Video Vortex Reader II: moving images beyond YouTube

210 Video Vortex Reader II Moving Images Beyond Youtubetechnological approaches211Kristof Nyiri (ed.) Mobile Democracy, Vienna: Passagen Verlag, 2003, pp. 317-326.Kim, H. ‘Korea is leading in the e-world [News in Focus]: From personal to government systems, thenation is a model for other countries’, Joong Ang Daily, 2010, http://joongangdaily.joins.com/article/view.asp?aid=2918498.Koskinen, Ilpo, ‘Managing Banality in Mobile Multimedia’, in R. Pertierra (ed.) The Social Constructionand Usage of Communication Technologies: European and Asian Experiences, Singapore:Singapore University Press, 2007, pp. 48-60.Kücklich, Julian. ‘Precarious Playbour: Modders and the Digital Games Industry’, Fibreculture Journal5(2005), http://journal.fibreculture.org/issue5/kucklich.html.Lee, Dong-Hoo. ‘Wifebloggers’, Crossroads Conference, Lingnan University, Hong Kong, June, 2010._____. ‘Mobile snapshots and private/public boundaries’, Knowledge, Technology & Policy, 22(2009): 161-171._____. ‘Re-imaging Urban Space: Mobility, Connectivity, and a Sense of Place’, in Gerard Goggin andLarissa Hjorth (eds) Mobile Technologies, Routledge: London/New York, 2008, pp. 235-251._____. ‘Women’s Creation of Camera Phone Culture’, Fibreculture Journal 6 (2005), http://journal.fibreculture.org.Lee, D.K. ‘Catch the digital new tribes, “Chal-na-jok”’, Yonhap News, http://app.yonhapnews.co.kr/YNA/Basic/article/new_search/YIBW_showSearchArticle.aspx?searchpart=article&searchtext=&contents_id=AKR20100417073700003.Lee, J.I.. ‘Opening new era of 2 mobile phones per person in Korea’, Asia Economics 2009, http://www.asiae.co.kr/news/view.htm?idxno=2009010207554653133&nvr=.Moon, Iris. ‘E-Society: My World is Cyworld’, BusinessWeek Online, September 26, 2005, http://www.businessweek.com/magazine/content/05_39/b3952405.htm.Moon, Jung Youn. 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Providence, Rhode Island: Center for Public Policy,Brown University, 2006.Yang, S. J and Y.J. Park. ‘A Study on the Motivation and the Influence of Using Personal Community’,Journal of Consumer Studies 16.4 (2005): 129-150.Yoon, Kyongwon. ‘The Making of Neo-Confucian Cyberkids: Representations of Young Mobile PhoneUsers in South Korea’, New Media & Society, 8.5 (2006): 753-771.______. ‘Retraditionalizing the Mobile: Young People’s Sociality and Mobile Phone Use in Seoul,South Korea’, European Journal of Cultural Studies, 6.3 (2003): 327-343.Yoo, Soohyun. ‘Online Community and Community Capacity’, in Gerard Goggin & Mark McLelland(eds) Internationalising Internet Studies, Routledge: London, 2008, pp. 217-236.Degeneracy in Online Video PlatformsMatthew WilliamsonAt the 2010 International Experimental Media Congress held in Toronto, Canadian artistMichael Snow sat on a panel entitled ‘The Place of Medium’. In response to a commentabout his film Wavelength having been watched on YouTube 50,000 times, Snow comparedwatching his films online to seeing a ghost, and stated that those people had not actually seenthe film at all. When discussing media migration, 1 the question of online viewing is lumpedtogether with other concerns about form, but how is the line drawn between videos on onewebsite or another? In our day-to-day interactions with online video, does it matter whether weare watching the ghost of Michael Snow’s Wavelength on YouTube 2 or Tudou? 3 Can KeyboardCat 4 be watched on break.com, ebaumsworld.com or collegehumour.com with the same effect?Are other practices, such as projects that comment on online culture, affected by whois hosting them? Surely if there is a case to be made for the significance of format in regard toSnow’s film, there is one to be made for Charlie Schmidt and his deceased cat Fatso.In many discussions of video sharing culture, the only service mentioned by name will beYouTube. YouTube is arguably the generic trademark for online video, yet it is far from generic.While it is reasonable to begin the discussion with YouTube, we have reached a pointat which the plurality of hosting options, and the importance of these options to the wholeof online culture, requires exploration. For a working definition of video hosting, Wikipediaprovides a definition broad enough to encompass many sites, stating that: ‘A video hostingservice allows individuals to upload video clips to an Internet website. The video host will thenstore the video on its server, and show the individual different types of code to allow others toview this video’. 5 A fast and easy index of sites can be found on Wikipedia, 6 as can chartsshowing some of the differences between sites. 7Online video is used in a lot of different ways: vlogs, remixes, amateur special effects, andyour mom’s vacation videos will all find a home somewhere. Some of the larger video sharingsites play host to a great number of overlapping communities, but others will only toleratespecific behaviours and forms of video. For example, Flickr accepts video, but only if it isbelow 90 seconds in length.1. Alain Depocas, Jon Ippolito, and Caitlin Jones, (eds) Permanence Through Change: TheVariable Media Approach, co-published by the Guggenheim Museum and The Daniel LangloisFoundation for Art, Science & Technology, 2003.2. ‘wavelength’ (dir. Michael Snow, 1967) http://www.youtube.com/watch?v=lzPwuP6AmCk.3. ‘ Wavelength.(Michael.Snow).1967’, http://www.tudou.com/programs/view/UkBCsMeL6qI/.4. ‘Charlie Schmidt’s “Keyboard Cat”! - ORIGINAL!’, http://www.youtube.com/watch?v=J---aiyznGQ.5. http://en.wikipedia.org/wiki/Video_hosting_service.6. http://en.wikipedia.org/wiki/List_of_video_sharing_websites.7. http://en.wikipedia.org/wiki/Comparison_of_video_services.