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What is online video today, fifteen years into its exponential growth? What started with amateur work of YouTube prosumers has spread to virtually all communication apps: an explosion in the culture of mobile sound and vision. Now, in the age of the smart phone, video accompanies, informs, moves, and distracts us. Are you addicted yet? Look into that tiny camera, talk, move the phone, show us around - prove to others that you exist! Founded in 2007, Video Vortex is a lively network of artists, activists, coders, curators, critics, and researchers linked by the exchange of ideas, materials, and discussions both online and offline. Video Vortex has produced two anthologies, a website, a mailing list, 12 international conferences, several art exhibitions, and more to come as the internet and video continue to merge and miniaturize. The first Video Vortex reader came out in 2008, followed by a second in 2011. This third anthology covers the turbulent period from Video Vortex #7 (2013) in Yogyakarta, across the meetings that followed in Zagreb, Lüneburg, Istanbul, Kochi, and finally Malta in 2019, where the foundations for this publication where laid before its production began in the midst of the corona crisis. The contributions herein respond to a broad range of emerging and urgent topics, from bias in YouTube's algorithms, to the use of video in messaging, image theory, the rise of deepfakes, a reconsideration of the history of video art, a reflection on the continuing role and influence of music video, indy servers, synthetic intimacies, love and sadness, artist videos, online video theory in the age of platform capitalism, video as online activism, and the rise of streaming. Click, browse, swipe, like, share, save, and enjoy! Contributors: Annie Abrahams, Ina Blom, Natalie Bookchin, Pablo deSoto, Ben Grosser, Adnan Hadzi, Judit Kis, Patricia G. Lange, Hang Li, Patrick Lichty, Geert Lovink, Gabriel Menotti, Sabine Niederer, Dan Oki, Aras Ozgun, Daniel Pinheiro, Rahee Punyashloka, Oliver Lenore Schultz, Peter Snowdon, Andreas Treske, Colette Tron, Jack Wilson, Dino Ge Zhang.
"Vortex" tells the story of Turk Findley, the protagonist introduced in "Axis," who is transported 10,000 years into the future by the mysterious entities called "the Hypotheticals."
The act of creation requires us to remix existing cultural content and yet recent sweeping changes to copyright laws have criminalized the creative act as a violation of corporate rights in a commodified world. Copyright was originally designed to protect publishers, not authors, and has now gained a stranglehold on our ability to transport, read, write, teach and publish digital materials. Contrasting Western models with issues of piracy as practiced in Asia, Digital Prohibition explores the concept of authorship as a capitalist institution and posits the Marxist idea of the multitude (à la Antonio Negri and Michael Hardt, and Paulo Virno) as a new collaborative model for creation in the digital age. Looking at how digital culture has transformed unitary authorship from its book-bound parameters into a collective and dispersed endeavor, Dr. Guertin examines process-based forms as diverse as blogs, Facebook, Twitter, performance art, immersive environments, smart mobs, hacktivism, tactical media, machinima, generative computer games (like Spore and The Sims) and augmented reality.
As TikTokers, YouTubers and traditional artists continue to reimagine the video form, this book explores the value of this medium within medical practice and patient care, as well as everyday creative expression.
One father-son duo make a pizza so delicious, and so over-the-top with toppings, that it destroys the universe—and will surely melt readers' minds and hearts, like warm mozzarella. It's a tale as old as time: a kid wants to make a pizza with his dad, but not just any pizza . . . he wants a pizza with everything on it. That's right, everything. But as the toppings pile on, this father-son duo accidentally create a pizza so delicious, so extravagant, so over-the-top, that it destroys the universe—and the cosmos go as dark as burnt crust. Will anyone enjoy pizza ever again? At turns heartwarming, hilarious, and completely out of this world, Kyle Scheele and Andy J. Pizza deliver a riotous adventure that will melt readers minds and hearts and leave them calling for a second helping. • FATHER'S DAY GIFTING: This heartwarming and hilarious portrait of a memorable father-son bonding experience is the perfect way to show appreciation to the tough-to-buy-for dad all year round, and especially on Father's Day! • FOOD-THEMED HILARITY: A mouthwatering and laugh-out-loud funny story of culinary catastrophe! This book is for fans of food-themed classics like Green Eggs and Ham, If You Give a Mouse a Cookie, and Cloudy With a Chance of Meatballs. • ELEMENT OF CHAOS: Starting with something as relatable as pizza toppings, and culminating in the destruction of the universe, the escalating silliness is literally out of this world. For anyone who loves books that celebrate the absurd and chaotic, like Dragons Love Tacos or Llama Destroys the World. • TIMELESS QUALITY: A classic family-bonding moment—making pizza—leads to memorable father-son adventure, with a heartwarming and satisfying ending ensuring countless rereads. • PIZZA: Universal and delicious. Perfect for: • Anyone who likes pizza • Fathers looking for a lighthearted book to share with their kids • Fans of the absurd, chaotic, and hilarious • Foodies and their children • Anyone looking for wholesome family stories about family bonding • Fans of Dragons Love Tacos and Llama Destroys the World
This edited volume broadens the understanding of the media arts at a global scale bringing together practices and ideas from artists and art educators from around the world. Authors explore issues of cultural and social diversity in fields of education, media theory, and critical theories of education and pedagogy with particular attention to digital technologies' impact on visual arts learning. Researchers utilize a range of methodologies including participant-researcher ethnographies, action research, case study, and design based research. These artists and art educators share new research about the pedagogical and theoretical aspects of media arts in educational systems that are facing unprecedented change. This volume begins to map why and how experts are working within networked society and playing with digital innovations through media arts education as a critical and creative practice.
In order to be able to communicate and engage with each other via new communicative spaces such as Google Earth, we need to understand as much as possible about how they work as cultural texts: how and why we make them and how we respond to them. Launched in 2005, Google Earth is a virtual globe, map and geographical information program, mapping the Earth by the superimposition of images obtained from satellite imagery and aerial photography. By addressing the sociopolitical issues at stake in society's use of social websites, the author provides the first ever extended close reading of Google Earth as a powerful player in the communication realm of social media. By grounding the context of its military pre-history, its construction, its links to other similar world-making sites such as Google Maps and how it is perceived critically by social scientists, it is imperative to understand how social networking and information sites work in socio and geo-political contexts if society is to use these sites effectively and for the public good.
In the context of the postdigital age, where technology is increasingly part of our social and political world, Avatars, Activism and Postdigital Performance traces how identity can be created, developed, hijacked, manipulated, sabotaged and explored through performance in postdigital cultures. Considering how technology is reshaping performance, this timely collection reveals how we engage in performance practices through expanded notions of intermediality, knotted networks and layering. This book examines the artist as activist and producer of avatars, and how digital doubles, artificial intelligence and semi-automated politics are problematizing and expanding our discussions of identity. Using a range of examples in theatre, film and internet-based performance practices, chapters examine the uncertain boundaries of networked 'informational selves' in mediatized cultures, the impacts of machine algorithms, apps and the consequences of digital legacies. Case studies include James Cameron's Avatar, Blast Theory's Karen, Ontroerend Goed's A Game of You, Randy Rainbow's online videos, Sisters Grimm's Calpurnia Descending, Dead Centre's Lippy and Chekhov's First Play and Jo Scott's practice-as-research in 'place-mixing'. This is an incisive study for scholars, students and practitioners interested in the wider conversations around identity-formation in postdigital cultures.