[im] MKE_DI:_doktori_program_HU_190924

[Judit]

full program: http://networkcultures.org/videovortex/video-vortex-12/

Video Vortex #12

VideoVortex, an artistic network concerned with the aesthetics and politics
of online video, will gather again in Malta for a conference in late
September 2019. In this edition we are in particularly focussed on bringing
new research, theory and critiques of online video – in addition to
questions around its integration with social media – to Malta. If you are a
graduate student or researcher/critic that is engaged with the theoretical
challenges of contemporary (moving) image cultures, please join us for the
conference.

Given its ease of access and use, video has historically been aligned with
media activism and collaborative work. Now, however, with video’s
prevalence across social media and the web, its dominance of the internet
of things, the role of the camera in both the maintenance and breaking down
of networks, in addition to the increasing capacity of digital video to
simulate that which has not occurred – we require novel theories and
research. That is to say that rapidly changing technological formats
underscore the urgent need to engage with practices of archiving and
curation, modes of collaboration and political mobilisation, as well as
fresh comprehensions of the subject-spectator, actors and networks
constituted by contemporary video and digital cultures.

Szžcs Réka <szucs.reka at mke.hu> ezt írta (időpont: 2019. szept. 22., V,
15:21):

> [cid:image001.jpg at 01D2C42C.8DA8F0F0]
> MKE Doktori Iskola program
> 2019. szeptember 24. kedd
>
> 11.30-13.00: Selfie and self-surveillance
> Dr. Ana Peraica kurátor, kritikus angol nyelvž el‘adása
> The appearance of historic self-portrait genre
> was closely tied to technology of production of
> mirrors. These small reflective glasses evolved
> from concave, over convex to finally become flat
> mirror, also determining the historic styles of
> self-portraiture. Among them, the oldest, concave
> one is still being used for the larger space
> surveillance.
> Further development mirror-based technologies,
> photography is, has also initiated various
> portrait analysis, serving for the control of
> prisoners via ID cards, over sorting of such
> images in larger archives, in order to
> distinguish various layers of society according
> their wealth, race or gender.
> Contemporary selfie phenomena is framed by both
> of these surveillance aspects; while form one
> side enhancing the user to see behind own back in
> the control-type of mirror, it is also providing
> an image that can be analysed and put in the
> database, where serving various purposes.
> Voluntarily produced, selfie becomes a genre of
> self-surveillance.
>
> Dr Ana Peraica's (HR) recent books include The
> Age of Total Images (Institute of Network
> Cultures, Amsterdam, in print), Fotografija kao
> dokaz (Multimedijalni institute, Zagreb, 2018),
> Culture of the Selfie (Institute of Networked
> Cultures, Amsterdam, 2017). Focus of her work
> falls in media arts, more precisely post-digital
> photography. She currently is visiting researcher
> at the Department for Image Science, Danube
> University Krems (AT) and visiting fellow at
> History department, Central European University
> in Budapest (HU).
> 13.00-14.00: ebédszünet
>
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