From treske at bilkent.edu.tr  Mon Nov  2 21:15:42 2009
From: treske at bilkent.edu.tr (Andreas Treske)
Date: Mon, 2 Nov 2009 22:15:42 +0200
Subject: <videovortex> Fwd: CFP: Conference on the amateur moving image,
	University College Cork, 17-18 September 2010
References: <3DB8357AA97D5B459D459028777374CE32AEE2@EXCH1.central.ad.ucc.ie>
Message-ID: <68315961-EA37-4F58-9AB8-C29CC074676F@bilkent.edu.tr>



Begin forwarded message:

> From: "Rascaroli, Laura" <L.Rascaroli at UCC.IE>
> Date: November 2, 2009 8:22:45 PM GMT+02:00
> To: FILM-PHILOSOPHY at JISCMAIL.AC.UK
> Subject: CFP: Conference on the amateur moving image, University  
> College Cork, 17-18 September 2010
> Reply-To: Film-Philosophy Salon <FILM-PHILOSOPHY at JISCMAIL.AC.UK>
>
> Call for papers
>
> Saving Private Reels
>
> An International Conference on the Presentation, Appropriation and  
> Re-contextualisation of the Amateur Moving Image
>
> University College Cork, Ireland 17-18 September 2010
>
> Often underrated as a private and, thus, socially irrelevant  
> phenomenon, and equally dismissed in aesthetic terms or at least  
> confined to the domain of amateur pictorialism, in the 1960s the  
> home movie became central to the personal, subjective avant-garde  
> and experimental filmmaking of New American Cinema. The practice of  
> incorporating private home movies in experimental film and video  
> resurfaced powerfully over the past decades, with artists such as  
> Alan Berliner, P?ter Forg?cs, Rea Tajiri, Daniel Reeves and Michelle  
> Citron, among many others.
>
> The socio-political impact of which private footage is potentially  
> capable is epitomized by the most complete and most viewed recording  
> of John F. Kennedy?s assassination, filmed on 8mm by Abraham  
> Zapruder on November 22, 1963, as well as by more recent examples,  
> such as the beating of Rodney King, videotaped in Los Angeles by  
> bystander George Holliday on March 2, 1991, which played an  
> important part in triggering the Los Angeles riots of 1992.
>
> Even films that do not happen to capture significant events and  
> historical moments, but focus instead on domestic settings, private  
> occasions or everyday scenes in the public sphere have now become  
> valuable documents of the customs, values, identities, practices,  
> rituals and historical realities of generations of amateur  
> filmmakers. What makes them so relevant today is precisely what  
> previously relegated them ? their ephemeral, private and subjective  
> nature.
>
> As a result of the waning of authority and objectivity as compelling  
> social narratives, alternative, subjective and contingent accounts  
> of reality have become more appealing. The proliferation of amateur  
> videos and video-diaries on the Internet testifies to the strength  
> and intensity of the phenomenon. In parallel, the humanities have  
> registered an ever-growing interest in self-representation, first- 
> person narratives and practices of memorialization that go beyond  
> official historiography. The success of recent non-fictions such as  
> Andrew Jarecki?s Capturing the Friedmans and Jonathan Caouette?s  
> Tarnation has once again demonstrated the eloquence and power of  
> private images when used for purposes of historical and cultural  
> investigation and of self-scrutiny and representation.
>
> This conference aims to explore the pressing issues of the use,  
> presentation, appropriation and re-contextualisation of the amateur  
> moving image, of our relationship with it, both historically and  
> today, and of the senses and meanings of its encounters with a  
> variety of contexts, technologies and discourses.
>
> Papers of the duration of 20 minutes and pre-organized panels of up  
> to 4 papers can address the following or related topics and issues:
>
> (Re)presentation and the archive
> Private document, memory, memorialization
> The first-person documentary and autobiographical cinema
> The personal on the Internet: YouTube, Videoblogs
> Amateur footage meets art film
> Orphan films
> The re-contextualization of amateur footage in fiction and documentary
> Amateur form and aesthetics
> Capturing the Zeitgeist, making history: amateur newsreels
> Representing the family
> Imagining the nation, imagining the self
> Leisure and pleasure and the touristic gaze
> Amateur filmmaking and modernity
> The banal, the commonplace, the repetitious
> Audiences and reception
> Reflections of class, ideology and society
> From 8mm to digital: evolution of amateur technologies
> Identities, sexualities, genders
> Amateur fictions, amateur genres
> Shooting on the edge: guerrilla filmmaking
> Self-censoring and selection
>
> Keynote speaker: Patricia Zimmerman, Professor in the Department of  
> Cinema, Photography and Media Arts at Ithaca College, Ithaca, New  
> York, USA, author of Reel Families: A Social History of Amateur Film  
> (Indiana, 1995) and co-editor of Mining the Home Movie: Excavations  
> in Histories and Memories (California, 2008)
>
> Submissions: Panel and single paper proposals (abstracts of 300/500  
> words plus short bibliography) should be sent to the following email  
> address, along with a brief biographical note, by Monday 8 February  
> 2010: ucchomemovies at gmail.com
>
> Conference homepage: http://www.ucc.ie/en/filmstudies/research/conferences/amateur/
>
> Organizers: Dr Barry Monahan, Dr Laura Rascaroli, Dr Gwenda Young  
> (University College Cork, Ireland)
>
> A conference part-funded by the Irish Research Council for the  
> Humanities and Social Sciences, as part of the research project  
> ?Capturing the Nation: Irish Home Movies, 1930-1970?
>
>
> Film Studies at UCC: http://www.ucc.ie/en/filmstudies/
>
>
>
>
> * * Film-Philosophy Email Discussion Salon After hitting 'reply'  
> please always delete the text of the message you are replying to To  
> leave, send the message: leave film-philosophy to: jiscmail at jiscmail.ac.uk 
>  Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html For  
> technical help email: helpline at jiscmail.ac.uk, not the salon * Film- 
> Philosophy online: http://www.film-philosophy.com Contact: editorialboard at film-philosophy.com 
>  **

Andreas Treske
Assistant Professor
Chair Department of Communication and Design
Faculty of Art, Design and Architecture
Bilkent University
06800 Bilkent -Ankara
Turkey
treske at bilkent.edu.tr





-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://listcultures.org/pipermail/videovortex_listcultures.org/attachments/20091102/580e70d4/attachment.html>

From line at calarts.edu  Wed Nov  4 07:23:59 2009
From: line at calarts.edu (Natalie Bookchin)
Date: Tue, 3 Nov 2009 22:23:59 -0800
Subject: <videovortex>  Vlogging at LACMA and on youtube
In-Reply-To: <68315961-EA37-4F58-9AB8-C29CC074676F@bilkent.edu.tr>
References: <3DB8357AA97D5B459D459028777374CE32AEE2@EXCH1.central.ad.ucc.ie>
	<68315961-EA37-4F58-9AB8-C29CC074676F@bilkent.edu.tr>
Message-ID: <C3A623FC-04EC-4BC3-BCE4-E331CE9F954E@calarts.edu>

http://bookchin.net/projects/testament.html

http://www.youtube.com/user/nunuhola

http://www.youtube.com/watch?v=HoWzWrsugdY


--natalie



From vera.tollmann at gmx.net  Sun Nov 15 12:35:45 2009
From: vera.tollmann at gmx.net (Vera Tollmann)
Date: Sun, 15 Nov 2009 12:35:45 +0100
Subject: <videovortex> ARMY OF YOUTUBE
Message-ID: <E0FDD9E323494157AAF936EB7B1962C7@YOUROU348Z4472>

ARMY OF YOUTUBE BY ROSEMARY HEATHER
Faced with the awe-inspiring popularity of web-monoliths like YouTube, contemporary art risks becoming nothing more than a quaint relic of the 20th century

Join the discussion:
http://www.apengine.org/2009/10/army-of-youtube-rosemary-heather/

 
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://listcultures.org/pipermail/videovortex_listcultures.org/attachments/20091115/73f8d381/attachment.html>

From geert at xs4all.nl  Mon Nov 16 08:47:17 2009
From: geert at xs4all.nl (Geert Lovink)
Date: Mon, 16 Nov 2009 08:47:17 +0100
Subject: <videovortex> Liz Losh @ VV 5: "Official Channels: Government
	Rhetoric and Online Video"
References: <96b3966930c864ab06544c0578f3a289.squirrel@webmail.uci.edu>
Message-ID: <9BF4F3F9-E465-4825-BA03-B08F6AF36DE2@xs4all.nl>

> From: "Elizabeth Losh" <lizlosh at uci.edu>
>
> Hi,
>
> for VV 5 in Brussels I've put my slides here:
> http://eee.uci.edu/faculty/losh/Official_Channels.ppt
>
> I've also tried to post my Obama YouTube montage at
> https://eee.uci.edu/faculty/losh/Obama_YouTube.mov but there seem to  
> be
> problems with it so you can also access a lower rez version here:
> http://www.archive.org/details/ObamaYoutubeMontage
>
> Do you still need a short description.  It could read:
>
> Many heads of state are looking to the United States and to the Obama
> administration to imitate the specific rhetorical techniques of the
> current American president and to YouTube as a mode for broadcasting
> state-sanctioned video messages.  In retasking a platform generally
> associated with a fragmented politics of personal liberty and  
> rhizomatic
> modes of resistance, Obama both borrows from the conventions of  
> vernacular
> video and also adapts those conventions to established methods of  
> standard
> official persuasion.  He also presents a model of computer use and  
> online
> interaction that draws attention to the limits of the participatory
> culture model as he inhabits the domestic spaces of the White House.
>
> Liz
>
> Video Vortex Conference
>
> "Official Channels: Government Rhetoric and Online Video"
>
> Elizabeth Losh, University of California, Irivne
>
> Throughout the world, government agencies have adopted YouTube as a  
> mode
> for broadcasting state-sanctioned video messages.  Now many heads of  
> state
> are looking to the United States and to the Obama administration to
> imitate the specific rhetorical techniques of the current American
> president.  In retasking a YouTube platform generally associated  
> with a
> fragmented politics of personal liberty and rhizomatic modes of
> resistance, Obama both borrows from the conventions of vernacular  
> video
> and also adapts those conventions to established methods of standard
> official persuasion.  In particular, Obama is situated in the domestic
> spaces of the White House in ways that might be familiar to YouTube
> viewers who are accustomed to a webcam cinema oriented around private
> homes.
>
> Obama?s direct address to the YouTube viewer references the  
> rhetorics of
> many other U.S. presidents.  A montage of clips from the White House
> official YouTube channel shows several allusions to his historical
> predecessors.  Like Franklin Roosevelt Obama uses the pedagogical  
> pose of
> the ?fireside chat,? like Kennedy he attempts to conduct public  
> diplomacy
> efforts and speak to citizens abroad in their own languages, and like
> Reagan he consoles the nation in times of tragedy.
>
> However, his YouTube performances as the nation?s patriarch also draw
> attention to what could be called ?mediated transparency.?  Unlike his
> Republican opponent who was mocked for his use of green screen
> technologies that digitally effaced the physical background of a  
> shot in
> favor of a virtual backdrop, the images of Obama chosen as the icons  
> of
> many of his YouTube Weekly Addresses display lights, camera viewers,  
> and
> computer monitors prominently.
>
> YouTube also gives the viewer lessons about how to be an ideal  
> computer
> user, but the official message coming from the White House?s visual
> rhetoric seems to be that to be wired is to be unpresidential.  The  
> Obama
> official Flickr photo stream never shows him on his famous
> Commander-in-Chief Blackberry.  Like the cigarettes he smokes, the
> ubiquitous computing devices that he uses must be indulged in only
> secretly.  A phone with a traditional cord that tethers him to his  
> desk is
> clearly deemed much more presidential.  On the rare occasions when  
> he is
> posed in front of someone else?s computer screen for the launch of a  
> new
> government website, Obama appears uncomfortable in front of the  
> monitor,
> usually at a woman?s desk.  Thus, a president may create content for
> YouTube, but ? of course ? he would never actually watch it.  Since  
> the
> White House allows text comments on its official channel, but response
> videos are prohibited, the inconvenient possibility that citizens  
> might be
> viewed as well as view is eliminated.
>
> These limitations on Obama?s engagement with the political feedback  
> loop
> has often been highlighted in his so-called ?Town Hall? performances  
> with
> YouTube, which began before he took office with the CNN-YouTube  
> Democratic
> Party debates in July of 2007, where Obama famously answered a  
> question
> from a YouTube viewer by promising to talk directly to ?foreign  
> leaders?
> of countries with which the United States had no diplomatic relations.
> Although Obama publicized the use of ?Open for Questions? derived  
> from the
> Internet in one of his YouTube messages, he often avoided answering  
> the
> most popular questions and instead focused on responding to  
> specifically
> selected questions from webcam viewers who presented a YouTube  
> political
> spectacle that was deemed more appropriate.
>
> Often the constraints placed by networks that censor content from  
> YouTube
> are assumed to exist only in totalitarian regimes that might want to  
> block
> the U.S. message of democratic neoliberalism.  Yet there was some  
> irony
> this September when Obama created a YouTube back-to-school message
> intended for children in public school classrooms to inspire them to  
> work
> hard and show respect for the institutions of learning, because most
> schools in the United States block YouTube, and even teachers cannot
> access such video-sharing sites on school networks when needed for  
> obvious
> pedagogical uses.
>
> As privacy advocate Christopher Soghoian points out, what is most
> disturbing about the official sanctioning of YouTube by the White  
> House is
> that it subjects citizens who visit the website of a public  
> institution to
> YouTube?s surveillance, tracking, and data mining without their  
> knowledge
> or explicit consent.  Although the White House has experimented with  
> other
> players that do not have the proprietary software or policies on  
> copyright
> that advocates for public property might find repugnant, YouTube  
> continues
> to be the chosen third-party video player.  As the language of  
> different
> privacy policies is finessed, the company itself is never named.
> Furthermore, the close personal and financial relationship between the
> interests of Obama and the CEO of YouTube?s parent company, Google?s  
> Eric
> Schmidt, is also certainly a cause for concern, given that American
> presidents since Teddy Roosevelt have been expected to break up  
> corporate
> monopolies not legitimate them.
>
> The use of YouTube by official agencies that are pursuing e-government
> agendas for the United States demonstrates the distinctive way that  
> state
> authority is represented in distributed digital video in modes that  
> mimic
> one-to-one communication and yet reinforce the one-to-many structure  
> by
> which liberal representative democracies have traditionally  
> functioned in
> the mass media era. With the expanding use of commercial Web 2.0
> technologies by government agencies, critics and activists are finally
> expressing concern that in the name of ?participatory culture? the
> government may risk compelling its citizens to participate in  
> particular
> copyright regimes that constrain speech, to submit to corporate user
> agreements that rewrite the social contract, and to divulge private
> information to commercial vendors without their consent.
>
> Elizabeth Losh
> Writing Director
> Humanities Core Course
> HIB 188, U.C. Irvine
> Irvine, CA 92697
> 949-824-8130
> http://eee.uci.edu/faculty/losh




From seth.keen at rmit.edu.au  Thu Nov 19 02:50:20 2009
From: seth.keen at rmit.edu.au (Seth Keen)
Date: Thu, 19 Nov 2009 12:50:20 +1100
Subject: <videovortex> Media Fragments Working Group - Video, Audio, Images
Message-ID: <534778CC-9884-428A-89A6-5AE543BD9B38@rmit.edu.au>

http://www.w3.org/2008/WebVideo/Fragments/

'The mission of the Media Fragments Working Group, part of the Video  
in the Web Activity, is to address temporal and spatial media  
fragments in the Web using Uniform Resource Identifiers (URI).

Brief overview - Breaking up video so you can link to points in the  
timeline (deep hyperlinking) enabling video to be broken up into parts.

http://lists.w3.org/Archives/Public/public-media-fragment/

 From - Use cases and requirements for Media Fragments

http://www.w3.org/TR/media-frags-reqs/

Introduction
Audio and video resources on the World Wide Web are currently treated  
as "foreign" objects, which can only be embedded using a plugin that  
is capable of decoding and interacting with the media resource.  
Specific media servers are generally required to provide for server- 
side features such as direct access to time offsets into a video  
without the need to retrieve the entire resource. Support for such  
media fragment access varies between different media formats and  
inhibits standard means of dealing with such content on the Web.

This specification provides for a media-format independent, standard  
means of addressing media fragments on the Web using Uniform Resource  
Identifiers (URI). In the context of this document, media fragments  
are regarded along three different dimensions: temporal, spatial, and  
tracks. Further, a fragment can be marked with a name and then  
addressed through a URI using that name. The specified addressing  
schemes apply mainly to audio and video resources - the spatial  
fragment addressing may also be used on images.

The aim of this specification is to enhance the Web infrastructure for  
supporting the addressing and retrieval of subparts of time-based Web  
resources, as well as the automated processing of such subparts for  
reuse. Example uses are the sharing of such fragment URIs with friends  
via email, the automated creation of such fragment URIs in a search  
engine interface, or the annotation of media fragments with RDF. This  
specification will help make video a first-class citizen of the World  
Wide Web.

The media fragment URIs specified in this document have been  
implemented and demonstrated to work with media resources over the  
HTTP and RTP/RTSP protocols. Existing media formats in their current  
representations and implementations provide varying degrees of support  
for this specification. It is expected that over the time, media  
formats, media players, Web Browsers, media and Web servers, as well  
as Web proxies will be extended to adhere to the full requirements  
given in this specification.



best
Seth Keen
---
media lecturer
 >> sethkeen.net/blog






-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://listcultures.org/pipermail/videovortex_listcultures.org/attachments/20091119/e45d2182/attachment.html>

From bcrevits at gmail.com  Fri Nov 20 01:42:18 2009
From: bcrevits at gmail.com (Bram Crevits)
Date: Fri, 20 Nov 2009 01:42:18 +0100
Subject: <videovortex> Late call: Video Vortex V Brussels live stream
Message-ID: <E0F42964-E2F5-412A-AB57-CD49BFB34465@gmail.com>

Hi everyone,

This late call to announce you that we will put a live stream on for  
the Video Vortex V conference tomorrow at the Brussels Atomium.

You can follow via: (from 13h30 on)
http://www.ustream.tv/channel/video-vortex-v---cimatics-festival-brussels

More info on
http://www.cimaticsfestival.com

All the best from Brussels,

Bram



From alejoduque at gmail.com  Fri Nov 20 14:21:49 2009
From: alejoduque at gmail.com (alejo)
Date: Fri, 20 Nov 2009 14:21:49 +0100
Subject: <videovortex> live stream
In-Reply-To: <mailman.5.1258714804.3541.videovortex_listcultures.org@listcultures.org>
References: <mailman.5.1258714804.3541.videovortex_listcultures.org@listcultures.org>
Message-ID: <F5DDB944-494A-45FC-BFA0-0C4EA920D6F7@gmail.com>


On Nov 20, 2009, at 12:00 PM, videovortex-request at listcultures.org  
wrote:

> we will put a live stream on for the Video Vortex V conference  
> tomorrow at the Brussels Atomium.
>
> You can follow via: (from 13h30 on)
> http://www.ustream.tv/channel/video-vortex-v---cimatics-festival-brussels


Great news Bram! I will try to follow from the South,

Museum of Modern Art here in Medellin expressed some interested on  
having a Video Vortex, hopefully the streams will help to better  
explain what is all about.

Please let me know if this idea of having a video vortex in Colombia  
appeals to you, cause im here and could help trace the link with the  
Museum.. also it could well be done withouth me in the way, the  
director already emailed some of you but i think she didnt got any  
answer so far (phps the spam filter?).

Warm regards to all,
/a


From cymnet at gmail.com  Fri Nov 20 17:17:14 2009
From: cymnet at gmail.com (Cym Net)
Date: Fri, 20 Nov 2009 17:17:14 +0100
Subject: <videovortex> live stream
In-Reply-To: <F5DDB944-494A-45FC-BFA0-0C4EA920D6F7@gmail.com>
References: <mailman.5.1258714804.3541.videovortex_listcultures.org@listcultures.org>
	<F5DDB944-494A-45FC-BFA0-0C4EA920D6F7@gmail.com>
Message-ID: <95c795f70911200817l6703a952k5601aca8efb5cdfd@mail.gmail.com>

I'm online, but it seems there is no live stream?
I tried a few times already, but nothing's there...

VideoVortex in Medellin sounds good! That would create a possibility to
approach the subject from a much more non-european perspective.

I wish you all a nice time in Brussels,

Cym


On Fri, Nov 20, 2009 at 2:21 PM, alejo <alejoduque at gmail.com> wrote:

>
> On Nov 20, 2009, at 12:00 PM, videovortex-request at listcultures.org wrote:
>
>  we will put a live stream on for the Video Vortex V conference tomorrow at
>> the Brussels Atomium.
>>
>> You can follow via: (from 13h30 on)
>> http://www.ustream.tv/channel/video-vortex-v---cimatics-festival-brussels
>>
>
>
> Great news Bram! I will try to follow from the South,
>
> Museum of Modern Art here in Medellin expressed some interested on having a
> Video Vortex, hopefully the streams will help to better explain what is all
> about.
>
> Please let me know if this idea of having a video vortex in Colombia
> appeals to you, cause im here and could help trace the link with the
> Museum.. also it could well be done withouth me in the way, the director
> already emailed some of you but i think she didnt got any answer so far
> (phps the spam filter?).
>
> Warm regards to all,
> /a
>
> -----
>
> video vortex discussion list
> artist responses to youtube
>
> to change your settings or unsubscribe, please go to:
> http://listcultures.org/mailman/listinfo/videovortex_listcultures.org
>
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://listcultures.org/pipermail/videovortex_listcultures.org/attachments/20091120/ee36bd54/attachment.html>

From ghh at thing.net  Fri Nov 20 20:57:10 2009
From: ghh at thing.net (G.H. Hovagimyan)
Date: Fri, 20 Nov 2009 14:57:10 -0500
Subject: <videovortex> Subway 1,2,3 by G.H. Hovagimyan
Message-ID: <0910835F-080D-4CC7-B7A7-F5944D1824E6@thing.net>


For Immediately Release --
One Night Only - Saturday November 21st, 7pm to 10pm at
Over The Opening (OTO)
60 North 6th Street, 2nd floor
Brooklyn, NY, 11211
L train to Bedford Avenue
3 Blocks west on North 6th - just shy of Kent
917-686-3984
mriver [at] mteww [dot] com
SUBWAY ? 1 ? 2 ? 3
By G.H. Hovagimyan

The subway is a defining urban experience across cultures. Underground  
and in the subconscious, every rider experiences a disjunctive  
experience when entering one place and emerging in a different one. In  
day to day experience, time spent on a subway ride can resemble lost  
footage between cuts in a movie. But when a movie includes scenes shot  
in a subway, the subway passage becomes a shared, collective  
experience. Familiarity with subway scenes from movies have become  
part of the contemporary vernacular, creating ?Oh I remember that  
film!? reactions. Movie scenes shot in subways also trigger deeper  
feelings as the viewer defines and redefines personal and shared  
experiences. In the work I have created using subway scenes from  
movies, narrative conventions of standard film techniques have been  
removed to further the exploration of submerged emotions.

  The installation includes three video loops of one hour each. The  
piece is designed as a three-panel projection with the three loops  
running simultaneously. Since the individual movie clips in each loop  
are of varying aspect ratios, I selected a standard 1280 x 720 pixel  
ratio and fit the clips into that size. By doing that, some of the  
clips are squeezed into higher definition and others become pixilated.  
The use of translation and codec problems, and the variations produced  
by varied definition are an integral part of the work. Visual  
association, media memory, and a collective experience can be  
furthered by asking the viewer to adapt to differences. Copyright  
issues are addressed as the completed artwork is composed entirely of  
re-purposed cinema found solely on the Internet.



48 Hrs

A Taste of Tea??

Adventures in Baby-Sitting??

After??

After Hours??

Along Came A Spider

American Werewolf In London

American Werewolf In Paris??

Annie Hall

Bang the drum slowly

Barbershop 2: Back In Business

Beethoven Virus??

BENEATH THE PLANET OF THE APES

Blade??

Bless the Child

Bless the Child trailer??

ButterflyMole??

Brother From Another Planet??

Carlito's Way??

Collateral

Condemned??

Conspiracy Theory

Die Another Day

Die Hard With a Vengance

Do the Right Thing

Edmond??

End of Days

Fame

FBI Story

Flatliners

FRENCH CONNECTION II

Getting Even With Dad

Ghost??

Ghostbusters

Godfather

Godzilla

Happyness??

HUNTED

Incident

Inner Circle??

Irreversible.

ITALIAN JOB (2003)

Jacob's Ladder

Cowboy Way

Creep??

Crocodile Dundee

Daredevil

Daybreak Express??

Death Wish

Little Fugitive

Little Nicky

Lost in Translation

Malcolm X

Maniac

Marathon Man

Matrix Revolutions

Men in Black 2

Midnight Cowboy

Midnight Meat Train??

Mimic

Money Train

Mr. Wonderful

My Best Friends Wedding

My Boss's Daughter

My Dinner with Andre

Naked City

Network

Neverwhere (Neil Gaimens )

Next Stop Greenwich

Village

Nighthawks

North by Northwest

Ocean's Eleven (2001)

ODDESSA FILE

On The Line

Paycheck

Passer By

Pi??

Pickup On South Street??

Predator II

Prizzi's Honor

Pursuit of Happyness

Quartermass and the Pit??

Resident Evil?

Risky Buisness

Rosemary's Baby

Rules of Attraction

Saturday Night Fever

Serendipity

Seven Year Itch??

Silver Streak

Just Another Girl on the IRT

King Kong??

King of Comedy

King of New York??

Knowing??

Sleeper Cell??

Sliding Doors

songs from the 2nd floor

Speed

Step Up 2??

Strange Days

Subway (by Luc Besson)??

Suicide Club??

SUPERMAN: THE MOVIE

Swat

SWIMMING POOL

TAKING OF PELHAM 1,2,3

Taxi Driver

Teenage Mutant Ninja Turtles

Teenage Mutant Ninja Turtles: Secret of the Ooze

They

Three and Out??

Total Recall

Trackman??

Train Simulator??

Trick??

Tube??

Twelve Angry Men

Underworld.

Untouchables

volcano ??

Waking the Dead??

WARRIORS??

Weekend at Bernie's II

West Side Story

When Harry met Sally

While you were Sleeping

Wings of Desire??

Wrong Man

Yards??

You've Got Mail




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






-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://listcultures.org/pipermail/videovortex_listcultures.org/attachments/20091120/53ebd318/attachment-0001.html>

From geert at xs4all.nl  Sat Nov 21 21:37:16 2009
From: geert at xs4all.nl (Geert Lovink)
Date: Sat, 21 Nov 2009 21:37:16 +0100
Subject: <videovortex> video editing with open source tools
References: <38127.216.108.22.182.1258833707.squirrel@flymail.web.net>
Message-ID: <A7A6D2E6-BA0A-4C99-A653-85788C7EE09A@xs4all.nl>

> Video editing with open source tools
>
> http://www.digitalartistshandbook.org/node/35
>


-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://listcultures.org/pipermail/videovortex_listcultures.org/attachments/20091121/5292653b/attachment.html>

From geert at xs4all.nl  Mon Nov 23 12:16:39 2009
From: geert at xs4all.nl (Geert Lovink)
Date: Mon, 23 Nov 2009 12:16:39 +0100
Subject: <videovortex> quick brussels report
Message-ID: <EFDFABD0-5D28-4952-8BE3-A24F3D3165CE@xs4all.nl>

Dear all,

it was again a pretty amazing experience this time at Video Vortex 5  
in Brussel.

On Friday afternoon there was lots of audience, on satuday morning  
pretty empty and then it filled up again in the afternoon.

The Atomium location was stunning, to say the least. Thanks to Bram  
and the other crew of the Cimatics Festival that continues in Brussels  
for another week or so.

I myself I am quite in favour to have more focussed sessions. We have  
to decide together which topics will be discussed in which editions.  
The Brussels scope was a bit too broad to my taste. But then, the mix  
was absolutely right: arts, activism and politics, theory, with plenty  
of links to film.

Margreet, Sabine and I blogged VV 5 and the report will become  
available on the INC site later on today or tomorrow.

There was a delegation of three from Budapest and we're going to give  
it a serious try to have a VV 6 there in May 2010 as part of the VJ  
festival there.

Because of the short time and lack of space there was hardly any  
possibility for the VV steering committee to gather. Nonetheless,  
there is all sorts of things happening. To have five conferences, a  
reader, exhibitions and so many p2p collaborations happening is an  
impressive trackrecord anyway.

By late January you can expect a call for the VV 2 reader, which we're  
planning to produce, here at INC, over the course of 2010.

Greetings from the still not yet that cold Amsterdam in heavy rain,

Geert


From es at mur.at  Mon Nov 23 12:24:11 2009
From: es at mur.at (Evelin Stermitz)
Date: Mon, 23 Nov 2009 12:24:11 +0100
Subject: <videovortex> Good News! ArtFem.TV at the Museum of Contemporary
	Art of Vojvodina, Serbia
Message-ID: <20091123122411.y37rxchikgwoocgk@secure.mur.at>


I can't hide the good news!

ArtFem.TV is selected for the competition program of the

13th International Video Festival VIDEOMEDEJA
December 11 - 13 2009
Museum of Contemporary Art of Vojvodina, Novi Sad, Serbia

The title of this year's festival is "subject: No commercial value !"
http://videomedeja.org

Please spread the word and link ArtFem.TV and forward it to anyone who
might be interested, since it is an online project!

Thanks for your kind support!
Hope all is well and have a good time!

Evelin

~ evelin stermitz
~ http://evelinstermitz.net
~ http://artfem.tv
~ http://world-of-female-avatars.net






From geert at xs4all.nl  Tue Nov 24 10:04:34 2009
From: geert at xs4all.nl (Geert Lovink)
Date: Tue, 24 Nov 2009 10:04:34 +0100
Subject: <videovortex> blogreport vv 5: politics of online video
Message-ID: <EF70368C-839A-4122-B882-38BFD5249548@xs4all.nl>

Politics of online video

Saturday, November 21, 2009
By Geert Lovink

In his presentation the Glasgow-based Simon Yuill took us back to the  
1980s and the media activism back then: films and videos produced  
during the miners strike and other riots and actions. This activity in  
the late 1990s transforms in ?citizen journalism?. Yuill here used the  
example of the Cluetrain Manifesto (1999). The emphasis here is on  
distributed conversations. It is the RSS feed that becomes the  
organizing principle of distributed realtime news production. This  
tool can be used by anyone and is not own or controlled by states and  
corporations. With Toni Negri one could say that APIs are becoming  
?constitutional machines?. Yuill calls for ?critical constitutions? in  
order to prevent the use of closed and proprietary platforms by  
activists. The was no ?twitter revolutions? that came out of street in  
Iran. It was mainly users overseas, in other countries, that caused  
this hype.

Elizabeth Losh started with a montage of Barack Obama?s YouTube  
performances. In the talk called ?Official Channels? she discussed the  
different trends that emerge. YouTube is more state-like, and national  
then we often might think. How is online video used to maintain the  
status quo? Online video is fully integrated in the White House media  
strategy. The media apparatus is often shown explicitly, which Losh is  
calling ?mediated transparency?. Obama is put in the role of the  
leader that explains. Obviously Obama is not the first US president to  
use media techniques. Liz mentioned elements from Bush, Reagan,  
Roosevelt, Kennedy, and so on.

How much ?change? do we really have? In the White House Obama has been  
removed from the computer. Liz was able to find only one picture in  
which Obama holds his encrypted top-secret Blackberry. Most often we  
see him on the phone. The realm of the computer is left to the female  
secretaries outside of the Oval Office. An irony of Obama?s online  
video policy is that most schools in the USA block YouTube, in order  
to Then Liz Losh addressed the issues of the White House?s dependency  
on Google/YouTube. Most of you will know about the important role of  
Google?s CEO Eric Schmidt?s role as a senior political advisor of this  
administration (more related interview video footage on  
vectorsdev.usc.edu/nehvectors/losh.

Stephen Crocker from Newfoundland, Canada, started with 1960s film  
footage of Fogo Island. The question then was not so much to represent  
people?s lives but how to ?create people?. How to overcome the problem  
of ?remoteness?? One of the solutions at the time was the  
resettlements of thousands of people to larger growth centres. The  
problem was defined as one of communication, ?information poverty? as  
it was called. Information was supposed to tell us something about  
human nature, and was associated by Marshall McLuhan and others as  
?metaphysics?. For remote communities the origin of a film remained  
mysterious. The National Film Board had the task to change this. ?The  
Things I Cannot Change? from 1967 for the first time explained the  
situation of poverty to a wider audience. From now on films did not  
have to be about the poor, but had to involve them, and had to be  
produced by them. Films about social change were screened to the  
people themselves. These days there is no collective public space  
anymore. What online video tools do is enable self-reflection. It is  
confessional and self-referential amateur material. Video sharing is  
addressed to anyone but no one in particular. With Lacan we could say  
that these images are both inadequate and compelling. Intimacy is  
created, and not destroyed, by bureaucratic machines. How can we be  
with others in this new world of remoteness and loneliness? The ways  
of being together are different these days. The way we relate to  
others is through the image.

From treske at bilkent.edu.tr  Tue Nov 24 15:34:51 2009
From: treske at bilkent.edu.tr (Andreas Treske)
Date: Tue, 24 Nov 2009 16:34:51 +0200
Subject: <videovortex> Fwd: what the hell is VJ? 2010
References: <20091124001707.7gxf87u2g4oc4g48@webmail.bubunation.de>
Message-ID: <6645D5E6-56C4-4D7A-84B5-F210AEB9F050@bilkent.edu.tr>



Begin forwarded message:

> From: mo at bubunation.de
> 
> Subject: what the hell is VJ? 2010
> 
> hi, dear my friends everywhere! :)
> 
> hope, you all are well!
> 
> we had in september an event
> "what the hell is vj?" in munich.
> 10 or more vjs played all together and we have so much fun!
> 
> was planed only for once but we had positiv feedback
> and did that again in november, now from february we do that
> every two month.
> 
> it is local and we don?t have money
> (location is of kind of youth welfare office and we don?t
> pay rental fee but we couldn?t get entrance fee, it is
> open for everyone)
> 
> but from february it will be an regular event every two
> month. if you are coincidentally in munich, you all are
> very welcome, accomodation is upstairs of venue, enough
> there. beer is also enough there :)
> 
> here are the pics from last time
> http://picasaweb.google.com/bubunation/WhatTheHellIsVJ2#
> we will make a what the hell is vj account on vimeo
> and upload some impressions of the party!
> 
> would be happy to meet you all in munich!
> love!
> mo!
> 
> 
> What the hell is VJ?
> thu., 4.2.
> thu., 1.4. (no april fool)
> thu., 3.6.
> 
> wed., 6.10.
> wed., 1.12.
> 
> at kranhalle caf? (feierwerk)
> hansastra?e 39, munich
> http://feierwerk.de/
> 
> 
> mo / aiko okamoto
> weissenburger strasse 39
> d-81667 munich
> 0049 173 6540 638
> 
> 


-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://listcultures.org/pipermail/videovortex_listcultures.org/attachments/20091124/4ca595cd/attachment.html>

From geert at xs4all.nl  Tue Nov 24 21:33:57 2009
From: geert at xs4all.nl (Geert Lovink)
Date: Tue, 24 Nov 2009 21:33:57 +0100
Subject: <videovortex> Nicholas Carr on The Price of Free (in NY Times)
Message-ID: <E6DA7A83-E31B-49B3-991E-0469E26AA4B3@xs4all.nl>

The Price of Free
By NICHOLAS CARR

Published in the NYT on November 13, 2009
When, in late September, rumors surfaced that Comcast was trying to  
buy NBC Universal from General Electric, Wall Street reacted with  
dismay. Grandiose attempts to combine media production and  
distribution ? programming and plumbing ? are nothing new in the  
entertainment business, but they almost always end in disappointment.  
Witness AOLTime Warner. So what in the world could be prompting the  
Comcast chief executive, Brian Roberts, to start down this accursed  
path?

I fear that I?m to blame.

A few months ago, while stalking the aisles of my local Best Buy, I  
gave in to techno-temptation. I bought a Blu-ray player. What I didn?t  
realize until I unpacked the gadget was that it does a lot more than  
just spin high-definition discs. It is, as they say, Web-enabled. As  
soon as I plugged it into an outlet in my living room, its built-in  
WiFi antenna sniffed out my home network and logged on. The Blu-ray  
player became a gateway between the Internet and my television set.

Ever since, and much to my surprise, I?ve been using the device more  
to transmit Internet content than to play discs. I stream TV shows and  
movies fromNetflix, music from Pandora and videos from YouTube. Beyond  
my existing $11-a-month Netflix subscription, I haven?t forked out a  
penny for any of this programming. It comes flowing out of the Web,  
whenever I summon it, free.

My new viewing habits must make Brian Roberts very nervous. The more I  
play movies and TV shows from the Web, the less I use my cable TV  
service. I almost never order pay-per-view movies anymore. And I  
recently canceled my premium Showtime subscription. Most of Showtime?s  
best programs, including ?The Tudors,? ?Weeds? and ?Dexter,? are  
available to stream through Netflix, as are a lot of the movies  
currently playing on the network. Why pay $23 a month when I can get  
the stuff for almost nothing?

I have a feeling that it won?t be long before I and a whole lot of  
other people start asking similar questions about pay-TV subscriptions  
in general.

Until recently, the TV business was shielded from the turmoil that the  
Internet has visited upon other media industries, like music and  
publishing. The reason was largely a matter of network capacity.  
Sending high-quality video through the Web requires a lot more  
bandwidth than sending text or music, and until 2007 most Americans  
lacked high-speed Internet connections at home, according to the Pew  
Research Center. The Net simply wasn?t a viable alternative for  
distributing the signals traditionally sent over cables or beamed down  
from satellites.

That?s changing, and fast. With broadband becoming the norm and  
connection speeds continuing to quicken, what has happened to music  
companies and newspapers is beginning to happen to broadcast networks  
and cable companies. People like me are using the Net to bypass the  
customary providers of television programming, along with the ads they  
show and the fees they collect.

My Blu-ray player is just the tip of the iceberg that the TV business  
is about to hit. Today you can watch snippets of shows on YouTube or  
entire episodes on sites like Hulu or Yahoo TV. You can view news  
reports at CNN.com, sports events at ESPN360.com and documentaries at  
PBS.org. You can download shows, sometimes without charge, from  
Apple?s iTunes store and watch them on your iPod, iPhone or PC. Or you  
can stream them through your Xbox or Wii.

Television is escaping the TV set and the cable box. We no longer  
watch the tube. We watch, to borrow ex-Senator Ted Stevens?s memorable  
conceit, a series of tubes.

As the technology of television changes, so, too, does the experience  
of watching it. In the past, TVs often served as the focal points of  
communal gatherings. Families or groups of friends would collect  
around the set to watch the prime-time shows or the weekend games.  
They would laugh at the sitcom slapstick, cheer for their local teams,  
chat through commercials and, during the duller stretches, keep one  
another from nodding off. TV may have been a vast wasteland, as Newton  
Minow, the F.C.C. chairman in the Kennedy administration, said in a  
speech in 1961, but at least it was a wasteland we shared.

The communal mode of TV viewing isn?t gone, but it?s becoming less  
common. As screens proliferate and shrink, and as the Web allows us to  
view whatever we want whenever we want, we spend more time watching  
video alone. That?s one funny thing about the Internet: it?s an  
extraordinarily rich communications system, but as an information and  
entertainment medium, it encourages private consumption. The pictures  
and sounds served up through our PCs, iPods and smart phones absorb us  
deeply but in isolation. Even when we?re together today, we?re often  
apart, peering into our own screens.

Television companies, desperate to protect their sources of revenue,  
are trying to figure out ways to control or at least influence the  
shifts in our viewing practices. If a transmission company like  
Comcast ? although it owns a few cable stations, Comcast?s main  
business is providing cable TV, Internet and telephone service ? were  
to own more of the programs it distributes, it could, at least  
theoretically, wield more power over how that content reaches viewers.  
In buying NBC Universal, for instance, Comcast would gain a stake in  
Hulu, whichNBC owns with ABC and Fox. It could impose limits or even  
fees on the shows streamed through that popular Web site.

Such opportunities reveal the conflict of interest that?s built into  
the TV business. The companies that supply us with pay-TV  
subscriptions ? not just cable operators like Comcast but telephone  
companies like AT&T and Verizon? also tend to be the ones that provide  
us with Internet service. By blocking or slowing certain Net  
transmissions, they could shunt us toward their own programming and  
prevent us from viewing alternatives, particularly free ones. If my  
Internet provider degraded my Netflix signal, I would almost certainly  
go back to watching more cable programs.

That scenario is not as far-fetched as it may sound. In 2007, Comcast  
was caught throttling back its customers? links to BitTorrent, a file- 
sharing network often used to trade bootleg copies of TV shows and  
movies. Comcast argues that heavy BitTorrent users were taking up too  
much bandwidth, to the detriment of other services. Looked at another  
way, Comcast was using its Web-access franchise to protect its pay-TV  
franchise.

But, as the company soon found out, impinging on ?net neutrality? ?  
the principle that Internet providers should treat all data the same ?  
is a good way to make enemies. Internet purists went ballistic.  
Consumer advocates denounced the move. The government began an  
investigation. In 2008, the F.C.C. decided that Comcast had broken its  
rules, and it ordered the company not to impede access to BitTorrent  
and other such services. Comcast is appealing the ruling.

Under its new chairman, the Obama-appointee Julius Genachowski, the  
F.C.C. is becoming even more aggressive in defending the openness of  
the Internet. Last month, it voted to begin preparing regulations  
aimed at giving net neutrality the force of law. Though controversial,  
the commission?s move will be welcomed by most Web users. I know that  
I don?t want my Internet provider to control the sites I visit or  
services I can use when I?m online. Unimpeded access to the Net has  
come to feel like a right.

In the end, and whether they gobble up content producers or not,  
network operators like Comcast may be fated to be in the plumbing  
business. They?ll turn tidy profits by maintaining the pipes through  
which we get Internet service, even if we use those pipes to bypass  
their pay-TV offerings. We?ll go on gorging ourselves on free Internet  
video. We, the viewers, will be the winners.

Or will we?

The smartest, most creative TV shows, from ?Deadwood? to ?Mad Men? to  
NBC?s own ?30 Rock,? tend to be the most expensive to produce. They  
have large, talented casts, top-notch writers and directors, elaborate  
sets and generally high production values. If the changes in our  
viewing habits stanch the flow of money back to studios, producing  
those kinds of programs may no longer be possible. In their place,  
we?ll get more junk: dopey reality shows, cookie-cutter police dramas,  
inane gab fests. The vast wasteland will become even vaster.

Even ?free? has a price.

Nicholas Carr?s new book, ?The Shallows: What the Internet Is Doing to  
Our Brains,? will be published next spring.




From admin at politube.org  Fri Nov 27 13:47:54 2009
From: admin at politube.org (politube)
Date: Fri, 27 Nov 2009 13:47:54 +0100
Subject: <videovortex> help needed
Message-ID: <4B0FCA7A.4060207@politube.org>

Hi everyone,

     the politube.org platform desperately needs video storage online,
preferrably upto 1 TB to alleviate problems in the short to medium term.
As the project has virtually no funding but is doing a useful service to
many activists world-wide, I am appealing to this list for help.

   1. the best solution would be  if one or more
      organisations/institutions help with providing some free online
      file storage from their own servers, space that the politube
      servers could access online.
   2. the second best solution would be, if you can donate some money to
      pay for monthly fees of online storage,  the going rate seems to
      be around 50?/month for about 750GB (0.75 TB) . Perhaps some
      people here know of cheaper solutions and they can share their
      experience with me?
   3. as I have no experience with  fundraising, perhaps someone with
      experience can get in touch with me and explain to  me how and
      where I need to apply for funding.
   4. if you know of other organisations/institutions that may be
      interested in helping this project please let me know.


thanks very much

Kuros Yalpani
politube.org


From admin at politube.org  Fri Nov 27 14:22:11 2009
From: admin at politube.org (politube)
Date: Fri, 27 Nov 2009 14:22:11 +0100
Subject: <videovortex> help needed
In-Reply-To: <4B0FD11A.4060307@politube.org>
References: <4B0FCA7A.4060207@politube.org> <4B0FCDCD.1010506@mailb.org>
	<4B0FD11A.4060307@politube.org>
Message-ID: <4B0FD283.4000406@politube.org>

thanks for the tip, in fact I know hetzner and I overlooked the 2x
factor in their description (I thought it only came as raid). If I could
only get my hands on the 50? a month then my problem would be solved :-)

Kuros
> j at mailb.org wrote:
>   
>> On 11/27/2009 01:47 PM, politube wrote:
>>   
>>     
>>>    2. the second best solution would be, if you can donate some money to
>>>       pay for monthly fees of online storage,  the going rate seems to
>>>       be around 50?/month for about 750GB (0.75 TB) . Perhaps some
>>>       people here know of cheaper solutions and they can share their
>>>       experience with me?
>>>     
>>>       
>> at http://www.hetzner.de/de/hosting/produkte_rootserver/eq4/
>> you get 2x750 if you combine that with a local backup on an external usb
>> drive you have about twice the space for the same price, only downside
>> is that you will need some fast upload in case the server breaks.
>>
>> j
>>   
>>     
>
>
>   



From mbrinkerink at beeldengeluid.nl  Fri Nov 27 15:26:40 2009
From: mbrinkerink at beeldengeluid.nl (Maarten Brinkerink)
Date: Fri, 27 Nov 2009 15:26:40 +0100
Subject: <videovortex> help needed
In-Reply-To: <4B0FCA7A.4060207@politube.org>
Message-ID: <C735A030.6616%mbrinkerink@beeldengeluid.nl>

Dear Kuros,

Maybe Wikimedia Commons is interested?

Best,

Maarten


Op 27-11-09 13:47, politube <admin at politube.org> schreef:

> Hi everyone,

     the politube.org platform desperately needs video storage
> online,
preferrably upto 1 TB to alleviate problems in the short to medium
> term.
As the project has virtually no funding but is doing a useful service
> to
many activists world-wide, I am appealing to this list for help.

   1. the
> best solution would be  if one or more
      organisations/institutions help
> with providing some free online
      file storage from their own servers,
> space that the politube
      servers could access online.
   2. the second
> best solution would be, if you can donate some money to
      pay for monthly
> fees of online storage,  the going rate seems to
      be around 50?/month for
> about 750GB (0.75 TB) . Perhaps some
      people here know of cheaper
> solutions and they can share their
      experience with me?
   3. as I have
> no experience with  fundraising, perhaps someone with
      experience can get
> in touch with me and explain to  me how and
      where I need to apply for
> funding.
   4. if you know of other organisations/institutions that may be

> interested in helping this project please let me know.


thanks very
> much

Kuros Yalpani
politube.org

-----

video vortex discussion list
artist
> responses to youtube

to change your settings or unsubscribe, please go to:
> http://listcultures.org/mailman/listinfo/videovortex_listcultures.org



From admin at politube.org  Fri Nov 27 15:33:53 2009
From: admin at politube.org (politube)
Date: Fri, 27 Nov 2009 15:33:53 +0100
Subject: <videovortex> help needed
In-Reply-To: <C735A030.6616%mbrinkerink@beeldengeluid.nl>
References: <C735A030.6616%mbrinkerink@beeldengeluid.nl>
Message-ID: <4B0FE351.8010707@politube.org>

thanks for your suggestion, do you know a contact there? of course I can
try it through their advertised contact page....

Kuros

Maarten Brinkerink wrote:
> Dear Kuros,
>
> Maybe Wikimedia Commons is interested?
>
> Best,
>
> Maarten
>
>
> Op 27-11-09 13:47, politube <admin at politube.org> schreef:
>
>   
>> Hi everyone,
>>     
>
>      the politube.org platform desperately needs video storage
>   
>> online,
>>     
> preferrably upto 1 TB to alleviate problems in the short to medium
>   
>> term.
>>     
> As the project has virtually no funding but is doing a useful service
>   
>> to
>>     
> many activists world-wide, I am appealing to this list for help.
>
>    1. the
>   
>> best solution would be  if one or more
>>     
>       organisations/institutions help
>   
>> with providing some free online
>>     
>       file storage from their own servers,
>   
>> space that the politube
>>     
>       servers could access online.
>    2. the second
>   
>> best solution would be, if you can donate some money to
>>     
>       pay for monthly
>   
>> fees of online storage,  the going rate seems to
>>     
>       be around 50?/month for
>   
>> about 750GB (0.75 TB) . Perhaps some
>>     
>       people here know of cheaper
>   
>> solutions and they can share their
>>     
>       experience with me?
>    3. as I have
>   
>> no experience with  fundraising, perhaps someone with
>>     
>       experience can get
>   
>> in touch with me and explain to  me how and
>>     
>       where I need to apply for
>   
>> funding.
>>     
>    4. if you know of other organisations/institutions that may be
>
>   
>> interested in helping this project please let me know.
>>     
>
>
> thanks very
>   
>> much
>>     
>
> Kuros Yalpani
> politube.org
>
> -----
>
> video vortex discussion list
> artist
>   
>> responses to youtube
>>     
>
> to change your settings or unsubscribe, please go to:
>   
>> http://listcultures.org/mailman/listinfo/videovortex_listcultures.org
>>     
>
>   



From mbrinkerink at beeldengeluid.nl  Fri Nov 27 15:38:27 2009
From: mbrinkerink at beeldengeluid.nl (Maarten Brinkerink)
Date: Fri, 27 Nov 2009 15:38:27 +0100
Subject: <videovortex> help needed
In-Reply-To: <4B0FE351.8010707@politube.org>
Message-ID: <C735A2F3.661B%mbrinkerink@beeldengeluid.nl>

Dear Kuros,

Sorry, can't help you with a direct contact.

Best,

Maarten


Op 27-11-09 15:33, politube <admin at politube.org> schreef:

> thanks for your suggestion, do you know a contact there? of course I can
> try it through their advertised contact page....
> 
> Kuros
> 
> Maarten Brinkerink wrote:
>> Dear Kuros,
>> 
>> Maybe Wikimedia Commons is interested?
>> 
>> Best,
>> 
>> Maarten
>> 
>> 
>> Op 27-11-09 13:47, politube <admin at politube.org> schreef:
>> 
>>   
>>> Hi everyone,
>>>     
>> 
>>      the politube.org platform desperately needs video storage
>>   
>>> online,
>>>     
>> preferrably upto 1 TB to alleviate problems in the short to medium
>>   
>>> term.
>>>     
>> As the project has virtually no funding but is doing a useful service
>>   
>>> to
>>>     
>> many activists world-wide, I am appealing to this list for help.
>> 
>>    1. the
>>   
>>> best solution would be  if one or more
>>>     
>>       organisations/institutions help
>>   
>>> with providing some free online
>>>     
>>       file storage from their own servers,
>>   
>>> space that the politube
>>>     
>>       servers could access online.
>>    2. the second
>>   
>>> best solution would be, if you can donate some money to
>>>     
>>       pay for monthly
>>   
>>> fees of online storage,  the going rate seems to
>>>     
>>       be around 50?/month for
>>   
>>> about 750GB (0.75 TB) . Perhaps some
>>>     
>>       people here know of cheaper
>>   
>>> solutions and they can share their
>>>     
>>       experience with me?
>>    3. as I have
>>   
>>> no experience with  fundraising, perhaps someone with
>>>     
>>       experience can get
>>   
>>> in touch with me and explain to  me how and
>>>     
>>       where I need to apply for
>>   
>>> funding.
>>>     
>>    4. if you know of other organisations/institutions that may be
>> 
>>   
>>> interested in helping this project please let me know.
>>>     
>> 
>> 
>> thanks very
>>   
>>> much
>>>     
>> 
>> Kuros Yalpani
>> politube.org
>> 
>> -----
>> 
>> video vortex discussion list
>> artist
>>   
>>> responses to youtube
>>>     
>> 
>> to change your settings or unsubscribe, please go to:
>>   
>>> http://listcultures.org/mailman/listinfo/videovortex_listcultures.org
>>>     
>> 
>>   
> 



From minx at bway.net  Sat Nov 28 05:00:04 2009
From: minx at bway.net (Perry Bard)
Date: Fri, 27 Nov 2009 23:00:04 -0500
Subject: <videovortex> gender
Message-ID: <8A990E36-3D19-494A-88B7-0A42383D72CC@bway.net>

The Canada Arts Council sent out a multiple choice questionnaire on  
how artists use the internet. The last question,  gender, had 3  
options: male, female, intersex

http://www.perrybard.net

http://dziga.perrybard.net