Agenda – Utrecht Centre for TV/Screen Cultures in Transition https://tvit.wp.hum.uu.nl UU Mon, 18 Dec 2017 11:31:14 +0000 en-US hourly 1 European research grant awarded for research into Europe’s Audiovisual Heritage Online https://tvit.wp.hum.uu.nl/european-research-grant-awarded-for-research-into-europes-audiovisual-heritage-online/ Mon, 18 Dec 2017 11:11:16 +0000 https://tvit.wp.hum.uu.nl/?p=830 European History Reloaded: Curation and Appropriation of Digital Audiovisual Heritage (CADEAH) is the title of a programme that is awarded a three-year research grant by the EC Horizon 2020 programme JPICH Digital Heritage. The programme has been designed by a European consortium lead by Utrecht University’s Centre for TV/Screen Cultures in Transition and includes the Institute of Contemporary History of the Czech Academy of Sciences, Prague, and the Digital Humanities Lab of Umeå University, Sweden. Project kick-off will be in May 2018.

Coordinated by Eggo Müller, Professor of Media and communication at the Department of Media and Culture Studies, Utrecht University, the programme will investigate the circulation and appropriation of audiovisual heritage online. Earlier European projects lead by prof. dr. Sonja de Leeuw (UU) and Eggo Müller have provided the infrastructure for archives, collections and libraries to share audiovisual heritage on public platforms such as Euscreen.eu and the European Platform for Digital Heritage Europeana.eu. The new project will look deeper into the divers ways users engage online with audiovisual heritage: What do users watch, share, like, or dislike? What are their comments, what videos are downloaded for remix and recirculation? What new interpretations of heritage materials are created? Do these challenge authorised perspectives on historical events? CADEAH will be the first European project to integrate cutting edge video tracing and tracking technologies as part of a mixed methods approach including textual analysis, virtual ethnography and Digital Humanities methods.

The project is based on a longstanding cooperation between Utrecht University, The Netherlands Institute for Sound and Vision, Hilversum, and more than 35 partners in 25 European countries. Associate partners of the new project are next doe the EUscreen Foundation also the European Platform for Digital Heritage: Europeana, the European Association of History Educators EUOCLIO and the Institute for Contemporary and Digital History, Luxembourg University. This collaboration ensures a flexible exchange of knowledge, sources and ideas between academic institutions and practitioners during the runtime of the project. The project’s outcomes will contribute to a better understanding of popular interpretations of European history circulating online. It will foster critical engagement with audiovisual heritage in a participatory media landscape, including the consequences of digital historiography. Based on outcomes, the project will advise heritage institutions about best practices of user-engaging curation. Outcomes will also provide history educators with accessible material to engage students working online with Europe’s audiovisual heritage.

Contact:

Prof. dr. Eggo Müller, Centre for TV/Screen Cultures in Transition, Utrecht University, Munstraat 2a, NL-3514XJ Utrecht; email: e.mueller@uu.nl

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Jobs from the Cloud – Vicki Mayer, Tulane University https://tvit.wp.hum.uu.nl/jobs-from-the-cloud-vicki-mayer-tulane-university/ Tue, 28 Nov 2017 09:22:44 +0000 https://tvit.wp.hum.uu.nl/?p=821
TViT – lecture:
Jobs from the Cloud
Vicki Mayer, Tulane University, New Orleans
In 2016, the conversation that I had with strangers in Groningen and about the region included the phrase “Google is coming.” This year similarly I now know “Google is here.” This everyday discourse formally refers to the construction of the largest data center in Europe. My research seeks to uncover what that discourse additionally means symbolically and practically to the people in the region, and in particular the future of employment there. Ultimately I am hoping to theorize the relationship between the aura of high tech companies and their roles as participants in statecraft. This talk is situated in the fieldwork process. I look forward to the discussion and critiques.
Vicki Mayer is Professor of Social Entrepreneurship at Tulane University, New Orleans, and in 2017/18 guest professor at the Department of Media and Culture Studies, Utrecht University. Vicki research interest are media audiences, production studies and communication labor, citizenship and culture, Latin American and Latino media and alternative and community media. Her latest book – Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy (Berkely: UC Press) has been launched two weeks ago. Vicki is also author of Below the Line: Producers and Production Studies in the New Television Economy (Duke University Press, 2011) and editor of Television and New Media.
Date: Monday, December 4th
Time: 15.30-17.30
Location: Department of Media and Culture Studies, Munstraat 2a, 3512 EV Utrecht, # 1.11)
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The Many Lives of Europe’s Audiovisual Heritage Online https://tvit.wp.hum.uu.nl/the-many-lives-of-europes-audiovisual-heritage-online/ Tue, 31 Oct 2017 21:34:05 +0000 http://tvit.wp.hum.uu.nl/?p=783

Farewell Symposium Prof. Dr. Sonja de Leeuw

One day symposium at Utrecht University (The Netherlands) on May 16th, 2018.

During the past decade, a massive body of European audiovisual heritage has become accessible online: on video sharing sites and websites of archives, or through initiatives such as EUscreen.eu and Europeana.eu. Once online, audiovisual heritage circulates in diverse ways: users watch, share, like, or dislike it; they  comment, appropriate, and download videos for remix and recirculation. It thus becomes part of the popular consumption of history, potentially creating new interpretations of heritage materials, challenging authorised perspectives. Heritage institutions perceive the consequences of the recent technological transformations of the sector as a major challenge and opportunity. Nevertheless, urgent questions regarding the circulation of audiovisual heritage online remain unanswered:

  • How do strategies of curation shape the appropriation of digitized heritage?
  • How does digitisation and online circulation of audiovisual heritage affect the mission, role, and structure heritage institutions, as well as their relationships with media producers and publics?
  • How can audiovisual archives better foster the re-use of Europe’s audiovisual heritage?
  • (How) do  digital curation and other appropriations of audiovisual heritage create new perspectives on European history and identity do?
  • How does online circulation of audiovisual heritage  alter the power relationships between amateur and professional historians in a public history environment, potentially blurring the boundaries between authorised and popular visions of European history?
  • What new tools and methods do we need to analyse the circulation of audiovisual heritage online, and how have traditional methods to be adapted for this aim?

To discuss these challenges, Utrecht University’s Centre of Television in Transition in collaboration with The Netherlands Institute for Sound and Vision and CLARIAH will organize a one day symposium.
The symposium is held on the occasion of the Farewell Lecture by Prof. Dr. Sonja de Leeuw, Professor of Dutch Television History in the European Context at Utrecht University, driving force behind the EUscreen projects and pioneer in the field of digital audiovisual heritage in Europe. Confirmed participants include Jerome Bourdon, Professor at the Department of Communication, Tel Aviv University; Andreas Fickers, Professor for Contemporary and Digital History and Director of the Luxembourg Centre for Contemporary and Digital History; Johan Oomen, Head of Research and Development at Netherlands Institute for Sound and Vision; Julia Noordegraaf, Professor of Digital Heritage at the University of Amsterdam; and Pelle Snickars, Professor of Media and Communication Studies and affiliated to the HUMlab Research Centre of Umeå University, Sweden.

Date: 16 May 2018
Time: Symposium starts at 11:00, Farewell Lecture at 16:15.
Location Symposium: Utrecht University, Sweelinckzaal, Drift 21, Utrecht
Location Farewell Lecture: Aula Academy Building, Domplein 4, Utrecht

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Placing Fandom: Film Tourism in Contemporary Fan Culture – PhD Defence Abby Waysdorf https://tvit.wp.hum.uu.nl/placing-fandom-film-tourism-in-contemporary-fan-culture-phd-defence-abby-waysdorf/ Tue, 31 Oct 2017 15:38:36 +0000 http://tvit.wp.hum.uu.nl/?p=756 Abby Waysdorf will be defending her dissertation Placing Fandom: Film Tourism in Contemporary Fan Culture, on November 9, 2017, at the Erasmus University Rotterdam. The defense will begin at 15:30 in the Senatezaal, Erasmus building, at the Woudenstein campus. Following the defense, a reception will be held at the Erasmus Paviljoen nearby.

 

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Found in Translation: National Media and the National Archive – Inaugural Speech Dr. Alec Badenoch https://tvit.wp.hum.uu.nl/found-in-translation-national-media-and-the-national-archive-inaugural-speech-dr-alec-badenoch/ Tue, 31 Oct 2017 15:33:59 +0000 http://tvit.wp.hum.uu.nl/?p=752 Dr. Alec Badenoch will deliver his inaugural speech as Professor of Translational Media at the Free University of Amsterdam.

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Symposium on Video Fingerprinting in Digital Humanities Research, NISV October 2017 https://tvit.wp.hum.uu.nl/symposium-on-video-fingerprinting-in-digital-humanities-research-nisv-october-2017/ Tue, 31 Oct 2017 15:19:17 +0000 http://tvit.wp.hum.uu.nl/?p=748 Eggo Müller, Utrecht University, & Johan Oomen, NISV

With financial support from the DARIAH-EU 2016 theme “Public Humanities”, the Netherlands Institute for Sound and Vision (NISV) together with Utrecht University and the EUscreen Foundation initiated a trans-European network of digital humanities researchers, audiovisual archives, educators and software developers to investigate and test multimedia fingerprinting and -tracking technologies for use in the in the public domain. Whereas these technologies are so far mainly used in the private sector with the aim to detect copyright infringements, the objective of this research-oriented initiative is to create an understanding of how these emerging technologies can help search collections, uncover previously hidden relations between disparate items of the same origin and particularly to trace circulation and reuse of audiovisual heritage online.

The initiative emerges form a series of projects (Video Active, EUscreen and EUscreen XL) that brought together major European audiovisual archives, Universities and software developers to collaborate to make Europe’s audiovisual heritage accessible and searchable online. And discoverable though Europeana, the EU digital platform for cultural heritage.

Audiovisual documents speak of the entire 20th century – its fictions, its realities, its politics, its high culture and its daily lives. Increasingly so, throughout the 20th and 21st centuries, audiovisual documents have become a major source of both entertainment and information. Video traffic on the web will be 82 percent of all consumer Internet traffic by 2021, up from 73 percent in 2016.

Today, an abundance of old films, television and radio programmes, photographs and related printed materials are accessible online for consumption and re-use. Re-use in the public sector (education, broadcasters) supports the integration of the imaginative audiovisual to our material and collective cultural memory, and in line with this a greater understanding of notions of identity, of who we are and where we belong.

Multimedia fingerprinting and -tracking technologies have a high potential for creative educators, broadcasters and archivists, but have so far not yet been explored by digital humanities scholars and initiatives. Therefore, the initiative has organized a symposium and expert-meeting to explore the applicability of existing video tracking technologies in Digital Humanities research, held at the Netherlands Institute for Sound and Vision in Hilversum on 12 and 13 October 2017. Starting point was the supposition that by tracking and tracing the flow of audiovisual material online and the circulation of re-used audiovisual heritage researchers, educators and stakeholders in the field can, for example, as Eggo Müller (Utrecht University) in his opening address stated:

  • help to better understand the online circulation of audiovisual content on the web;
  • initiate research into the appropriation of audiovisual material by users in diverse cultural and ideological contexts and the different ways that footage from the past is re-used on video sharing sites in particular;
  • investigate in what contexts the same material is re-used and how its meaning varies in the diverse contexts;
  • help to better understand and conceptualize digitized audiovisual material as public data;
  • gain a better understanding of the socio-cultural ’life of audiovisual data’ in general;
  • and of the potential of video recognition, tracing and fingerprinting technologies to contribute to the notion of public humanities in particular.

These explorations can provide historians, media scholars, ethnographers, archivists and educators with innovative insights and tools that contribute to the notion of public humanities and open up innovative research perspectives in the Digital Humanities. After the opening address, experts in audio and video fingerprinting technologies discussed the state of the art of video recognition, fingerprinting and data tracing technologies. Patrick Aichroth (Fraunhofer Institute, Ilmenau) illustrated in his presentation on A/V segment matching, audio forensics and phylogeny” a number of applications of fingerprinting technologies used for audio and/or video identification and comparison. Aichroth discussed four main areas of use for these technologies:

  • metadata extraction and audio forensics (item-based),
  • dataset analysis (segment matching, audio phylogeny),
  • integrating different tools and multimodal analysis (see MICO, OSS framework), and
  • privacy-aware personalization and recommendation based on a combination of content-based recommendation and collaborative filtering.

At the Fraunhofer Institute, his team has build and tested tools to carry out AV segment matching, audio forensics, audio phylogeny to identify roots of material. All these applications work so far on basis of datasets collected for tool testing, but have not been applied in ‘real life’ contexts.

Maarten Zeinstra (Kennisland, Amsterdam) presented Kennisland’s Videorooter as a proof of concept for open source video fingerprinting. No license for the tool is needed, and it can be used to search a set of 100k open licensed videos accessible on Wikimedia Commons, Europeana, and the Internet Archive. Zeinstra explained the general approaches to video fingerprinting technologies in more detail as opposed to watermarking. There are two types of socalled ‘hashes’ to identify an image or sound:

  • Cryptographic hashes, that do not survive changes in a media file; even different in resolutions of a video would not allow the hash of the original to be matched with the changed file;
  • Likewise, watermarking also does not easily survive changes of the media file or the format of it (jpg -> png);
  • However, perceptual hashes as used in Kennisland Videorooter’s algorithm blockhash.io are persistent and have an average accuracy for images of 94%, and 72% for video.

Lars Wieneke (Centre for Contemporary & Digital History, Luxembourg) then presented histoGraph, software that helps historians to deal with big historical multimedia collections and allows, for example, for detecting and visualizing connections between events, places and people. This is particularly useful to detect some unknown and unexpected connections between documents, and thus persons, places and events. The tool supports more traditional approaches to political and contemporary history so far, but will be expanded in the future to offer richer analysis o.

Maria Eriksson and Pelle Snickars (Digital Humanities Lab, Umeå University) discussed legal implications of Digital Humanities research. Based on their experiences in a current project focused on the Spotify music platform, they explored questions of copyright, of back engineering and the legal scope of a platform’s terms of use as compared to legislation on privacy, copyright, or other domains. They identified a number of ‘grey areas’ that researchers should be aware of when conducting research into platforms’ general strategies and particular algorithms.

During the concluding round table Digital Humanities researchers Jasmijn van Gorp (CLARIAH-NL), Sonja de Leeuw (EUscreen Foundation) and Patrick Vonderau (Media Studies, Stockholm University) highlighted the potential that video tracking and particularly fingerprinting technologies could have for Digital Humanities research in general and for research into audiovisual heritage online in particular. Other areas could be the tracing of historical film stock used repeatedly in divers productions, but research into early film and different copies and language versions of the ‘same’ film might also benefit from these technologies. Jasmijn van Gorp talked about her vision of developing a ‘meta tool box’ integrating the numerous and divers applications developed for Digital Humanities research, as this is under development for her own area with CLARIAH’s Media Suite. Sonja de Leeuw addressed particularly the necessity to collaborate with curators and archivists not only to identify collections that could benefit from research based on these technologies, but also to contribute to the research agenda and define the research questions. In a more critical note, Patrick Vonderau discussed the tacit shaping of the research agenda in this field by a tool-driven approach. Tools to be developed should always reflect the research interests and questions defined by the community of researchers and curators that long for new tool for novel research.

In his concluding remarks, Johan Oomen (Head of Research and Development, NISV) identified a number of tensions for future research given the current state of development of the technologies, the institutional settings and copyright policies in the digital domain. At the current state, the development of specific applications for well-defined research projects used within specific collections might be more preferable than the development of generic tools. Also, the work with well-defined collections might be more promising than research that aims at, for example, identifying reused material ‘on the whole internet’. Poofs of concept are at the moment more likely to be successful than large-scale projects. Also, for copyright reasons, collaborations with archives or collections that have their material already fingerprinted, seems more promising than starting from scratch. And finally, whereas most commercial players do use these technologies to protect their material, there seem to be no institutions in the public domain that have the urge to explore these technologies for their own benefit. The dialogue about these questions with representatives in the professional associations of the archival field has yet to begin.

This first exploratory symposium on the potential of video tracing and tracking technologies in Digital Humanities research will be followed up by a symposium on The many lives of Europe’s Audiovisual Heritage Online to be held at Utrecht University on May 16th, 2018. Here the focus will shift from the exploration of the current technical state of the art (as discussed on the October meeting) to the circulation and appropriation of Europe’s audiovisual heritage online.

Interested archivists, curators, researchers and software developers can contact the organizer of the symposium (Eggo Müller) or of the network (Johan Oomen) via email: e.mueller[at]uu.nl; joomen[at]beeldengeluid.nl.

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Pre-Conference: Radio, Refugees and Migrants: a workshop https://tvit.wp.hum.uu.nl/pre-conference-radio-refugees-and-migrants-a-workshop/ Mon, 09 May 2016 10:51:12 +0000 http://tvit.wp.hum.uu.nl/?p=744 13.00 hrs – 15.00 hrs, Utrecht University (room t.b.a.)

An invitation to share experience and discuss the role of community radio in this area of growing importance!
The discussion will begin with contributions from refugee broadcasters from several European countries including the Netherlands, and takes place as a pre-conference event before the start of the Transnational Radio Encounters (TRE) project’s final conference.
The workshop is free. We hope this will be useful platform for exchange between academics and practitioners.
Panel to include:
Representatives from OLON (Dutch Federation of Local Public Broadcasters)
Dan Cissokho, Station Manager of Peterborough Community Radio, UK
Larry. M. Macaulay, Founder/Editor in chief, Refugee Radio Network (Hamburg)
Judith Purkarthofer, President of the CMFE
Please reply to confirm a place to TRE partners Peter Lewis (London Metropolitan University,p.lewis@londonmet.ac.uk) and Caroline Mitchell (University of Sunderland,caroline.mitchell@sunderland.ac.uk)
Attendees of The Radio Conference 2016 can also sign up when they register for the conference.
This session will be in English.

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Women’s Radio and Transnational Entanglements https://tvit.wp.hum.uu.nl/womens-radio-and-transnational-entanglements/ Mon, 09 May 2016 10:47:18 +0000 http://tvit.wp.hum.uu.nl/?p=741 Triple presentation by

Alec Badenoch (Utrecht University)
Anya Luscombe (Roosevelt College)
Jose Perez (Universidad Complutense Madrid)

From its beginning as a means of mass communication in the 1920s, radio has been uniquely placed to bring communities of listeners together. Even after its (partial) technological, institutional and ideological embedding within nations, visions and practices of transnational radio have persisted to this day.  But also in ostensibly national or local settings, radio is intricately entangled in transnational processes of production and programming, as well as transnational cultures of listening and identity formation.  Utrecht University is one of the partners in the HERA-funded project TRE, Transnational Radio Encounters, with a subproject “international services between expats, empire and education’ devoted to exploring how radio is implicated in transnational infrastructures and public spheres, aesthetic constructions of territoriality and supporting or suppressing processes of cultural memory.  As a final output of this project this July 5-8, UU will host the Radio Conference Transnational Forum,  and present a first preview of an online exhibition developed together with the Nederlands Instituut voor Beeld en Geluid.
Exploring women’s social participation provides a key entry point toward exploring transnational entanglements of radio history, and it is these that he following meeting of TViT seminar of Monday 9th May is primarily devoted.  Alec and Anya are part of WREN (Women’s Radio in Europe Network, formed in 2012) which aims to explore the way women have made dis/connections over borders in Europe by using the radio – as producers, technicians, experts, amateurs, listeners and a range of other capacities. In this seminar, Alec Badenoch will present an overview of TRE and WREN research.  Anya Luscombe will present her current research project on Eleanor Roosevelt.

We will be joined by Jose Perez , a PhD student at the Contemporary History Department of the Universidad Complutense (Madrid) who will be a guest researcher in Utrecht for two months.  He will present his PhD project on the relationship between women and Radio Nacional de España (the Spanish public radio station) during the final phase of the Franco dictatorship in Spain.

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Datafication of Television – Karin van Es https://tvit.wp.hum.uu.nl/datafication-of-television-karin-van-es/ Fri, 01 Apr 2016 11:40:44 +0000 http://televisionintransition.wp.hum.uu.nl/?p=736 During this TViT session Karin van Es will present her ongoing and future research. In terms of the former, she will discuss Social Research in the Age of Data, the volume she is editing with Mirko Tobias Schäfer (to be published at AUP, summer 2016). In terms of the latter, she will briefly share her first thoughts for an NWO Veni proposal (tentatively titled: The Datafication of Televisions) inspired by a project she has recently completed at Utrecht Data School (see product: Re-imagining Television Audience Research: Tracing Viewing Patterns on Twitter). To stimulate a discussion about the intended application, we will be reading the following two texts:

Bourdon, Jerome and Cecile Meadel. 2011. “Inside Television Audience Measurement: Deconstructing the Ratings Machine.” Media, Culture & Society 33(5). 791-800.

Kosterich, Allie and Philip M. Napoli. 2016. “Reconfiguring the Audience Commodity: The Institutionalization of Social TV Analytics as Market Information Regime.” Television & New Media 17(3) 254-271.

Please send an email to e.mueller[at]uu.nl if you want to receive a pdf version of the two texts.

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Transmedia Serial Narration Symposium https://tvit.wp.hum.uu.nl/transmedia-serial-narration-symposium/ Fri, 01 Apr 2016 11:26:34 +0000 http://televisionintransition.wp.hum.uu.nl/?p=732 Programme

  • Transmedial Storytelling or Intermedial World-Making?
    A Sign-Pragmatic Phenomenological Approach to Border Crossings Between Media.”
    By Dr. Chiel Kattenbelt
  • Transmedia Storytelling:
    Between Augmented Storytelling, Worldbuilding and Marketing”
    By Dr. Melanie Bourdaa
  • Beyond Transmedia Theory:
    French Speaker Transmediatic Uses of Worlds in MMORPG and Series
    By Dr. Olivier Servais and Dr. Sarah Sepulchre

Free and Open to the Public.

Organized by Dr. Anne Kustritz, assistant professor in Media and Culture Studies, Utrecht Universiteit, with special thanks to Transmedia Serial Narration Network founder and co-organizer Dr. Claire Cornillion, Université du Havre. Supported by ICON and the Transmedia Serial Narration Scholarly Network.

Read more about the presentations and the presenters here

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