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video

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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: Sound and Temporality (chapter)

Lilian 13:05 Audio was not a prominent aspect of the research in the Participatory Livecasting group, but it is present. As The Hmm, we’ve been updating our websitelivestream website, moving it away from the primary focus on videomoving image and introducing alternate viewing modes. It’s possible to get different video qualities, with or without live captions. It’s also possible to select and audio only mode.
from: Sound and Temporality (chapter)

Jordi 18:49 I was thinking exactly the same. This automatically decenters the main stage. When you have a audiopodcast or maybe a videoYouTube video that you don’t necessarily need to watch, you’re able to do a bunch of other things and suddenly spaceyour house becomes your own stage. It’s funny because, in the physical space of MU, you wanted to recreate a living room, right? seppi Fellow audience, how are you feeling? Are we blasting into your living rooms? Do you want/have agency? But for me, since I’ve never been to MU, the experience of MUMORIES was the other way around. I was in my living room listening to memories that were created in this space I’ve never been to, and I don’t know what it looks like. It was like a dream or something from the distant past, suddenly acquiring a presence in my living room. The point of decentering the stage, of course, is to give agency to the audience, wherever they are. My next question is about this. Madame Bertha I am enjoying sitting but being there at the same time we live in the future darlings full stop no i meant . Do you have any other examples, comments, reflections, or thoughts about audience agency?
from: Sound and Temporality (chapter)

Lilian 21:18 It was difficult to determine what kind of meaningful contributions an online audience can have in a spacespace. We often experience that it became a bit gimmicky. Klara Debeljak How to avoid audience participation and participatory events being gimmicky is a big question for sure… They could turn on a light, but how is it affecting the physical event? We also did experiments where we did it the other way around, so that the on-site audience could influence the videolivestream. For instance, by pressing a button they could let the livestream screen turn around. But that didn’t really work because it was enabling the online audience even less because the live stream view became worse. Together with MU and Affect Lab, The Hmm has been collecting many practices of hybrid culture beyond the gimmick into a publicly available repository called ‘Toolkit for the In-Between’: https://networkcultures.org/goinghybrid/2023/10/21/the-hmm-mu-and-affect-lab-launch-toolkit-for-the-in-between
from: Sound and Temporality (chapter)

Lilian 26:15 Two months ago we organized a data center tour with The Hmm. You can find the program of the Data Center Tour here: https://thehmm.nl/event/the-hmms-data-centre-tour This one was a five-hour trip, and we didn’t like the idea of such a long livestream. We instead invited podcast makers to be there and record all the speakers They also spoke with some visitors and recorded audiosounds of the data center and combined it all into a podcast episode. This different format really added value, that could not have been created if it was just a videolivestream, because it was also adding the layer of the participation of the visitors and the space with the sounds of the spacedata center. We have to remember that a livestream recording is not really recording the event… This audio report, because it also included the audience and also included the space, was a way better translation of the event. Listen back to the Data Center Tour here: https://live.thehmm.nl/the-hmm-s-data-centre-tour
from: Thresholds of Access (chapter)

Karl Moubarak 06:26 I’m working with technology and infrastructure and tools, at least in the context of this research consortium and with the work group that I’ve been participating in – through Hackers & Designers and with The Hmm – Participatory Livecasting. We were thinking a lot about access from two axes. One is disability and videomaking livestreams accessible to disabled people in different ways, to cater to different disabilities. The second axis of access is about ecology and computation power, network bandwidth, and this kind of stuff. My main role in the project, from its development until now, has been thinking about the technical ways in which videoa technologically sustainable and light streaming service, for lack of a better word, could work for The Hmm.
from: Thresholds of Access (chapter)

Karl 07:31 One example was discussed by Lilian Stolk in the first chapter. See ‘1: Sound and Temporarlity’. The Hmm was trying to organize an event around non-visual culture. But for a year or two, they had this websitelivestream platform in which, it turned out, a lot of assumptions were embedded. mushy For now they’re just in the digital background, technology hasn’t progressed enough for now unfortunately For this event, they reached out to me and said: ‘Hey, can we update the livestream so that this one event is presented as audioaudio-first, instead of a videovideo?’ seppi The axes of access, thanks for that Karl, very important videoThe video would be accessible but as a secondary option. Then I was confronted with all of my assumptions of how the audio-visual aspect of a stream was at the forefront and embedded as a default everywhere. From the front-end to the back-end code, to the connection with the streaming service. If nothing is declared about the streaming preference, video is default. This begs the question, why is this visual culture so central? The simple fix was to create an option to pick for each event; what would be the automatic default streaming mode? You can listen back to this event in The Hmm livestreaming and recordings sections, on their livestream platform: https://live.thehmm.nl/n0n-visu4l-1nt3rnet-cultur3
from: Thresholds of Access (chapter)

Ania 13:16 In the context of our group, one of the starting points was two-fold. On the one hand, we saw that many cultural institutions started to invest in building their digital infrastructure, which before maybe was not on the priority list. mushy nice colors combining seppi Reposting on request: Down with visual culture! Anonymous Shrew this background world is gorgeous We considered that as a gain. But very quickly, we also realized that making available is not the same as making accessible. Klara Debeljak Certainly sonic over visual lesssgoooo So, you know, the fact that we just had the tools to dump things online, was at first perhaps understood as ‘we’re making it accessible, it’s open, you can join’. But in the end, we all experienced Zoom fatigue. What can we do more radically? Thinking of different forms of access and different needs that go beyond just providing videoa stream or providing an textunreadable report, which was our research topic, is something that we were only starting to think about and experiment with. Klara Debeljak So poignant and essential this statement that making available is not the same as making accessible Partly, the question of access is one of continuity and keeping on learning by doing, rather than thinking that we’ve gone through this, and now we can return to the status quo from before the pandemic.
from: Thresholds of Access (chapter)

Chloë 15:07 Thank you so much. I think that’s interesting, we can do more than just providing a videolivestream. That resonates with what you said, Ren, that we can do more than the bare minimum. We can be creative. We can see hybridity as an opportunity to do more. That brings me to a question for you, Karl: right now, for the Screentime Airtime Facetime event, we’re using websiteThe Hmm's livestream platform, which you built. This website has a lot of accessibility features. How was the process of building this website over the last two years and did it change your approach to streaming and hosting events?
from: Thresholds of Access (chapter)

Karl 16:48 My perspective has definitely changed. I first started thinking about accessibility and disability justice a long time ago, when we - as Hackers & Designers - were invited to design websitePlatframe, a platform for a conference organized by TU Delft. You can access the documentation for this platform, ‘Platframe’, here: https://hackersanddesigners.nl/s/Publishing/p/Obfuscation_platframe student at the back is the Hmm accessible enough for you Madame Bertha? Out of nowhere, we received this email with a very generous list of points of feedback from Ren and Iz who had done an audit. I say ‘generous’ because it wasn’t ‘this should be that way and this shouldn’t be that way’. Each of their points was followed by a reference, with a question, with an open invitation to have fun and experiment. That platform ended with a guided tour, so one of the results of trying to make that platform accessible was having a very regimented, guided tour of all the parts of it in a way that you could join as a visitor. Then, this whole set of built-up knowledge came to The Hmm. You’re right in saying that it has now been two years of developing and iterating this platform, and it’s still changing. Madame Bertha I dont understand much of computer technology I appreciate simplicity and videos of cats I love those Every time there’s a new experiment that is invented by The Hmm or Hackers & Designers around accessibility, there’s a technical question that comes with it. For example, in the Participatory Livecasting group, we’ve developed this toolkit that Lillian and Heerko talked about called ‘Emoji Proxies & Ghost Messengers’,videoand it's what this camera here is doing. This toolkit was explored and presented at a workshop: https://wiki.hackersanddesigners.nl/index.php?title=Emoji_Proxies_%26_Ghost_Messengers. The focus question of that group was: How to give an online audience more agency over the spaceon-site space? Historically, the online audience has mostly been a disabled audience that has to be online, or an audience that cannot get access to that event physically because of transportation, material needs, child care, or whatever it is. In our experiments, we were trying to create a kind of agency for this online audience that the physical audience often takes for granted. mushy that’s totally fine, hope you’re enjoing also this live!
from: Interaction and Activation (chapter)

Roos 07:13 It’s the reason why we chose the game experience. We were treating this collaboration with IMPAKT as an experiment, but also as a way to research how far can you go with this online/offline interaction. And I think the research question Derk and I made for ourselves came out of the ‘COVID time’ when there was a new influx of all these livestreams and online events, like the one we’re doing now. seppi ^ Ray took part in one of these events and wrote a little report on it. What a conversation-starter! There you saw that both audiences are not treated in the same way, so we asked how we can experiment with that. Derk studied Game Design, I’m more of an autodidact, but both of us are insane game fanatics. So it was clear to us what the urgency of this is when it comes to hosting online events or hybrid events. And why it is needed. We thought it was good to focus on how can you make an interaction work. When it comes to games and puzzle design or interaction design, there’s this element of needing it to work. Otherwise, if it doesn’t work, you get frustration, fatigue… The things that were mentioned in ‘COVID time’. So we thought, okay, can we maybe figure out where the frustration is when it comes to this very static event: a hybrid stream? We thought it was videothe static position of the camera for a live audience. And what if we place it in the most unsuspecting location? objectFor us that was placing the camera on the butt of another participant.
from: Interaction and Activation (chapter)

Roos 09:11 There is a picture of it. With this, we created a very difficult task for ourselves, by giving all the participants some sort of obstacle. It was a game where the offline participants, spacewho were present at IMPAKT, and the online participants had to work together. They have to do all of these kinds of challenges. But there is this big obstacle, which is that they can’t see each other, but they can talk with each other through headphones. So they have different kinds of powers. The game is about becoming a true hybrid human being: both of you are working together to become the future human that is both online and offline at the same time. student at the back My attention from back there is selective, free: rather than being constrained to listening exclusively and constantly to the vertical speech of speakers, I choose where to navigate my attentional ship, in the horizontal seas of the world wide web. With these great powers comes great responsibilities… I need to avoid drifting my ship too much and to anchor a bit from time to time We thought that, by making objectthe offline participant have to carry this online vessel around, we would create a dynamic that is more equal. But we discovered so many problems with that. If you’re offline, you run around a lot. So videothe camera was shaking all the time and the online participants became very nauseous. mushy the live participants are interacting with the digital layering of themeselves and their content on the screens, love that student at the back hopefully there isn’t an exam at the end I won’t be exhaustive We had to come up with challenges with a little less movement. It was really an experiment where we were trying to figure out how we make both of these participants move closer to each other so that there’s a nice collaboration going on between the two.
from: Interaction and Activation (chapter)

Esther 11:02 This interests me because hybridity is, of course, mixing different times, spaces, and stuff like that, but it’s also mixing different media types. mushy you shoud come and sit in the first row then c: Moving into new times with digitization, it’s about mixing new media and remediation, in some sense. What you described with the early hybrid events is often staged as television. There’s an event and videowe can watch it from a distance, while you explore the medium of gaming… I would be interested in hearing which aspects of gaming are then tied into this issue of activation or interaction with the audience. What can we learn from games that help us develop great hybrid events?
from: Interaction and Activation (chapter)

Roos 24:47 This is a very difficult question. A lot of people ask me about the question of archiving. What do you do with this information? textDo you write it down? Do you document it? I’m like: ‘No, that’s not what it’s about’. I do use it as a tool for the next projects and it’s also a learning experience. Arjon mentioned the Escape Room project, which I did in 2021 in the middle of the pandemic. spaceI created an escape room that you couldn't really escape out of. It was a commentary on us trying to escape from the big data platforms like Google, Facebook, and Instagram, but constantly returning back to them. And that this feels like an endless quest. In the escape room, you could play it in the traditional way: go with your friends and figure it out. But because it was during the pandemic, I also had an online experience in which the host of the escape room would videowalk around with a body cam. The host would connect with a group of friends that would websitecall in via Microsoft Teams. So the group would see through the eyes of the host and tell them: ‘Oh, open this door, please.’, ‘Please look at that.’, ‘Enter this code’. It was interesting since it was a truly hybrid experience and it worked in different ways. In the online experience, people played the puzzles in a different way. The underlying factor of the game was about being dependent on parties you don’t trust. The host played a very important role in the escape room. At some point, you would discover you can’t trust the host or what they’ve said, but you’re literally tethered to the host with a cam. In the offline and the online experience, the level of dependency was completely different, but it still worked out. The conversations that I had with the players afterward were really about these uncanny valley moments of dependency. And I thought it was interesting because it wasn’t really the first reason why I made the project. runs https://roos.gr/I-want-to-delete-it-all-but-not-now You find out these surprising things and how people experience something you’ve made afterward, but via different eyes. And the players have all been given the same level of agency. seppi Would it be useful to think about archiving (or the future lives) of this kind of experimental cultural programs in a bigger way than within one organisations? Would it help to have a shared infrastructure between cultural institutions and workers? But what players do or how they engage with your project is not always aligned with your intentions. And I find how people engage from different perspectives really interesting.
from: Forms of Hybridity (chapter)

Senka Milutinović 00:04 And we’re back for the final chapter, which is about forms of hybridity. Again, we had a change of hosts. I’m Senka and I’m hosting this chapter together with Jordi. We’re joined by Michael Murtaugh, who is the course leader of the Experimental Publishing MA program (XPUB) at the Piet Zwart Institute. Read more about the XPUB program here: https://xpub.nl As a practitioner, he designs and researches websitecommunity databases, videointeractive documentaries, and tools for textnew forms of reading and writing online. Besides Michael, we are also joined by Sepp Eckenhaussen, who is a researcher at the Institute of Network Cultures (INC) and has been the leader of the Hybrid Publications group of Going Hybrid. Other members of this group were Ashley Maum and Ebissé Wakjira on behalf of Framer Framed, Ania Molenda, Anna Maria Michael, Carolina Pinto, Gijs de Heij, Maria van der Togt, Ray Dolitsay, Tommaso Campagna, and Victor Chaix. Welcome!
from: Forms of Hybridity (chapter)

Michael 06:25 I like reading this message out loud now, because it creates a bridge with videoAymeric and Clara's contribution to this publication, which considers this idea of XPUB as a doomsday prepper program. For Screentime Airtime Facetime, Clara Balaguer and Aymeric Mansoux co-authored ‘Intermission 1: Can You Hear Me?’ (For the Record). I think they’re right, in the sense that XPUB really challenges students to think about this question of old versus new. We especially question the idea that equates newer to better. Instead, we try to capture new, different values by working with older technologies.
from: Hybrid Trains of Thought (chapter)

Interior Monologue, Somewhere on a train riding through the Netherlands
Trains are great.
You start from point A,
then you arrive at point B,
and in between you can read,
write,
sleep,
chat,
eat,
drink,
play,
even work.
But anyway,
I’m on public transport in the Netherlands,
on a spaceNederlandse Spoorwegen (NS) Intercity Direct train now,
on my way to deliver a talk with Clara at a hybrid
cultural event in Rotterdam.
The event is described as hybrid because some
people can attend on location and some can follow
online.
It sounds fancy,
but in many cases,
it just
means websiteZoom,
a videovideo projector,
objectchairs,
one or several cameras,
and a video mixer (in the best of cases.)
In these events,
awkward interactions and audioaudio/videovideo glitches seppi Oh no :( We cannot hear the sound on-site
come for free, mushy the green is clear now
but (at least for some of us) it also means that we
get to sit together again,
just not too close.
At least for now,
I get to post-pandemically daydream one more time
in the train on the way to point B.
Is it the post-pandemic though?
I like when the water level of the small canals in the
fields is getting so close to the grass that—
CONTROLLER Gooooooede morgen, ticket alstublieft. student in the back we can hear it well form our decentralized and networked living rooms
from: Hybrid Trains of Thought (chapter)

Clara Yeah, for real. I can barely handle workload at
the moment. I can definitely sympathize with the
producer who needs to chase down deadline
delinquents to submit things on time for their
videoOptimized Video Streaming Set-Up. But still. The
bedside manner on both ends of the symposia-
spectrum leaves much to be desired.
from: Introducing Etherport.org (chapter)

Often, they are reduced to videoa 12-hour-long recording of the live stream on YouTube, with no means to decimate any of the information. Sometimes the interested secondary audience is blessed with an textautomated transcription, allowing one to scrape through some of the content. It seems that most of the cultural institutions are so busy organizing events, that the movements they aim to set in motion become an afterthought.
from: Introducing Etherport.org (chapter)

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

We’ve seen videolive streams set up on a spacestage, with performancespeakers giving a lecture and no audience except the viewers at home behind their computer; clunky live events with pre-recorded interviews that pixelate with every hesitation of the WiFi; videoInstagram Lives that nobody watches or that everyone is watching; countless videoZoom live streams with break-out rooms and tens of people on audiomute, fighting the Zoom fatigue or their clingy cat. Already in November 2020, Geert Lovink wrote about the phenomenon of Zoom fatigue: Geert Lovink, ‘The Anatomy of Zoom Fatique’, Eurozine, 21 November 2020, https://networkcultures.org/geert/2020/11/21/anatomy-of-zoom-fatigue. And we’ve also seen marvelous experiments: objecta big screen on a spacelive stage that shows a lively, textonline chat which is actually integrated into the conversation; performancea buddy system where an offline visitor takes their online friend by the hand (meaning, on their phone) and guides them through an spaceexhibition, event, Q&A’s with speakers live on stage.
from: Introduction: Hybrid Culture in a Changing World (chapter)

We’ve witnessed performanceTravis Scott playing a concert in the game websiteFortnite, for a whopping 27 million viewers—and he wasn’t the only one. Roel Vergauwen, ‘Will Games Become the New Concert Temples?’, Boekman, https://catalogus.boekman.nl/pub/P21-0355.pdf. Cultural institutions, usually relying on their audience having to travel to an offline destination to attend an event, found that they could reach a bigger and more international audience, and on top of that, speakers didn’t need to travel which saves both time and costs. Also, the common use of videolivestreams and textcaptions created new accessibility features for audience groups with different needs. It became possible to be sick and participate in culture, to be cooking dinner for your children and participate in culture, to have hearing impairments and participate in culture. These needs existed before the pandemic and will exist in the future too. It remains important not to forget the issue of accessibility now that on-site programming is the norm once again.
from: Introduction: Hybrid Culture in a Changing World (chapter)

These are only some of the many advantages hybrid events can offer, and it doesn’t stop there: hybridity gives way to exciting new experiments in publishing, or the development of ‘living archives’ that share these beautiful hybrid experiments in an interactive, dynamic way. Because of course, a truly fun hybrid event is hard to translate into a videotwo-hour video registration put on YouTube, however much we want to share the experience with the people who couldn’t make it. This, interestingly, is mostly because the hybrid event incorporates a live experience found formerly in the offline event: it has transformed itself into a whole new kind of experience. Two worlds that once seemed so far apart now smoothly (or not so smoothly) collided and merged into new, hybrid constellations.
from: Introduction: Hybrid Culture in a Changing World (chapter)

The research consisted of three parts. One was about hybrid events. How to create interesting new forms of hybrid interaction? How do they ensure that both groups have an equal experience at these videolivecasts? And how to give both on-site and online audiences a sense of agency in an event? The other two parts were about what happens after the event: the publication, and ultimately the archiving of the outcomes. How to translate a hybrid cultural experience into something visitors can videowatch, textread, follow afterward? Is it possible to capture the essence, the interactive essence, of a hybrid event and reproduce it? And how do they harness the potential of this recorded material for publication and lasting audience interaction in their websitedigital (web) archive? Three groups, corresponding with the three main questions, set out research (the use of) existing platforms, to gather expertise, and ultimately to develop a prototype tool for hybrid culture.
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’.
from: Introduction: Hybrid Culture in a Changing World (chapter)

The Institute of Network Cultures set up a Tactical Media Room to give space to underrepresented voices: artists, researchers, and journalists from Ukraine, as well as dissidents from Russia and Belarus. Tactical Media Room can be found on the website of the Institute of Network Cultures: https://networkcultures.org/tactical-media-room. Since then, the Tactical Media Room has developed, and TMR Palestine was opened when the Gaza war broke out in October 2023. We embrace the slogan ‘Unity in Urgency’. Soon, the Tactical Media Room started to collaborate with UKRAiNATV, a collective based in Krakow, Poland, which hosts videoweekly webcasts that function as a cultural bridge between Lviv, Krakow, and Amsterdam. Read more about UKRAiNATV and watch back its livecasts here: https://ukrainatv.streamart.studio.
from: Introduction: Hybrid Culture in a Changing World (chapter)

The Tactical Media Room experience and the collaboration with UKRAiNATV were an important inspirations, which shaped the second year of Going Hybrid in multiple ways. Our mid-project conference was organized on 9 and 10 March 2023 in Amsterdam under the title ‘In-Between Media: Hybrid Tactics in the Crisis Era’, reflecting our dedication to acknowledge the simultaneity of urgencies for tactical, hybrid culture. Read the conference program and reports or watch recordings here: https://networkcultures.org/goinghybrid/in-between-media-conference. The collaboration also led us to take videolivecasting as an act of ‘expanded’ publishing more seriously and, in terms of technical approach and format, set us onto the path towards the live-publication.
from: Introduction: Hybrid Culture in a Changing World (chapter)

You may hold this objectbook in your hands, read it from your websitescreen, or encounter it as a recorded videolivestream. That’s because we practice what we preach: this book is an experiment in hybrid publishing; the first time the Institute of Network Cultures has produced an event as a book. We started with an event, which took place on the 10th of November 2023 on the websitelivestream platform of The Hmm, and then used the recording to start forking and expanding. You can watch back the full recording of Screentime Airtime Facetime on the website of The Hmm: https://live.thehmm.nl/screentimeairtimefacetime. The recording was made in the audiovisual studio of the Amsterdam University of Applied Science. Rethinking the book as starting from a videolivestream, we composed a program of elements that can exist in both an event and a book: live textchapter-performanceconversations, videopre-recorded intermissions, textchatroom annotation, and a audiospoken colophon.
from: Introduction: Hybrid Culture in a Changing World (chapter)

The title Screentime Airtime Facetime hints at our shifting relation to technology. The notorious term screentime gestures towards the recent tendency to develop extremely intimate one-on-one relationships with objectour screens. Airtime gives a nod to older forms of hybrids events; the times of families gathering to audiolisten to the radio or videowatch TV. Facetime emphasises the immediate connections we foster with one another through, for instance, videothe use of video calls. With the gradual succession of these terms, we want to think through the public’s relation to technology, to collective bodies and to each other (with technology as a mediator). What can we learn from a history of different hybrid interactions and take with us as seeds for the future?