This texteo mixes (or creates a montage with) three elements: the ideas and images of
Jean Renoir, avant-garde/political filmmaker and theorist, my writing describing lessons learned through my reflections on teaching LFYT 2007, and two videos related through a dialectic. In my blog post
"On Slogans" I write: "I ask you to think of the following slogans—penned by committed artists from long-past revolutions, times, and places, and then followed by my own slogan responses—as a call to arms for how we might better muster today's technology to contribute to an ongoing project of improving the possibilities for presentation, interpretation, and abstract social evaluation, human interaction, perception, and epistemology, through
media praxis."
According to James Leahy: "The generation that came to the cinema in the '60s and '70s (perhaps the richest and most diverse era in European cinema) recognised Renoir as an ancestor who had already made the kind of films they admired or were setting out to make themselves, and justly hailed them as masterpieces."
[cit]
Independent,
radical, or
committed media refer to uses of mediation technologies that take place outside corporate and conventional structures of finance, form, or
function—that is, media that are meant for
personal or artistic expression,
community building,
political intervention, or education. YouTube at once is and is not alternative media.
"YouTube is as participatory as market research, and as democratic as public opinion polls," according to Jens Schroter.
[cit]
YouTube Play, a Biennial of Creative Video, went on view in October, 2010. "Those who thought they heard the barbarians at the gate when the Guggenheim announced this project can exhale. There is no rabble here, only technically savvy competence," writes Roberta Smith for
The New York Times Art Review.
[cit]
One of my ten
founding terms for this project is
access. A greater number of individuals from more diverse cross-sections of society need to make, see, and understand radical or expressive media.
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