2024/1 - #Open

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#Open: An Introduction
Lameris, Bregt; de Rosa, Miriam; Pastor-González, Victoria; Sondervan, Jeroen (2024) , S. 4-12
Open science represents a paradigm shift in research, aiming for accessibility, inclusivi- ty, and sustainability. Articles in this special section #Open examine a wide range of projects, practices, and research approaches that embrace these principles in multiple ways. Some delve into open practices in publishing and how they challenge traditional academic structures; others explore how digital platforms have the potential to both enable and curb the progress of open science. Several focus on the more or less implicit impact of researchers in the wider community through open education, public en- gagement, and citizen science. The selected contributions not only provide insight on the challenges and opportunities of openness in media studies, but also gather a dia- mond open collection of articles and essays, with no financial burden for readers as well as authors. In this sense, this issue concretely puts into practice the ethos that it embraces, and acts as a call to action for the larger academic community to engage in collective efforts towards sustainable open scholarship practices and models.
Twisties!
Lenay, Alice; Gay-Mazas, Théophile (2024) , S. 355-357
Liquid Spaces: Politics of the Screen, an interview with Doreen A. Ríos
Dekker, Annet (2024) , S. 340-348
The exhibition Liquid Spaces: Politics of the Screen, curated by Doreen A. Ríos for the Bienal Universitaria de Arte Multimedial (BUAM) in Ecuador, delves into the dynamic nature of environments shaped by digital technologies. Underscoring the complexities of screen interfaces and their societal implications, Ríos explores the concept of ‘liquid spaces’, where boundaries blur and definitions remain elusive, reflecting perpetual change. Set within the Latin American context, the artworks address themes such as extractivism, surveillance, and technocapitalism. The exhibition features a diverse range of artworks, including painting and virtual reality, through which the relationship between the body and the screen is discussed, while highlighting audience engagement and interaction as integral components of the viewing experience. Drawing from her previous curatorial endeavors, in an interview with Annet Dekker, Ríos reflects on the transformative influence of screens on perceptions and realities, suggesting that screens serve as modern oracles and their users as potential shamans navigating the digital landscape.
Sitting, standing, dancing with our screens: An introduction
Galibert-Laîné, Chloé (2024) , S. 349-354
Xena’s Body
Lacurie, Occitane (2024) , S. 358-361
Opening up, closing down: An interview with Lisa Parks on ‘media backends’
Keilbach, Judith; Kopitz, Linda (2024) , S. 387-396
the look for sit down
Bailleul, Nicolas (2024) , S. 366-368
Cooperation or conflict? Merging documentary filmmaking and oral history practices in The Eastside Project
Fisher, Ted; Mitchell, Don Allan (2024) , S. 116-134
Rigorous formal oral history practices have great academic and cultural value but tend to produce recordings rather than stories. Conversely, ‘creative documentary’ practices have reinvigorated traditional nonfiction film production but are often arbitrary in viewpoint and emphasis. Can using an open archive reconcile and re-energise these two practices? In 2022, we began filming video interviews for a new digital oral history archive at Delta State University in Cleveland, Mississippi. In this paper, we address essential conflicts between traditional oral history methodology and documentary filmmaking and how these practices can complement each other.
Introducing open montage: Material performativity in urban media configurations in space
Jordan, Mel; Rizzioli, Giorgia (2024) , S. 74-96
This article introduces the concept of ‘open montage’, a framework developed to explore the media configurations between art, cinema, and urban space and the entangled relations this interplay presents in terms of publics and publicness. The unique perspective of our open montage concept enables us to put forth a framework for artistic arrangements in space, which liberates them from the confines of representation and human interpretation. Our argument for the notion of open montage also lies in its ability to challenge conventional theories about spectators, presenting them as active participants in a process of material embodiment bound by spatial and temporal constraints. The structure of our article revolves around the theme of openness. We draw on art, critical theory, and media studies literature to demonstrate the concept of open montage and its application in spatial coordinates. Subsequently, we explore the lens of posthumanism, aiming to challenge the linguistic account characterising the public dimension evident in the montage of our media configurations in space.
Game engines: Optimising VFX, reshaping visual media
Livingstone, Tom (2024) , S. 180-201
Game engines have emerged as a significant site of convergence for several visual media pipelines, from XR to animation and In-Camera VFX (ICVFX). However, they are a computational medium – the images they produce are the derivative by-products of their management of computational complexity. Focussing on the game engine-dependent production technique of In-Camera VFX, this article will explore the ways in which game engine visuality incorporates and re-mediates a great deal of the phenomenological and epistemic characteristics of photographic visuality, in a way that de-prioritises visuality as a sensed and embodied experience. The article offers an outline of the image pipelines of photographic and game engine visuality, emphasising the difference in their relations to external phenomena, profilmic reality, and processes such as data management and computational optimisation. The article discusses the production logistics of ICVFX with specific reference to the ‘magic cutaway’, a trope that represents, in its ubiquity, the successful optimisation of both film production and ‘real time’ rendering within the virtual production context. The article will then offer a case study to open up not just the aesthetic impact of ICVFX, but to reflect on the de-prioritisation of photographic, lens-based images – correlated as they are to embodied ocular perception – within visual media. Speculating on the epistemic impact of a predominantly computational, as opposed to ocular, visual regime, this article will conclude by drawing insights from critical algorithm studies and the broader field of digital humanities.
On reaching and creating your audience: VR artist Nemo Vos on the role of film festivals
de Valck, Marijke (2024) , S. 287-295
Dutch artist Nemo Vos discusses his approach to VR and his vision of the role played by film festivals in making VR available. Reflecting on the premiere of his work 8 Billion Selves at International Film Festival Rotterdam in 2024, Vos addresses both the challenges and advantages of exhibiting VR at festivals. Looking to the future, Vos outlines his vision for a series of co-created VR works, each featuring a different artist and aiming for distribution in theatres to achieve economic sustainability for the medium. The artist emphasises the responsibility VR artists themselves have in creating awareness and cultivating audiences, and details how he uses co-creation and collaboration with other art forms to elevate VR from a niche technology to a mainstream artistic form.
Why (film) festivals? Virtual reality experiences at a crossroads
Bédard, Philippe (2024) , S. 277-286
Openness as a creative principle: Home movies, found footage, and their second life in the documentary film Reconstruction of Occupation
Řehořová, Irena (2024) , S. 97-115
This paper addresses the concept of openness within the context of audiovisual archives and memory, focusing specifically on the repurposing of home movies and found footage in the creation of new cinematic works. Despite their inherently personal nature, home movies have emerged as valuable repositories of historical and societal insights, diverging from images and narratives offered by professional cinematography. Ensuring their accessibility to a wider audience, beyond their availability in public or private archives, is pivotal for their contribution to cultural memory. One effective strategy to enhance accessibility, visibility, and relevance for contemporary audiences involves integrating home movies and found footage into novel assemblages, such as documentary films: through re-use, recontextualisation, and reappropriation, the archival footage can be given a new, meaningful life. This study examines the documentary film Rekonstrukce okupace (Reconstruction of Occupation, 2021) as a notable example of such practice and argues that openness is a principle that was intrinsic to its creation, particularly in terms of the film
Video essay, videographic criticism, polymedial essayism, polymodal essayism
Sekar, Sureshkumar (2024) , S. 51-73
I propose that, as a video essayist, when I orchestrate an essayistic audiovisual narrative using multiple units of meaning potential in written and spoken word, still and moving images, sound and music, and other such building blocks of a communicative entity, I practice polymedial essayism. Authors of video essays of all kinds – say, YouTube video essays, TikTok video essays, academic video essays, explainer videos, science videos – on all subjects in all disciplines, even subjects that does not involve analysing audiovisual media, and producers of even audio essays, are practitioners of polymedial essayism; the practice can also be called polymodal essayism.
Archiving Europe: Unveiling the visual world through stock shots in French television (2001-2021)
Shen, Shiming (2024) , S. 370-386
The ANR CROBORA project investigates the influence of stock shots in fostering a shared European cultural imaginary through television and online media, focusing particularly on the selective deployment of visual elements. This data paper centers on an extensive dataset of French television content preserved by the Institut national de l’audiovisuel (INA), covering the period 2001-2021. Enhanced by meticulous manual annotation, the dataset provides a rich basis for examining the semantic nuances of these visual elements. The project aims to uncover patterns in the usage of these images, tracking their evolution and distribution across time and institutional boundaries. Additionally, the CROBORA project plans to offer this dataset on an innovative visual platform equipped with advanced functionalities to support exploratory data analysis, enabling researchers to integrate various keywords and delve into the data more effectively.
Insomnolence: The Sociability of Sleep at Agora Hydro-Québec
Pape, Toni (2024) , S. 329-339
Navigating new horizons: Openness, blogs, and media studies
Diecke, Josephine; Matuszkiewicz, Kai (2024) , S. 33-50
The transformation of established academic publishing systems is reshaping the landscape of media studies and emerging publication formats are challenging traditional habits. This article examines open access publication practices through the prism of the Open Media Studies Blog (OMS Blog). With a praxeological lens, the study delves into the sociotechnical dimensions of this shifting media studies publication environment. Central to our inquiry is the concept of ‘lived’ open science. Our open science philosophy guides content curation, format selection, and engagement strategies, shaping the very essence of our scholarly endeavors. By placing our own editorial practices under the microscope, we engage in a form of self-reflection that elucidates the challenges and triumphs of embracing openness. We probe the boundaries of openness, recognising the intricate interplay of financial, technical, social, political, and strategic factors that shape our scholarly endeavors. This study also examines the evolving roles of authors, editors, publishers, and readers in response to evolving scholarly demands. We question whether we are prepared, supported, and empowered to challenge prevailing structures that uphold inequality.
Opening up science as a work: An international comparison of openness to society and openness of publication
Ottolini, Lucile; Noel, Marianne (2024) , S. 135-156
The last twenty years of open science advocacy and the more recent proliferation of programs and funding have shown that open science has become a veritable mantra. The term relates to a variety of initiatives and dimensions, from opening up the institutional governance of institutions to opening up access to scientific articles, research fields, data production, and so on. As mentioned in the call for proposals in this special issue, the diversity of these initiatives makes it difficult to carry out a comparative analysis.
Formalism expanded
Davies, Byron (2024) , S. 308-315
Editorial NECSUS: Spring 2024_#Open
Pape,Toni; Beugnet, Martine; de Cuir Jr, Greg; Keilbach, Judith; Loist, Skadi; Vidal, Belén; Virginás, Andrea (2024) , S. 1-3

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