From bubotic at gmail.com  Mon Aug  2 12:29:01 2010
From: bubotic at gmail.com (bubotic at gmail.com)
Date: Mon, 2 Aug 2010 12:29:01 +0200
Subject: <videovortex> VV Amsterdam 2011: Giorgi Tabatadze
In-Reply-To: <20100717214413.czko3rog2sw0w8ss@secure.mur.at>
References: <20100717214413.czko3rog2sw0w8ss@secure.mur.at>
Message-ID: <D7289A12-78F1-43F5-AA5B-E803F195162A@gmail.com>


Two works by Amsterdam-based Georgian artist Giorgi Tabatadze

http://gtabatadze.com/1holy%20fire.html

http://gtabatadze.com/2you.html


From es at mur.at  Fri Aug  6 23:46:03 2010
From: es at mur.at (Evelin Stermitz)
Date: Fri, 06 Aug 2010 23:46:03 +0200
Subject: <videovortex> Women in War - new YouTube re-edit video
Message-ID: <20100806234603.36eowhfo00wgocgk@secure.mur.at>

I have just finished a new video, it is online here, if you find time
and interest for a short glance:
http://artfem.tv/id;20/action;showpage/page_type;video/page_id;Women_in_War_by_Evelin_Stermitz_flv/

A description to the video background is online here:
http://evelinstermitz.net/video.htm

Kind regards,
Evelin

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








From sabine at networkcultures.org  Tue Aug 10 15:23:15 2010
From: sabine at networkcultures.org (Sabine Niederer)
Date: Tue, 10 Aug 2010 15:23:15 +0200
Subject: <videovortex> the global state of video consumption - Nielsen report
Message-ID: <814345ED-5F4D-4E2D-A0A9-3A507A9FE807@networkcultures.org>

Report: How People Watch ? The Global State of Video Consumption
August 4, 2010 

Video consumption across multiple platforms is now a global phenomenon. Consumers in all regions are proving their insatiable appetite for video information and entertainment ? thus far adding screens to their media mix, not replacing them.

To get a better sense for how the world is watching video, today, Nielsen recently completed a survey of more than 27,000 online consumers in 55 countries, asking simple questions about how they watch video. Internet access still varies considerably by region, so the results of an online survey are not representative of the total global population, but show us how an important subset of the global population (the connected population) is consuming video across multiple platforms. The results from the survey, with corresponding syndicated Nielsen insights where available, were released today in a new report, ?How People Watch ? A Global Nielsen Consumer Report [1].?

?This report provides one of the broadest looks at how consumers watch video, to date,? says Matt O?Grady, who oversees the integration of Nielsen?s TV, online and mobile audience measurement. ?The research reveals how connected consumers all over the world are expanding their video experience across screens.?

Key Findings

Online Video: approximately 70% of global online consumers watch online video; but North Americans and Europeans lag in adoption. More than half of global online consumers watch online video in the workplace.
Mobile Video: is already used by 11% of global online consumers: penetration is highest in Asia-Pacific and among consumers in their late 20s.
Tablet PCs: are expanding the definition of mobile video. Globally, 11% of online consumers already own or plan to purchase a tablet PC (such as an iPad) in the next year.
Television: is a universally important platform for video consumption, with connected consumers in many markets spending 4+ hours per day watching television.
HDTV (High-Definition TV): is improving the TV viewing experience for as many as 30% of global online consumers. Adoption is highest among older consumers and in North America, where HD content has proliferated.
3DTV (Three-Dimensional TV): will have a small but important audience: 12% of global online consumers own or have definite intent to purchase a 3DTV in the next year.
?Over the Top? TV: televisions with Internet connections are gaining interest. About one in five (22%) global online consumers owns or has definite interest in buying a television with Internet connection in the next year.
For the first time, this report identifies important differences in cross-platform video behavior by region and country:

Claimed TV viewership is higher than average in the emerging BRIC economies, Brazil, Russia, India and China, and lower than average in many developed European markets
North America and Europe appear to lag slightly behind other regions in the use of online and mobile video
Connected consumers in Asia-Pacific are 45 percent more likely to use mobile video than the global average
Claimed interest for Tablet PCs is highest in MEAP markets: Middle East, Africa and Pakistan. Connected Pakistanis are twice as likely as the global population to say they own or are interested in a Tablet PC.
Connected Latin American consumers express above average interest in TVs with Internet connections. Online Consumers in Colombia, in particular, are very interested in acquiring this technology.
Download ?How People Watch ? A Global Nielsen Consumer Report [1]? at: http://en-us.nielsen.com/content/nielsen/en_us/report_forms/Global-Video-Consumption.html 
Article printed from Nielsen Wire: http://blog.nielsen.com/nielsenwire

URL to article: http://blog.nielsen.com/nielsenwire/global/report-how-we-watch-the-global-state-of-video-consumption/
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From adrian.miles at rmit.edu.au  Wed Aug 25 04:24:04 2010
From: adrian.miles at rmit.edu.au (Adrian Miles)
Date: Wed, 25 Aug 2010 12:24:04 +1000
Subject: <videovortex> PhD Scholarship
Message-ID: <AANLkTinz+E49MY4hxeXygd=q7i_eutGWcSfjmcw7j2ZC@mail.gmail.com>

hi all

A phd scholarship working in social media + online video. 3 years in
Melbourne, includes working with a comp sci PhD on video retrieval. more
details:
http://www.circusarchive.net/blog/2010/08/call-for-expressions-of-interest-phd-scholarship-media-and-communication/

an appropriate closing
Adrian Miles
School of Media and Communication
Program Director B.Comm Honours
vogmae.net.au
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From stoffel.debuysere at gmail.com  Sun Aug 29 11:10:06 2010
From: stoffel.debuysere at gmail.com (Stoffel Debuysere)
Date: Sun, 29 Aug 2010 11:10:06 +0200
Subject: <videovortex> Here We Are Now
Message-ID: <0C17A6F9-CC26-4C19-808F-D502C02ABEBC@gmail.com>

Here We Are Now

13 October 2010, 21:00. Beursschouwburg, Brussels.
A Courtisane event, in the context of the S.H.O.W. (Shit Happens on  
Wednesdays) series.

To what extent can we still make a difference between ?public? and  
?private?? According to philosopher Jean Baudrillard, ?the one is  
no longer a spectacle, the other no longer a secret?. Now that the  
most intimate details of our lives are thoughtlessly shared on the  
internet and the media, in order to feed an endless, compulsive loop  
of information, participation and circulation, it seems like ever more  
constraints and obstacles are being annulled. Surrounded and obsessed  
by a world of images, overcome by a gnawing insecurity, we submit  
ourselves to a regime of ultimate visibility. We are well aware of  
being seen, followed and remembered, but that is precisely what pushes  
us to all kinds of forms of disclosure, confession and  
?selfploitation?. The mediatised gaze of the other, at the same  
time disturbing and stimulating in its elusiveness and omnipresence,  
has become the paramount point of reference for our obsessive search  
for identity and belonging. We show ourselves in order to become  
ourselves, while we irrevocably disappear behind our images. The  
uncanny transit zone where intimacy merges into transparency is the  
central theme of this programme. Four recent video works, each in  
their own way, explore the contemporary conjunction of media and  
subjectivity, in which it seems no longer possible to maintain an  
unequivocal relationship between watching and showing, subject and  
object, seeing and being seen.

With works by Mohamed Bourouissa, Olivia Rochette & Gerard-Jan Claes,  
Ruti Sela & Maayan Amir, Shelly Silver


Olivia Rochette & Gerard-Jan Claes, Because We Are Visual (BE, 2010,  
47?)
A brooding glance in to the world of online video diaries, circulating  
in the deep shadows of YouTube and related platforms. There we find a  
never-ending stream of micro-confessions and intimate exposures,  
teenage fear and moody blues, broken hearts and timid souls in search  
for comfort and belonging. It doesn?t matter if essentially there is  
nothing to say nor show, as long as it contributes to the driving flow  
of information. Anything can be said, everything must be disclosed, to  
the point that there is ultimately nothing left to see. It does not  
matter if nobody watches or listens, what matters are the traces we  
leave behind in our endless search for identity and significance. What  
matters is mattering itself. Looking for an answer to our loneliness  
and insecurity, overwhelmed by the omnipresence of images, we become  
images ourselves. Instead of looking for an object, rather than  
looking at ourselves as objects, we become objects ourselves. We  
immerse into the shadow play of the web, only to sink deeper into a  
trap of pointless circulation and forced visibility. Here we are:  
desperate bodies without desire, crude visuals without necessity or  
consequence. Welcome to the spectacle of banality.


Mohamed Bourouissa, Temps Mort (DZ/FR, 2009, 18?)
?There is something fragile in this project, which mirrors the  
fragility and fugacity of the process itself of making the images.  
Every image has been made with the help of a friend who is in prison.  
Situations are established and filmed with a mobile phone, hence the  
poor quality of the images. If I insist upon this fragility, it?s  
because it contains the whole idea of the work. This video puts  
forward the intimate and at the same time distant, relationship  
between two persons, one free and the other one in captivity; between  
a real human relation and a digital communication; between a prison  
system which puts a person in the situation of fundamental isolation,  
of retraction in a closed space; and a free circulation : a profusion  
of information turning him into a member of the ?media community?.  
We enter an ?off screen? kind of free space. And at the same time,  
it?s the encounter between two temporalities, one slowed down,  
stopped, frozen by the prison environment, and the other one fast,  
dazzling, in constant movement. That?s why I chose the title ?Temps  
mort?, for these images are in that duality of time being close and  
very distant at the same time?. (Mohamed Bourouissa)


Shelly Silver, What I?m Looking For (US, 2004, 15?)
??I am looking for people who would like to be photographed in  
public revealing some part of themselves (physical or otherwise). This  
is for an art project. No other relationship will take place outside  
of being photographed.? My ad received many responses, mostly from  
men. After they initiated contact, I would set up a meeting where I  
would try to capture photographically whatever these people wanted to  
show me. Early on I realized that much of what they wanted to reveal  
couldn?t be contained in still photos, and I started integrating  
these images into a video. The fifteen-minute video is a riff on this  
adventure, a somewhat fictionalized version of the strange intimacies  
and connections formed between my subjects and I. (?) It is the first  
video I?ve made utilizing the internet, both as subject and resource  
and I was amazed by the incredible richness of interaction possible on  
the web, the unexpected play of fantasy, projection and desire as well  
as how boundaries between public and private are navigated differently  
than in actual physical space. When I moved, with my camera, from  
virtual to the actual space, I found my focus turning to the central  
importance of evidence of the physical world; exulting in the lush  
intimacy of details, the wrinkles on an ear, the spidered veins in the  
white of an eye, the elegant curve of the nape of the neck, the  
irregular rhythm of crooked front teeth?? (Shelly Silver)


Ruti Sela & Maayan Amir, Beyond Guilt #1 (IL, 2003, 9?30?)
The first part of a video trilogy, in which Ruti Sela and Maayan Amir  
focus on and play with the distorted power relationship between the  
photographer and the photographed subject, between the public domain  
and the private sphere. Sela and Amir proceed through the underworld  
of Tel Aviv?s busy nightlife, its dark night clubs and musty hotel  
rooms, unveiling, through a stimulating game of provocation and  
exposure, the influence of media on the expressions and compulsions of  
subdued drive and desire. This video documents their meetings in the  
toilets of pick-up bars with youngsters who talk to the camera about  
their sexual escapades and fantasies. Under the seemingly banal  
surface of their revelations lies the deep influence of the Israeli  
political and military apparatus (and the ideological positioning  
towards what Israelis euphemistically refer to as ?hamatzav? ?  
the situation), which unrelentingly permeates the most intimate  
spheres of their psyche.


www.courtisane.be
www.diagonalthoughts.com



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