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from: Sound and Temporality (chapter)

Esther Hammelburg 00:43 When we started this research project, one of the starting points was my research on liveness. Esther Hammelburg’s PhD thesis was published as a book titled Being There Live!, which you can find on her website: https://www.estherhammelburg.nl At the time, I had just finished my PhD research into what ‘liveness’ means in a cultural setting. When we discuss livenesss, people tend to focus on the present, the ‘now’, and how everything is evolving at this moment. But when you look a bit more closely, it’s not only about the ‘now’. Liveness in fact bridges both temporalities and spaces. For intance, in live experiences we often experience a ‘now’ which was anticipated beforehand. student at the back what about non-real time and non-real space? Our minds thrive in those We look forward to an experience of liveness, we think about this live event that’s coming up. Also, we tend to make videovideos and still imagephotos of performancelive events, because we want to actively create future memories in the ‘now’. In other words, we’re creating a future past in the present. A habit researched by Hammelburg is how visitors post pictures and videos of concerts and festival on Instagram to fulfil the ‘liveness’ of being here, now. Continuing to exist online, these photos and videos extend the liveness in both spatial and temporal senses. The experience of liveness is also profoundly tied to issues of memory and remembering. How do we keep our memories? How do we share our memories? How do we archive them, and what do we do with these archives? These are some elements for the discussion in this chapter. This brings me to my first question: How do you look at hybridity as a phenomenon in the here and now, and how does it relate to the ‘afterlife’? The hybrid happens ‘now’, but does it need to be recorded? Also, I am curious about the connection between time and audioaudio. Who would like to comment?
from: Thresholds of Access (chapter)

Ren 25:22 In the work that Iz and I do, we often work with textalt-text or still imageimage description. One project we often reference in this context is ‘Alt-text as Poetry’. runs https://alt-text-as-poetry.net I find the work that they’re doing to be very much about this objective thing: when you look at something, what do you see? Paying attention and trusting the perspective that you describe is also a super interesting part of access-making. I find that the textimage descriptions that I write for the still imageimages are often quite verbose because I like to describe things. That’s my perspective in sharing, I can imagine this event reporting having a similar structure.
from: Thresholds of Access (chapter)

Ren 25:22 In the work that Iz and I do, we often work with textalt-text or still imageimage description. One project we often reference in this context is ‘Alt-text as Poetry’. runs https://alt-text-as-poetry.net I find the work that they’re doing to be very much about this objective thing: when you look at something, what do you see? Paying attention and trusting the perspective that you describe is also a super interesting part of access-making. I find that the textimage descriptions that I write for the still imageimages are often quite verbose because I like to describe things. That’s my perspective in sharing, I can imagine this event reporting having a similar structure.
from: Participatory Livecasting (chapter)

During one of the first meetings we had, we agreed that a better hybrid live experience is not necessarily more immersive. We’ve experienced that more connection between audiences (on-site, online, and among each other) can also be achieved in a performancelow-barrier collaborative spreadsheet drawing session, for example. On websiteThe Hmm’s live stream website, developed by Karl Moubarak and designed by Toni Brell, online visitors are visualized by still imagea simple dot at the top of the page. Visit The Hmm’s livestream website here: https://live.thehmm.nl. When people performancesend an emote, the dot of that person for a moment changes into the emote of their choice. This is a very subtle way to let the online audience feel seen and acquire some agency: they literally claim a bit of space on the live stream page and can operate somewhat autonomously by changing the contents of this space45px * 45px area. But this agency remains tied to the online environment. We decided that, in this project, we wanted to research how the online audience’s agency can extend beyond this 45px*45px area and into the physical space of the event, and how to make a more direct connection between online and on-site audiences. We wanted to develop mechanisms and prototypes that enable the translation of input from the websiteonline audience to outputs in the spacephysical space and vice versa. This, for us, is the essence of ‘particpatory livecasting’.
from: Participatory Livecasting (chapter)

During the project, we focused on the development of the tool Emoji Proxis & Ghost Messengers, which translates changes in the online environments (like textchat inputs, a new online performancevisitor entering the space, or a still imagereceived emote) into something that happens in the spacephysical space (like a light goes on, a smoke machine turns a vote is cast, or the program shifts). This tool is a kind of open-source plug-in we developed for The Hmm’s livestream website.
from: Online Critical Reflection, a Fable from the Past? (chapter)

In Publishing Experiments for All, which combined a presentation and a workshop, we aimed to bring the experiences from the first two sessions together with the publisher’s perspective on the possibilities of introducing such new forms of reading and writing to the industry. The views about the future of digital publishing shared by the participants ranged from exploring the possibilities of radical change and breaking the current patterns, through imagining inter-media hybrids or cross-connections, to concerns regarding sustainability of experiments and ensuring broad spectrum of participation. New experimental forms of publishing envisioned in that session included inviting critical reflection through engaging with still imagevisual argument maps; introducing formats that would allow the readers to add their own ‘audiovoice’ or to read through the eyes of another person; and the use of good old modular publishing. At the same time, a general conclusion emerging from this and other discussions we had throughout the project seems to be that the publishing sector is and will be rather unwilling to change.
from: A Living Archive Is also a Dying Archive (chapter)

Shortly after, Clara Bahlsen introduced her project you say potato I say fuck you, a collection of still imagepictures of anthropomorphic objects started in 2006. See: https://yousaypotatoisayfuckyou.com. Clara is an artist with a background in design, visual communication, and photography.
from: A Living Archive Is also a Dying Archive (chapter)

The collection, currently containing around 18,000 scans of historical materials like textmagazines and still imageposters, has been almost entirely OCR’ed, meaning that the content of in the archive is searchable. As noted by Rosemary Grennan ‘this might sound a minor technical point but actually is highly significant in opening up digital archives and using the actual document’s content as the basis of classification.’ ‘Somewhere between Automation and the Handmade: Interview with Rosemary Grennan’, VLTK, 9 December 2021, https://vltk.vvvvvvaria.org/w/Somewhere_between_automation_and_the_handmade. This system thus allows viewers to search for a textword or a phrase within the system, and access every document that includes the search term.
from: A Living Archive Is also a Dying Archive (chapter)

The last aspect discussed by the group was the possibility to have a system decentralized through the use of a federated format. For instance, Michelle Teran brought up the example of Memory of the World, a distributed infrastructure for amateur librarians to collect still imagescans of textbooks in a shadow library. Within Memory of the World, searches can be operated via title, author names, and tags (as entered by each librarian). The project was developed by Marcell Mars and Tomislav Medak. For more info, see: https://www.memoryoftheworld.org/blog/2015/05/27/repertorium_public_library.
from: Introducing Etherport.org (chapter)

Etherport supports texttext, still imageimages, videovideos, and timestamps.
from: Introduction: Hybrid Culture in a Changing World (chapter)

The publications group developed Etherport: a tool for cultural organisations to make more experimental and exciting. In Etherport, event reports including texttext, videovideo, still imageimage, and audiosound are connected by a web of tags, drawing non-linear connections between different parts of the event report, and between different reports. The tool helps to standardize the event reporting workflow, reducing production workload and clarifying the role division between authors and editors. But, most importantly, it allows for event-reports to connect different levels of knowledge and observations, to create a web of meaning between reports, and thereby – hopefully – to provide a more exciting, explorative reading experience. You can read more about this tool and how to use it in the intermission ‘Introducing Etherport’.