 40-60  
minutes worth of video clips, curated under a theme they wished  
themselves.  They arranged and presented the screening as volunteers,  
just as I (as a library user).  I also made a few events also when I  
didn't have someone to make the event, keeping up with the negotiated  
calendar of events with the library.  Inbetween clips, guest-hosts  
were expected to contextualise or explain a bit more their reason for  
selecting the clip.

   There was no budget for this activity. The events were promoted  
within a trusted network of contacts via email, and the library  
promoted them on their webpages.  Attendance was low (max 22  
persons).  Different themes were presented have been socio-cultural  
specific (Australia-NZ & New York, Eastern Europe); technical- 
specific (music representations, subtitled clips), genre-specific  
(youth, avant-guard art videos, animations, anarchist) clips.  In  
many cases, a different audience would have been attached to each  
theme.  In the longer term, I had hoped that the library would one  
day support this activity, and it would be possible to invite library  
users who I didn't know to be guest-host curators.  See archive:  
http://apaterso.info/projects/clipkino/archive.html

The library manager allowed the events to happen under the pretext  
that they were legal, and gave a contact to the library's legal  
advisor for advice.  I didn't take this advice, and went on  
regardless, convinced that there was no legal basis for the events,  
and it was better not to ask.  I certainly wished to challenge the  
terms and conditions of screening content in public from proprietary  
platforms (such as YouTube) with emphasis on private use.  I have  
looked on at the growth of other similar online/offline cinema  
platforms such as Upload Cinema in Amsterdam (http:// 
www.uploadcinema.nl) with curiosity, and how they manage legally (as  
a members-only club perhaps).

My motivation in facilitating was--and still is--to drag normally  
'private' activity of viewing and sharing downloaded content on one's  
own computer, into public space for screening, appreciation, and  
potentially, for debate.  I have consequently framed this activity as  
pedagogical--'media environment-awareness' or 'direct action media  
literacy'--and have used the format in my own teaching: http:// 
mlab.taik.fi/~apaterso//projects/clipkino/pedagogical-statement.html

In the autumn period, still uncertain of legal basis, I invited  
persons to present activist films, in one case their own films,   
instead of general content from YouTube.  However, later in the year,  
when I was invited to make an event with teenagers as part of a well- 
publicised documentary film festival in January 2009 (see: http:// 
apaterso.info/projects/clipkino/hosts/suomi-post-mortem.html). This  
event was a public seminar and discussion event about young people's  
appreciation of what is online (what they find interesting), media  
literacy, and also in relation to the negative publicity attached to  
youth video sharing/uploading, following school shootings which  
featured warning videos online.

Inviting teenagers into the process, within the strict moving-image  
copyright context of Finland and a project exposed (and indirectly  
funded by) the pro-copyright movement, I decided to take the  
library's legal adviser's opinion.  He was very supportive of my  
efforts and ambitions, and discovered a support within a technical  
loophole, currently not tested in court, based on watching content  
from the browser.  That is not downloading a copy, but playing from  
the cache memory.  Although not necessarily 'safe' to do what one  
wants, it does give an argument in defence of public screenings,  
outside the use of academic citation.  A summary of what I found in  
the Finnish case can be read here in english:
http://mlab.taik.fi/~apaterso//projects/clipkino/extra/clipkino- 
helsinki-legal-navigations_english_111208.pdf

Although nothing has been raised so far on the legal issues, I am not  
actively raising my findings into public.  This year also, I have  
decided not to arrange further events at the library (more to do with  
volunteer time energy I have than lack of will), and take up  
invitations to present the Clip Kino format in other contexts.  The  
documentary film festival is already mentioned, but other events  
happened in an autonomous cultural centre, and soon this summer, an  
art museum, as a contribution to a group exhibition.

The most recent Clip Kino event took place within an academic media  
symposium--Emerging Media Practices and Environments--in my  
University, making the case for the event format as a research tool.   
In this case two fellow doctoral students, Sanna Marttila and Petri  
Kola, curated a screening event with the theme 'Open Video', as part  
of their research process (http://apaterso.info/projects/clipkino/ 
hosts/emerging_arki-taik.html).  They presented a thorough  
interpretation of the different facets of what might mean 'open  
video', using clips to illustrate their argument.  In reflection they  
emphasised the value of co-curating a screening to investigate the  
field of inquiry, and the dialogue involved in selecting and ordering  
argument 'illustrations'.

Both the pedagogical and research angles of Clip Kino so far have  
yielded potential and I am keen to find contexts to continue this  
work.  However, the most interesting feature which motivates me (in  
comparison to the crowdsourcing or remote/online curation of video  
clips, for example into lists or themes) is the factor of presence.   
It has been the most challenging aspect for both curator and audience  
I believe, according to the lack of participants involved so far.   
Being present, infront of one's own choices, in public takes some  
guts.  The challenge of standing up for one's choices can be as  
difficult sometimes as committing time to watching something selected  
by another one doesn't know.  Also watching with other people,  
watching someone else's choices, when the selecting person is also  
present, is revealing. Who finds what funny? Will anyone speak out

Face-to-face meetings of people, plus the screen, are an important  
feature of 'Clip Kino' events. In my opinion it is only a starting  
point for exploring grassroot and collective representational processes.

Clip Kino webpages: http://clipkino.info

(includes on front page: Archive link; some slides of Clip Karavaani  
& Clip Kino events; documentation of Seeders N Leechers screening  
event; Clip Source examples; Legal issues and other resources)

.

--------------------------------------
andrew gryf paterson
http://agryfp.info/
mobile [FI]: +358 50402 3828
agryfp at gmail.com | skype: agryfp
locale: Helsinki, FI
--------------------------------------



From geert at xs4all.nl  Wed Jul  1 21:04:18 2009
From: geert at xs4all.nl (Geert Lovink)
Date: Wed, 1 Jul 2009 21:04:18 +0200
Subject: <videovortex> important questions raised at rhizome
Message-ID: <00844CFF-CD4F-4DDB-B190-5DA98A63A9D2@xs4all.nl>

The Question of Freedom at the Open Video Conference
By Carolyn Kane	 on Wednesday, July 1st, 2009 at 1:00 pm

http://rhizome.org/editorial/2739#more

Does free video uploading and downloading equal democracy? I asked  
myself this question during the recent Open Video Conference,  
organized by the Information Society Project at the Yale Law School  
and the Open Video Alliance, an umbrella coalition for the development  
of an ?open video ecosystem?: a ?movement to promote free expression  
and innovation in online video.? Conference sponsors include Mozilla,  
Redhat, Intelligent Television, and Livestream. The conference was  
held at New York University?s Vanderbilt Hall, home of the NYU Law  
School from June 19-21, 2009. I attended several of the panels at the  
conference, although it was primarily Yochai Benkler?s opening keynote  
that was of concern.

The mission statement for the conference reads, ?Open Video is a  
movement to promote free expression and innovation in online video."  
The conference and its affiliates aimed to respond to outdated  
copyright law in an attempt to open the limits on the circulation and  
distribution of copyrighted material. Gabriella Coleman of New York  
University in her talk, ?The Politics and Poetics of DeCSS,?  
demonstrated the historical connection between code and free speech.  
Coleman traced the relationship back to John Stuart Mill, who first  
equated Romantic notions with utilitarian ones in order to justify  
free speech. In the 20th century, figures such as Richard Stallman,  
Peter Salins, and Daniel Bernstein, all further solidified the  
connection between legal rights and code. This history, Coleman points  
out, thus explains the popularity of today?s research into the  
triumvirate of copyright, law, and culture. Ideally, the open video  
culture sought after would be one that would allow for the  
distribution and use of copyrighted video content without the fear of  
lawsuits or legal action.

Yochai Benkler, author of the celebrated book, The Wealth of Networks  
(2006) took the stage in the morning on Friday June 19. His conflation  
of the freedom to access content, as noted above, with freedom in  
general, was suspect. Benkler argued that Open Video was indicative of  
an ?open democracy for everyone, everywhere, all the time.? Open Video  
Culture, he said, would usher in the possibility for ?anyone to  
express oneself, be creative and innovative.? Benkler also claimed  
that because ?millions of people are now looking at [social and  
political] problems? we will thus find millions of, ?distributed  
solutions.? In this ?free? culture, he continued, ?human creativity  
would move to the core.? Aside from the seemingly na?ve conflation of  
terms, exactly which society, which ?everyone,? and which economic  
system did Benkler have in mind?

Rhizome?s founder, Mark Tribe, also presented at the conference with  
Rhizome?s Executive Director, Lauren Cornell. After the talk, Tribe  
shed some light on the significance of Benkler?s broad statements.  
?Benkler,? he said, "is partially correct. First, the majority of the  
audience members are lawmakers and corporate representatives and thus  
he catered his speech to them.? Secondly, ?social media has granted  
more freedom. For instance, look at what the Yes Men can get away  
with.? But at the same time, he added, this freedom, ?has no effect on  
social relations, economic inequity and on increasing freedoms for  
those whom it is denied.? Thirdly, this ?freedom does not equal  
audiences.?

It is true. When Benkler states that in ?Transparent culture, anyone  
can innovate? and thus become ?better readers,? this is correct, in  
theory. For instance, random users may upload a video of a protest or  
demonstration to YouTube, or a mashup video of something they found  
online---they may make critical commentaries, subvert normative  
journalistic channels, and gain more insight into how television and  
mass media products are produced and assembled. But again, this does  
not guarantee more perceptive readers, critical content, or an  
audience for that material. As L?szl? Barab?si points out, the  
majority of internet traffic still flows through major hubs?hubs like  
Amazon and Yahoo, which means that online content generally continues  
to rely on traditional media channels for distribution. Even if an  
independent new media organization may gain an audience, such as Boing  
Boing, or Rhizome, they may not be guaranteed the financial support  
needed to sustain on a long-term basis (this was the focus of Xeni  
Jardin?s talk at the conference, a reporter from Boing Boing).

The situation is nicely summed up by media scholar Geert Lovink, in  
his recent manifesto written with Ned Rossiter. ?Web 2.0? they  
explain, ?is not for free. ?Free as in free beer? is not like ?free as  
in freedom?. Open does not equal free. These days ?free? is just  
another word for service economies?. Where is the enemy? Not on  
Facebook, where you can only have ?friends?. What Web 2.0 lacks is the  
technique of antagonistic linkage. Instead, we are confronted with the  
Tyranny of Positive Energy...? The utopianism of ?open and free? video  
culture, it seems, is correct in that it allows people to do things  
they could not do before. But this does not automatically equal change  
or democracy in itself. Any proclamation of social utopia deserves a  
second look, yet we also need to understand why Benkler framed his  
arguments in the way he did that morning??speaking to an audience of  
lawyers, corporate investors, sponsors, and public relations  
representatives.






From jay.dedman at gmail.com  Wed Jul  1 22:30:52 2009
From: jay.dedman at gmail.com (Jay dedman)
Date: Wed, 1 Jul 2009 16:30:52 -0400
Subject: <videovortex> Codecs for <audio> and <video>
Message-ID: <34ced5f40907011330y32a4cdeek5ceb73d3aabaca6f@mail.gmail.com>

A very relevant topic when it comes to browsers refusing to agree upon a
video codec they will all support. It's really a sad state of affairs.

The current situation is as follows:
>
>   Apple refuses to implement Ogg Theora in Quicktime by default (as used
>   by Safari), citing lack of hardware support and an uncertain patent
>   landscape.
>
>   Google has implemented H.264 and Ogg Theora in Chrome, but cannot
>   provide the H.264 codec license to third-party distributors of
>   Chromium, and have indicated a belief that Ogg Theora's quality-per-bit
>   is not yet suitable for the volume handled by YouTube.
>
>   Opera refuses to implement H.264, citing the obscene cost of the
>   relevant patent licenses.
>
>   Mozilla refuses to implement H.264, as they would not be able to obtain
>   a license that covers their downstream distributors.
>
>   Microsoft has not commented on their intent to support <video> at all.
>

Jay

-- 
http://ryanishungry.com
http://jaydedman.com
http://twitter.com/jaydedman
917 371 6790
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From treske at bilkent.edu.tr  Wed Jul  1 23:01:52 2009
From: treske at bilkent.edu.tr (Andreas Treske)
Date: Thu, 2 Jul 2009 00:01:52 +0300
Subject: <videovortex> A short OVC note
In-Reply-To: <00844CFF-CD4F-4DDB-B190-5DA98A63A9D2@xs4all.nl>
References: <00844CFF-CD4F-4DDB-B190-5DA98A63A9D2@xs4all.nl>
Message-ID: <DF0CD6F1-08A2-4B8F-A9A5-98FA2650F6A7@bilkent.edu.tr>

To confess, I visited OVC. And to confess, I had a presentation, and  
to confess I skipped some of the talks. My free choice moved towards  
the city of New York and a bicycle ride to Williamsburg during  
Gabriellas talk, thanks it was streamed online to catch up later. What  
was I missing?

"Democracy and Innovation, anyone, anywhere, everyone, everywhere ..."  
- Yes, this was actually one of the first statements of Yochai Benkler  
in his keynote, and so he continued - "networked information economy -  
radically decentralized, physical capital and human capabilitiies ...  
distributed action, solutions, experimentation, adaptation ... from  
mountain bikes to free software, millions of people trying to find a  
solution, ... innovation comes from a network of conntected people,  
anyone is allowed to say I have an idea, a project, ... faster  
learning and innovation ... distributed learning means that someone  
with the right skills will look at the problem ... cultural  
democracy ..."
In this wonderful dream the commons will take "control over the  
physical pipes, control over logical platforms and tools [that] can  
constrain creativity, control over existing cultural materials".

MOZILLA in the following session was answering the question what  
happens to video when it gets connected to the web, when it gets in  
the structure the web is used to, yes, in the "spirit of the web".   
What happens is clear, when it is written in the open source with the  
right technology, the video will be open for remix without permission.

Of course, the next session had to be on fair use. To be honest this  
was one of the sessions where I was most curious about. I had my  
doubts and I still have my doubts about the understanding of "fair  
use", which just might come from my background as a filmmaker as well  
as my latest experience with the documentary "Mustafa". OVC seems to  
be the right place for an answer and actually here I listened to one  
of the best sessions (I confess again): It was Corynne McSherry -  
Staff Lawyer, Electronic Frontier Foundation - who made it very clear  
how easy it is to get a work down from the Internet. It is just a  
simple email referring to copyright or trademark infringements. Just a  
simple complain.  ...

Yes, there was lots of interesting things going on at the OVC - a hype  
industry, a hype "open" model, announcements of "openness" in  
software, codecs, very excited and engaged speeches and the look to  
far away and distant countries.

My session went well, cut a little bit short by very polite "metadata"  
people, reminding that OVC was really more about an industry meeting  
and their tools and gadgets. (And by the way it was the release of the  
iPhone 3G S that day). There were 4 or 5 monitors with video works  
running in loops in front of the information desk. Perry's work,  
announced, but did not appear.

Andreas


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From treske at bilkent.edu.tr  Wed Jul  1 23:01:52 2009
From: treske at bilkent.edu.tr (Andreas Treske)
Date: Thu, 2 Jul 2009 00:01:52 +0300
Subject: <videovortex> A short OVC note
In-Reply-To: <00844CFF-CD4F-4DDB-B190-5DA98A63A9D2@xs4all.nl>
References: <00844CFF-CD4F-4DDB-B190-5DA98A63A9D2@xs4all.nl>
Message-ID: <DF0CD6F1-08A2-4B8F-A9A5-98FA2650F6A7@bilkent.edu.tr>

To confess, I visited OVC. And to confess, I had a presentation, and  
to confess I skipped some of the talks. My free choice moved towards  
the city of New York and a bicycle ride to Williamsburg during  
Gabriellas talk, thanks it was streamed online to catch up later. What  
was I missing?

"Democracy and Innovation, anyone, anywhere, everyone, everywhere ..."  
- Yes, this was actually one of the first statements of Yochai Benkler  
in his keynote, and so he continued - "networked information economy -  
radically decentralized, physical capital and human capabilitiies ...  
distributed action, solutions, experimentation, adaptation ... from  
mountain bikes to free software, millions of people trying to find a  
solution, ... innovation comes from a network of conntected people,  
anyone is allowed to say I have an idea, a project, ... faster  
learning and innovation ... distributed learning means that someone  
with the right skills will look at the problem ... cultural  
democracy ..."
In this wonderful dream the commons will take "control over the  
physical pipes, control over logical platforms and tools [that] can  
constrain creativity, control over existing cultural materials".

MOZILLA in the following session was answering the question what  
happens to video when it gets connected to the web, when it gets in  
the structure the web is used to, yes, in the "spirit of the web".   
What happens is clear, when it is written in the open source with the  
right technology, the video will be open for remix without permission.

Of course, the next session had to be on fair use. To be honest this  
was one of the sessions where I was most curious about. I had my  
doubts and I still have my doubts about the understanding of "fair  
use", which just might come from my background as a filmmaker as well  
as my latest experience with the documentary "Mustafa". OVC seems to  
be the right place for an answer and actually here I listened to one  
of the best sessions (I confess again): It was Corynne McSherry -  
Staff Lawyer, Electronic Frontier Foundation - who made it very clear  
how easy it is to get a work down from the Internet. It is just a  
simple email referring to copyright or trademark infringements. Just a  
simple complain.  ...

Yes, there was lots of interesting things going on at the OVC - a hype  
industry, a hype "open" model, announcements of "openness" in  
software, codecs, very excited and engaged speeches and the look to  
far away and distant countries.

My session went well, cut a little bit short by very polite "metadata"  
people, reminding that OVC was really more about an industry meeting  
and their tools and gadgets. (And by the way it was the release of the  
iPhone 3G S that day). There were 4 or 5 monitors with video works  
running in loops in front of the information desk. Perry's work,  
announced, but did not appear.

Andreas


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From geert at xs4all.nl  Thu Jul  2 11:14:45 2009
From: geert at xs4all.nl (Geert Lovink)
Date: Thu, 2 Jul 2009 11:14:45 +0200
Subject: <videovortex> Fwd: open video conference - iran protests
References: <b43fc82c0907011428o3008ed02ld94e2b3da6b81db4@mail.gmail.com>
Message-ID: <0346B59D-7500-46EB-B555-E5BE0AFF0A6C@xs4all.nl>



Begin forwarded message:

> From: Jenny Attiyeh <jenny at thoughtcast.org>
> Date: 1 July 2009 11:28:56 PM
> To: idc at mailman.thing.net
> Subject: [iDC] open video conference - iran protests
>
> Hi there -
> I produce ThoughtCast (www.thoughtcast.org), a site devoted in part  
> to public media, and I just finished a piece on the Open Video  
> Conference at NYU that looks at the Iran protests as a test case for  
> the value of open media. Perhaps it would contribute to several of  
> the threads on your iDC list on the topic?
> http://www.thoughtcast.org/thoughtcast-shorts/the-promise-of-open-media/
> Thanks for your consideration!
> Jenny
>
> -- 
> Jenny Attiyeh
>
> (617) 694-3939
> jenny at thoughtcast.org
> www.thoughtcast.org
> _______________________________________________
> iDC -- mailing list of the Institute for Distributed Creativity  
> (distributedcreativity.org)
> iDC at mailman.thing.net
> https://mailman.thing.net/mailman/listinfo/idc
>
> List Archive:
> http://mailman.thing.net/pipermail/idc/
>
> iDC Photo Stream:
> http://www.flickr.com/photos/tags/idcnetwork/
>
> RSS feed:
> http://rss.gmane.org/gmane.culture.media.idc
>
> iDC Chat on Facebook:
> http://www.facebook.com/group.php?gid=2457237647
>
> Share relevant URLs on Del.icio.us by adding the tag iDCref



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From es at mur.at  Thu Jul  2 12:09:14 2009
From: es at mur.at (Evelin Stermitz)
Date: Thu, 02 Jul 2009 12:09:14 +0200
Subject: <videovortex> Fwd: The Question of Freedom at the Open Video
	Conference
Message-ID: <20090702120914.8owi1d74tcgkg48g@secure.mur.at>

media scholar Geert Lovink is also mentioned!
http://rhizome.org/editorial/2739

regards,
Evelin



From J.A.A.Simons at uva.nl  Fri Jul  3 17:26:03 2009
From: J.A.A.Simons at uva.nl (Simons, J.A.A.)
Date: Fri, 03 Jul 2009 17:26:03 +0200
Subject: <videovortex> A very short impression of videovortex 4
Message-ID: <C673EFAB.11DF7%J.A.A.Simons@uva.nl>

A VERY SHORT DIY impression of Vidovortex 4, Split, Croatia, May 2009 (or a
trailer for Videovortex 5 in Brussels?):
http://www.youtube.com/watch?v=oQBJs0P9-F8

Jan Simons



From minx at bway.net  Fri Jul  3 18:01:40 2009
From: minx at bway.net (Perry Bard)
Date: Fri, 3 Jul 2009 12:01:40 -0400
Subject: <videovortex> old media is the best-check out today's (july 3)
	headline
Message-ID: <309E8740-440C-480A-BD45-BE4B41FB08FC@bway.net>

www.nypost.com/




http://www.perrybard.net

http://dziga.perrybard.net



From alexandre.khan at gmail.com  Sun Jul  5 20:03:21 2009
From: alexandre.khan at gmail.com (Alexandre Z. Khan)
Date: Sun, 5 Jul 2009 19:03:21 +0100
Subject: <videovortex> WallMuse call for European art films, video art,
	artistic animations or creative documentaries: deadline 14 July 2009
Message-ID: <aad59afd0907051103mc389975r1c1791ba63e63194@mail.gmail.com>

Catalogue Making

WallMuse? is currently building a web portal with video on demand (VOD)
services dedicated to audiovisual contemporary arts practices. We are
currently applying for a European VOD fund and asking for participation.



WallMuse will provide affordable & easy access to high quality modern and
contemporary art films to an interested public wishing to enjoy normally
inaccessible art at home or in public places.



The WallMuse application is innovative, allows HD full screen viewing with
playlists, and offers a platform to share revenue from subscriptions, art
sales and B2B account sales accounts (see presentation
http://www.wallmuse.com/WallMuse.ppt, also a summary
www.wallmuse.com/WallMuse_summary.pdf or French version
www.wallmuse.com/WallMuse_court.pdf).



We wish to extend our catalogue. Our submission deadline is 14 July 2009. We
would like individuals, non-profit organizations, publishers or galleries
interested to send us catalogue information to include in our submission.
They should indicate titles, genre, and type of content, format, duration
and nationality of team on an online form (
www.wallmuse.com/WM_vod_catalogue_2009.xls).



Beginning 2010, we will send you a link to upload files that can be freely
viewed for promotion, files that need to be viewed securely and collector
item pricing details.



We look forward to your participation.





Alexandre Khan

Skype: zafar92

Mob (FR): +33 (0) 6 7784 1681

Mob (UK): +44 (0) 78 4692 2456



Mathieu Marguerin

Skype: mathieumarguerin

Mob: +33 (0) 6 7120 9313





Tel: +44 (0) 20 7099 4801

Fax: +44 (0) 20 7099 4802



Criteria for European VOD fund



We need most films to be ?*scenarised*? that means films that have an
introduction and a credit sequence.



We need *European films*. If a single artist or a small team makes a film,
just enter the films overall nationality.



We have *no criteria for time or length*, please indicate running time in
minutes.



We can *manage most codec?s and formats*. At this stage the format is not
important. We need catalogue information for our submission. The WallMuse
application plays most codec?s and formats.
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From J.A.A.Simons at uva.nl  Mon Jul  6 09:30:01 2009
From: J.A.A.Simons at uva.nl (J.A.A.Simons at uva.nl)
Date: Mon, 6 Jul 2009 03:30:01 -0400
Subject: <videovortex> Slate Article: Will My Video Get 1 Million Views on
	YouTube?
Message-ID: <06DD47FF4E2449B3ABD8A25F1DD06CC7@nw.com>

Jan Simons has sent you an article from Slate Magazine
<http://www.slate.com> .

A sobering view on YouTube stardom

	
 <http://letters.slate.com/W0RH020B9669EDE063B3630DEEC1A0> 

	

Why are my data so different? A developer for Rubber Republic told me
the company selected videos at random from a feed of newly added
material. My best guess for the decline in odds is that, in the 18
months between the two experiments, the number of total videos uploaded
has grown much faster than the audience of people willing to watch them.
A YouTube spokesman confirms that the amount of content uploaded to the
site has grown continually?it's now up to about 20 hours of footage a
minute from 15 hours at the beginning of 2009. (The company also says it
does not collect data on how many videos get more than 10,000 or 100,000
views.)

So, what are we to make of these numbers? First, getting even 10,000
views is an impressive feat, particularly if momentum builds
organically, like it did with "Charlie Bit Me." It's obviously easier to
get lots of views if a few popular sites embed or link to the video?the
main reason that the bumblebee mascot got so popular, for example, is
that it was embedded
<http://colunas.globoesporte.com/bolanascostas/2009/05/27/soco-do-mascot
e/>  on the Portuguese-language sports site Globo Esporte.

A short-term experiment like this one doesn't have a chance of sussing
out a phenomenon like "Charlie Bit Me," which didn't go viral until
months after it was posted. I'll post an update to this piece if I
discover in the coming weeks that I managed to catch such a
long-gestating monster. Anything's possible, but considering that just 3
percent of my videos have as many as 1,000 views, I'd say the odds of
that happening are vanishingly small.

These figures certainly don't ratify the grand promise of social media.
Not everyone uses YouTube to launch their showbiz or political career,
but the potential to do so is central to the Web 2.0 narrative that
figures in so many newsmagazine panegyrics
<http://www.time.com/time/magazine/article/0,9171,1570743,00.html> .
When the odds of even 1,000 people viewing your video in a month's time
are only 3 percent, however, it's tough to argue that hitting it big on
YouTube is anything more than dumb luck. You could argue that this is
the way it's always been in show biz, and you'd be right. But wasn't the
Web supposed to change all that?

Chris Wilson <mailto:christopher.e.wilson+slate at gmail.com>  is an
assistant editor at Slate in Washington, D.C. Follow him on Twitter
<http://twitter.com/chriswilsondc> .

Article URL: http://www.slate.com/id/2221553/

Copyright 2009 Washingtonpost.Newsweek Interactive Co. LLC

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From mail at stefanheidenreich.de  Mon Jul  6 17:00:26 2009
From: mail at stefanheidenreich.de (Stefan Heidenreich)
Date: Mon, 06 Jul 2009 17:00:26 +0200
Subject: <videovortex> Fw: comments on videovortex for Amsterdam meeeting
In-Reply-To: <8279E2E308F342CEB53A9ADB332DA2FC@YOUROU348Z4472>
References: <8279E2E308F342CEB53A9ADB332DA2FC@YOUROU348Z4472>
Message-ID: <4A52118A.6050803@stefanheidenreich.de>

Vera and I met and collected some remarks and proposals, which could be 
added to the conversations of the Amsterdam meeting (today .. sorry 
we're a bit late, as one mail back and forth among us got lost).
Stefan
----->

some productive thoughts on the split conference:
- very good: vv as model of a nomadic conference
- what is it, that repeats itself under the name videovortex, how can it 
develop?
- vv does not necessarily have to be a conference: format prevents open 
exchange
- too many lectures, too dense programme, leave more space for discussions
- more discussion could be enabled by active moderators

ideas for videovortex brussels:
- consider the more open format of a barcamp / unconference / open space
- rethink and refresh Geerts ABCs of conferencing (published in 
springerin 2004)
http://www.springerin.at/dyn/heft.php?id=41&pos=1&textid=1570&lang=en
- selection of presentations should be community-based. it can be 
organised in a wiki
- art & theory could be linked stronger. enabling a discussion. maybe 
thru a respondent scheme (both sides, artists response to theory,
theorist to art)

ideas for videovortex in general:
- Youtube - prsence for videovortex!!!
- steering committee's work should be transparent (wiki)
- inviting other interesting positions like f.ex. sebastian luetgert & jan
gerber- oxdb / padma archive
- planning on the long run (refers back to a conversation with dan oki 
on the boat):
videovortex could work as a nomadic workshop/(un)conference, that can be 
integrated with the schedule of universities or academies




From es at mur.at  Mon Jul  6 20:42:06 2009
From: es at mur.at (Evelin Stermitz)
Date: Mon, 06 Jul 2009 20:42:06 +0200
Subject: <videovortex> ArtFem.TV expanded
Message-ID: <20090706204206.cdb2cwid3448kow8@secure.mur.at>


Dear Video Vortex list!

ArtFem.TV got some great new works lately and good responses

http://artfem.tv

http://www.rhizome.org/object.php?o=49196&m=1044234


I wish you a nice summer, here it's raining endlessly since more then  
a month and won't stop
Evelin

~ evelin stermitz
~ http://evelinstermitz.net








From minx at bway.net  Fri Jul 17 11:12:04 2009
From: minx at bway.net (minx at bway.net)
Date: Fri, 17 Jul 2009 05:12:04 -0400
Subject: <videovortex> NYTimes.com: An Animated Film Is Created Through
	Internet Consensus
Message-ID: <mailman.0.1247821930.5027.videovortex_listcultures.org@listcultures.org>

This page was sent to you by: minx at bway.net.

MOVIES | July 16, 2009
An Animated Film Is Created Through Internet Consensus
By BROOKS BARNES
And the Oscar for the best animated short film goes to ... an Internet community?

http://www.nytimes.com/2009/07/16/movies/16mass.html?emc=eta1




----------------------------------------------------------

ABOUT THIS E-MAIL
This e-mail was sent to you by a friend through NYTimes.com's E-mail This Article service.  For general information about NYTimes.com, write to help at nytimes.com.

NYTimes.com 620 Eighth Avenue New York, NY 10018

Copyright 2009 The New York Times Company
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From line at calarts.edu  Fri Jul 17 17:09:41 2009
From: line at calarts.edu (Natalie Bookchin)
Date: Fri, 17 Jul 2009 08:09:41 -0700
Subject: <videovortex> Fwd: Documentary project Open Call
Message-ID: <C285CF28-9A7D-4BA2-9C77-81E226DBC8FD@calarts.edu>

Begin forwarded message:

> From: diego gutierrez <eldespacho at gmail.com>
> Date: July 17, 2009 3:03:16 AM PDT
> To: diego gutierrez <info at eldespacho.org>, lindabannink at gmail.com
> Subject: Documentary project Open Call
>
> Dear friends,
>
> May this email find you well. I'm sending you this collective letter  
> to inform you about the latest project we are working on. It's a  
> collective documentary project involving people from the visual arts  
> and the humanities from The Netherlands, Mexico and Morocco. If the  
> project interests you and you live in The Netherlands, Mexico or  
> Morocco, we would be more than happy to receive your application.  
> And/or if you know someone living on one of the three involved  
> countries that could be interested in applying, please forward them  
> this email.
>
> Thanks and greetings,
>
> Diego Gutierrez
> www.eldespacho.org
>
> MEXICO-THE NETHERLANDS-MOROCCO
> GRANTS FOR STUDENTS AND PROFESSIONALS OF THE
> VISUAL ARTS AND THE HUMANITIES
>
> el despacho
> el despacho, an artist initiative based in Mexico City interested in  
> relating visual artists with alternative video-documentary making is  
> looking for students and professionals of the visual arts and the  
> humanities interested in participating the documentary-project:
>
>
> ?Breakfast, Lunch and Dinner?
>
>
> Breakfast, Lunch and Dinner is a video-documentary collaborative  
> project between students and professionals of the visual arts and  
> the humanities from Mexico, The Netherlands and Morocco through  
> which a three-in-one feature length documentary around the issues of  
> the three diary meals will be made: Breakfast in Mexico, Lunch in  
> Morocco and Dinner in The Netherlands. Such film will be elaborated  
> through three workshops (each one three to four-weeks long) in  
> Mexico, The Netherlands and Morocco.
> The workshops participants will come into contact with divers  
> individuals and communities of the three involved countries and will  
> put into action and reformulate collectively their knowledge in  
> order to create a series of audio-visual tools that will help to  
> ?portray? a series of events, individuals and communities. The  
> workshops will be coordinated by visual artists and filmmakers that  
> have previously collaborated with el despacho.
>
> Each workshop will be conformed of 12 participants. el despacho  
> offers between eight and ten grants in each country for people  
> interested in participating in this project.
>
> Workshops dates:
> Mexico: September 2009
> Morocco: November-December 2009
> The Netherlands: January 2010
>
>
> At the end of each workshop, two local participants will be selected  
> and will travel and participate in one of the other workshops in the  
> other countries: two Mexican workshop participants will travel and  
> participate in the Morocco workshop, two Moroccan workshop  
> participants and two Mexican workshop participants will travel and  
> participate in the Netherlands workshop and the two Dutch workshop  
> participants will travel to Morocco or Mexico in a later stage of  
> the project. Traveling, living costs as well as materials and  
> equipment will be provided by el despacho.
>
>
> Requirements:
> -Information of the candidate (applicant): Name, Curriculum Vitae,  
> address, telephone and email address.
> -To be a student or professional of the visual arts and/or the  
> humanities.
> -To live in one of the three countries involved in the project.
> -To be interested in working in collaboration.
> -To be interested in experimental video-documentary.
> -Motivation letter.
> Why are you interested in participating in this workshop? What do  
> you think this experience can bring/give you and how can you  
> contribute to this project and its people/participants?
> -A written documentary proposal: an approach, a documentation upon a  
> situation/history/life in some neighborhood, corner, caf?, office,  
> house, etc. of the city where you live. How to explore the social  
> networks and to enter into personal communication with ?the other?,  
> ?the portrayed one?? (This proposal is not necessarily meant to be  
> realized during the workshop. It?s just a written exercise in order  
> to get to know better the ideas and skills of the candidate)
> -Documentation of the candidate?s work. (photos, videos, writings  
> that can show the interests of the candidate in the area of the  
> visual arts and/or the humanities).
> -To have time to participate full time in the three weeks workshop  
> in the city of residence of the candidate.
> -To participate in the workshop abroad, it is important that the  
> candidates speak:
> for Mexico: Spanish or English
> for Morocco: Arabic, Amazigh. French or English
> for The Netherlands: Dutch or English
>
>
> Deadline: The applications should be send before AUGUST 15th 2009 to:
>
>
> info at eldespacho.org
>
> and a copy to
>
> objectsarecloser at hotmail.com
>
>
> MORE INFORMATION AT: www.eldespacho.org
>
>
>
> This project has the support of:
>
> Artscollaboratory
>
> Mondriaan Stichting
>
> FONCA-CONACULTA
>
> SMART Project Space
>
>
> Participating institutions: Escuela de Pintura, Grabado y Escultura  
> La Esmeralda-M?xico DF, Sala de Arte P?blico Siqueiros, UACM-M?xico  
> DF, UAEM-Cuernavaca, Morelos, El Pochote, IAGO-Oaxaca, Oaxaca,  
> Institute National des Beaux Arts de Tetouan-Morocco, Rijksakademie  
> van Beeldende Kunsten-Amsterdam, European Exchange Academy-NL and  
> SMART Project Space
>
>
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From treske at bilkent.edu.tr  Sat Jul 25 13:02:47 2009
From: treske at bilkent.edu.tr (Andreas Treske)
Date: Sat, 25 Jul 2009 14:02:47 +0300
Subject: <videovortex> Radio: Phonevision - TIME
Message-ID: <73FEB40C-FD5A-4809-85CC-871FE3196BE1@bilkent.edu.tr>

Boing Boing linked to this article from 1951 on "Phonevision":

http://www.time.com/time/magazine/article/0,9171,805681,00.html

Andreas
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From treske at bilkent.edu.tr  Fri Jul 31 06:21:14 2009
From: treske at bilkent.edu.tr (Andreas Treske)
Date: Fri, 31 Jul 2009 07:21:14 +0300
Subject: <videovortex> =?iso-8859-9?q?MediaSnackers_=BB_Blog_Archive_=BB_S?=
 =?iso-8859-9?q?ocial_Media_Is_Punk?=
Message-ID: <07DE92E6-09FB-46F7-B98C-7D0BC1E9D0F5@bilkent.edu.tr>

Some of you might already know this:

http://mediasnackers.com/2009/07/social-media-is-punk/

Andreas
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From ghh at thing.net  Fri Jul 31 15:56:26 2009
From: ghh at thing.net (G.H. Hovagimyan)
Date: Fri, 31 Jul 2009 09:56:26 -0400
Subject: <videovortex> Social media is the new punk
In-Reply-To: <mailman.7.1249034404.18701.videovortex_listcultures.org@listcultures.org>
References: <mailman.7.1249034404.18701.videovortex_listcultures.org@listcultures.org>
Message-ID: <3A11AB21-D077-4A9E-9D80-71882DC0CEF9@thing.net>

I like the premise of the video but it seems like a pre-packaged info- 
mercial.  Indeed, if I was a neo-punk I'd immediately say fuck these  
guys, their trying to co-op what we're doing to make money.    You  
have to differentiate punk from new wave. The info-mercial does do  
that and is very informative historically. It doesn't talk about the  
nihilism of the times.  There was a severe recession in the US. worse  
than the one now.  The UK had just elected Margaret Thatcher was  
eliminating social programs.  Punk was also about diminished prospects  
for the youth coming up after the hippy generation. Actually it was  
anti-hippie.  One of the recurrent catchphrases was, " '69 was the  
summer of love, '79 was the summer of hate."

Being one of the original punks in New York I can talk about what that  
scene and time period was really like.  http://post.thing.net/node/ 
719  here's a list of posts with the search words punk.  http://post.thing.net/search/node?keys=punk

The feelings at the time was that there were no jobs, and no place to  
show your art if you were an artist.  For performance art there was  
only The Kitchen and occasionally Paula Cooper Gallery.  What  
performance artists did was perform in the rock clubs in between acts  
or form bands.   That became a sort of ant-elitist position to the art  
world. We were doing all of our acts for our on alienated group and  
didn't want a larger audience.  The only way to be free of a corporate  
success mantra was to self destruct before you could become successful.



G.H. Hovagimyan
http://nujus.net/~gh
http://artistsmeeting.org
http://transition.turbulence.org/Works/plazaville