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Photobombing and Selfies: The Visibility of Atmospheric Mediation and Environing
No full textIncreasingly a slew of media images has highlighted the unintended capture of infrastructures of remote viewing technologies, getting in the way of seeing. These images are discussed by considering a situated view from below and on the ground, inquiring about the forms of partial and embodied visualities inscribed there. Often obscuring the visual target of scientific inquiry, these images represent both the unintentional and subjective in ways that, I argue, could be understood to communicate a visual language of photobombing and selfies, image genres that reflect an aesthetic mode of spectacle and subjectivity in the digital age. In attending to the visibility of technologies of atmospheric mediation, this article approaches the televisual infrastructures of technical objects of seeing as transforming both the field of vision and the physical environments they operate within. As these technologies become ubiquitous within the ever-congested site of the earth's atmosphere and above, their visual capture increases an awareness of the sky as a site of distanced and unregulated perception
De diversiteit en complexiteit van factchecking in het Nederlandse medialandschap: een verkenning
Full text linkFactchecking wordt breed erkend als een cruciaal middel om de negatieve impact van desinformatie tegen te gaan, maar er is een diversiteit aan opvattingen over wat precies wordt verstaan onder factchecking. Het gegeven dat factcheckers
zich in verschillende institutionele contexten zoals nieuwsmedia, universiteiten en onafhankelijke organisaties bevinden, en het werk vanuit diverse perspectieven benaderen (journalistiek, wetenschap), maken het consequent handhaven van een heldere definitie lastig. Het feit dat het Nederlandse factchecklandschap zo divers is, maakt het uitdagend om de publicatiekanalen en financieringsstructuren helder in
kaart te brengen. Dit onderzoek had als doel de factchecking activiteiten in
het brede, Nederlandse medialandschap in kaart te brengen
Beyond Virtual Museums
Full text linkImmersive formats like virtual museums and digital twins make heritage accessible, but they’re just the beginning. As eXtended Reality (XR) evolves, we can push beyond static exhibitions towards interactive, multisensory, and participatory storytelling—free from physical barriers. The challenge? Ensuring immersive experiences are scalable and accessible for institutions of all sizes. That’s why we created the Workbook Beyond Virtual Museums: Exploring Immersive Experience Opportunities in the Cultural Heritage Sector. The workbook invites cultural heritage professionals to explore new XR possibilities, experiment with bold ideas, and build concepts ready for collaboration and prototyping—moving beyond traditional virtual museum models
My heart has no colour: Lusotropicalism and Black Lusophone representation in the Eurovision Song Contest 1994 – 1996.
No full textThe Eurovision Song Contest states that ‘a rich history of promoting diversity [and] inclusivity’ is amongst its core values. Furthermore, the contest claims to able to ‘bridge differences and ignite a sense of shared community.’ Despite this, Catherine Baker notes in 2021 that Eurovision’s ‘shared community’ still celebrates a ‘Europe commonly, though wrongly, thought of as a historically white place.’ Throughout the 1990s Portugal sent several entries by Black performers (1994 and 1995) or celebrating a racially diverse Lusophone culture (Lucia Moniz’s O meu coração não tem cor, 1996). This paper will examine Portugal’s use of Black performers and/or Black Lusophone culture in Eurovision and analyse the extent to which these entries were able to subvert the default ‘white’ European-ness on the Eurovision stage. Through these performances, this paper will scrutinise Gilberto Freyre’s ideas of Lusotropicalism, which purports a Portuguese ‘adaptability to the tropics and inherent lack of prejudice’ exploring the extent to which these representations of Black Lusophone culture constituted a real engagement with Portugal’s colonial history and a sense of ‘belonging’ for Black Portuguese
Expanding the Small Screen: Exhibiting Northern Irish Television Archive
No full textThis article discusses three audio-visual works curated by the author as part of her work as Programmer at Belfast Film Festival. The three pieces are compiled of broadcast television material primarily from the Ulster Television archive maintained by Northern Ireland Screen’s Digital Film Archive, and BBC Northern Ireland. The works discussed are put into the context of a culture of established and often creative exploration of television curation within the Belfast Film Festival. The three works reflect different aspects of both the archive, the broadcaster, the role of the curator and considerations of exhibiting such material in a post-conflict society
“Preserving Atrocity”: Mental Health and the Broadcast Media Archivist
No full textBroadcast news archives are full of traumatic material ranging from war footage, assault, human rights violations, and more. Broadcast media archivists are hired to care for this material. This paper addresses the current state of mental health awareness for archivists working in European broadcast media archives. Quotes are used by archivists on the current mental health training initiatives within their institution. This paper outlines current initiatives that are helping to bring awareness to archivist mental health. An emphasis is placed on person-centered archives to help address difficulties in broadcast media archivist mental health. The paper concludes by outlining mental health strategies for broadcast media archivists
Alignment paper on AI and the data space for cultural heritage
Full text linkIf the digital cultural heritage community is to play a meaningful role in the development of AI, it must first develop a shared vision. Yet the vague use of terms such as ethical, trustworthy and participatory AI, combined with the lack of concrete practices to make these concepts tangible, creates complexity and uncertainty. As the Europeana Initiative and its partners scale up the common European data space for cultural heritage, the question becomes urgent: what role should the data space take in responsible AI development and adoption?
This paper is the first outcome of the “Alignment Assembly on Culture for AI”, a collective intelligence exercise initiated within the data space, which engaged circa 400 professionals. It maps the results of the community consultation, identifies areas of consensus, friction and uncertainty and pinpoints topics that require further exploration. The paper identifies two contrasting opinion groups: boundary-setters (32% of respondents), critical of AI use, and opportunity-seekers (68%), advocating for its adoption. It explores key themes and insights that emerged from this exercise - ranging from defining and defending the sector’s position and responsibilities, to positioning heritage data as responsible AI training material, using AI in a way that is climate responsible or preventing the perpetuation of biases when AI is used with heritage data, among others.
Building on these insights, the paper outlines directions for further community work and proposes a set of priorities, an action plan, and immediate next steps. The Alignment Assembly thus serves as the starting point for a deeper, ongoing dialogue within the digital cultural heritage community about its engagement with and stance on AI technologies
Technonationalism and Telematic Art in Canada: Vera Frenkel’s String Games (1974)
No full textThis article considers String Games: Improvisations for Inter-City Video (Montreal–Toronto) (1974), a groundbreaking telematic artwork by the Canadian artist Vera Frenkel, in which participants in Toronto and Montreal played a remote version of cat's cradle over Bell Canada's early digital video conferencing network. Situating the work within the context of Canadian telecommunications infrastructure and cultural policy, the article argues that String Games subtly subverted the technonationalist ideals embedded in Canada's drive to unify its vast geography through networked media
The Mediation of Reggae During its 'Golden Age' in the British Music Press
No full textThis article examines the mediation of British reggae culture in the 1970s in Melody Maker and Black Music. In Melody Maker, rock critics come to terms with this new music culture in real time. Black Music comes into being in 1973, orienting itself around this new British reggae market. This analysis explores each publication’s discursive construction of itself, its audience, and crucially, this new Jamaican form of popular music, in the context of their common ownership by IPC Magazines Ltd. The analysis of reggae in the British music press reveals the editorial and discursive strategies employed by Melody Maker to make sense of reggae. In this context, the reportage of reggae journalist Carl Gayle in Black Music provided an important counter to the dominant narratives mediating black British music culture. This article contributes to debates about black British music culture, and on the larger phenomenon of European writers addressing popular music cultures of the black Atlantic in the twentieth century
With and Against the Grain: Creative Dialogues with Broadcast Archives
No full textEditorial for VIEW Journal volume 14 issue 28 - With and Against the Grain: Creative Dialogues with Broadcast Archives