Open media seminar series

The programme for the next series of Open Media seminars has now been posted by Janneke Adema.

Coventry School of Art and Design and the Department of Media invite you to a year-long series of research seminars on the theme of openness in media in all its forms. All the seminars are free to attend and open to all.

Podcasts of previous Open Media seminars are available here.

For more information see here.
 
Programme: January – March 2012
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January 31st:
Tessa J. Houghton (University of Nottingham Malaysia Campus) – ‘#blackout: the viral counterpublicity of online protest’ (Read More)
 
February 14th:
Paolo Ruffino (Goldsmiths, University of London) – ‘How to open an engine: narratives of production and consumption in video game culture’
 
March 6th:
Cornelia Sollfrank (net.artist) – ‘title tbc’
 
March 20th:
Stefan Herbrechter (Coventry University) – ‘Just Gaming: Digital Games, Remediation, Electracy’
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When: 1:45-2:45 on selected Tuesdays in January, February and March
Where: ICE, Media and Communications room
 
Institute for Creative Enterprise (ICE)
Coventry University Enterprises
Puma Way, Coventry
CV1 2TT
 
All seminars are free to attend and open to all.
 
For further details on how to get to Coventry see:
http://wwwm.coventry.ac.uk/university/maps/Pages/Travelinformation.aspx
 
How to get to ICE, see:
http://maps.google.com/maps?saddr=&daddr=52.403937,-1.505545
 
All enquiries please contact:
Janneke Adema | Email: ademaj@uni.coventry.ac.uk|
www.openreflections.wordpress.com | http://twitter.com/Openreflections 

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Digital Media have become ubiquitous. Our experiences are on the verge of being mediated and augmented non-stop via mobile and web-based recording devices which offer the possibility to merge, mix, and mash up texts, images, sound and other data formats. In the digital age we seem to be no longer confined by the boundaries that have governed traditional media. Notions of authorship, expertise, authority, stability, ownership and control from above are being challenged by the prosuming multi-user and crowd-sourced use of borderless multimedia applications. People can produce and publish their own books via Lulu.com, promote their art on online gallery sites, and advertise their music via Myspace and Youtube. They can follow an education via iTunesU, call friends abroad via Skype for free, connect and update the world via Facebook and Twitter and fund projects via Kickstarter.

These developments have led many to claim that the web and digital media offer unprecedented democratizing options for media producers, consumers and critics. However, reality is more complicated. Many (public and tax-funded) media are still behind pay-walls. Our private data are hosted and distributed via commercial social media platforms. Blogs are still not taken seriously in the academic world. Google is digitizing our books. Music mash-ups are sued for copyright infringement and fears for ebook piracy rule the literary world.

The concept of openness constitutes a radical critique against the closed-off worlds of what we might call the ‘traditional media’. It urges for the right to transparency, the ethics of sharing, the value of re-use and the benefits of connecting. However, openness also has its drawbacks. If cultural products are freely available, who pays the producers? Do open data pose security risks and who gets to control this data? Who governs our creative output? In what way can we control and keep check on the media we use? Is there still a place for authority and expertise in open media or are these notions explicitly being challenged? In what ways can media be open, and can they really be truly open? Where does openness end? Should we rather focus on specific aspects of openness? How can we generate a media critique when media are constantly updated and changed, including our critique itself?

In this lecture series various examples and aspects of openness in media will be explored. Special attention will be paid to the benefits and drawbacks of openness and the kind of possibilities openness offers for the future of media production, use and critique.