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Video is a part of everyday life, comparable to driving a car or taking a shower. It is nearly omnipresent, available on demand and attached to nearby anything, anywhere. Online Video became something vital and independent. With all the video created by the cameras around us, constantly uploading, sharing, linking, and relating, a blue ocean is covering our planet, an ocean of video. What might look as bluish noise and dust from the far outside, might embed beautiful and fascinating living scapes of moving images, objects constantly changing, re-arranging, assembling, evolving, collapsing, but never disappearing, a real cinema. Andreas Treske describes and theorizes these objects formerly named video, their forms, behaviours and properties. Andreas Treske is an author, filmmaker, and media artist living in Turkey. He graduated from the University of Television and Film, Munich, where he also taught film and video post-production. He teaches in the Department of Communication and Design at Bilkent University, Ankara, visual communication and media production, incl. new media. He is a member of the video vortex network and corresponding member of CILECT, the world association of film schools.

Video is a part of everyday life, comparable to driving a car or taking a shower. It is nearly omnipresent, available on demand and attached to nearby anything, anywhere. Online Video became something vital and independent. With all the video created by the cameras around us, constantly uploading, sharing, linking, and relating, a blue ocean is covering our planet, an ocean of video. What might look as bluish noise and dust from the far outside, might embed beautiful and fascinating living scapes of moving images, objects constantly changing, re-arranging, assembling, evolving, collapsing, but never disappearing, a real cinema. - Andreas Treske describes and theorizes these objects formerly named video, their forms, behaviours and properties.

Video is a part of everyday life, comparable to driving a car or taking a shower. It is nearly omnipresent, available on demand and attached to nearby anything, anywhere. Online Video became something vital and independent. With all the video created by the cameras around us, constantly uploading, sharing, linking, and relating, a blue ocean is covering our planet, an ocean of video. What might look as bluish noise and dust from the far outside, might embed beautiful and fascinating living scapes of moving images, objects constantly changing, re-arranging, assembling, evolving, collapsing, but never disappearing, a real cinema.Andreas Treske describes and theorizes these objects formerly named video, their forms, behaviours and properties.

"Video gaming is economically, educationally, culturally, socially and theoretically important, and has, in a relatively short period of time, firmly cemented its place within contemporary life. It is fair to say, however, that the majority of research to date has focused most specifically on either the video games themselves, or the direct engagement of gamers with a specific piece of game technology. In contrast, Video Gamers is the first book to explicitly and comprehensively address how digital games are experienced and engaged with in the everyday lives, social networks and consumer patterns of those who play them. In doing so, the book provides a key introduction to the study of gamers and the games they play, whilst also reflecting on the current debates and literatures surrounding the virtual world"--

This is a historiographical study of video art in Brazil from the aesthetic and conceptual aspects of independent video. The study aimed to promote a dialogue with audiovisual works, which are part of political actions, which marked the critical and engaging stance in the 1980s and its insertion in commercial television aimed at the production of historical knowledge about the audiovisual in its interfaces with other fields of video arts. The producer Olhar Eletrônico is the object of study of this article and the corpus analyzed is composed of one of the experimental frame: Ernesto Varela, produced in 1984 whose irony and empathy are traces of his reflection and political criticism. ; Trata-se de um estudo historiográfico sobre a videoarte no Brasil a partir de aspectos estéticos e conceituais do vídeo independente. O estudo buscou promover um diálogo com obras audiovisuais, integrantes de ações políticas, que marcaram a postura crítica e de engajamento na década de 1980 e sua inserção na televisão comercial visando à produção do conhecimento histórico a respeito do audiovisual em suas interfaces com outros campos das artes do vídeo. A produtora Olhar Eletrônico é objeto de estudo deste artigo. O corpus analisado é composto de um dos seus quadros experimentais: Ernesto Varela, produzido em 1984 e cujas ironia e empatia são traços de sua reflexão e crítica política.

La animación social ha sido definida como una estrategia de democratización cultural que permite la participación de los sectores populares en su propio desarrollo. En Chile la apertura a la importación masiva de equipos facilitó e incentivó la producción y difusión de videos. La autora propone una metodología para la producción y uso del video. Señala que la formación de grupos de producción en organizaciones de base es parte de un proceso de transformación gradual de receptores en emisores comunitarios y de desarrollo de la expresividad e identidad local.

La animación social ha sido definida como una estrategia de democratización cultural que permite la participación de los sectores populares en su propio desarrollo. En Chile la apertura a la importación masiva de equipos facilitó e incentivó la producción y difusión de videos. La autora propone una metodología para la producción y uso del video. Señala que la formación de grupos de producción en organizaciones de base es parte de un proceso de transformación gradual de receptores en emisores comunitarios y de desarrollo de la expresividad e identidad local.

In this paper we join a growing body of studies that learn from vernacular video analysts quite what video analysis as an intelligible course of action might be. Rather than pursuing epistemic questions regarding video as a number of other studies of video analysis have done, our concern here is with the crafts of producing the filmic. As such we examine how audio and video clips are indexed and brought to hand during the logging process, how a first assembly of the film is built at the editing bench and how logics of shot sequencing relate to wider concerns of plotting, genre and so on. In its conclusion we make a number of suggestions about the future directions of studying video and film editors at work.