Call 2: Working sustainably internationally
A culture performance in online space
Although there has been a big move in the digitization of art, often only part of a story is conveyed to the audience, but not a deeper message. Technology is largely to blame for this, record is made by directing, which is not natural for most listeners. The listener has his own idea of what he wants to focus on. We perceive virtual reality is the first aspect of development. But art is a very sensitive discipline where it is only partially possible to communicate online. It is not possible to completely replace live contact only with online space. The second aspect we perceive the minimization of transfer, mainly in an ecological way (financially unattainable for cultural space today). Last, we perceive efficiency as a combination of the previous two aspects. By making a top record of the VR, it is possible to reduce the need for visitors to travel for art and thus effectively reduce the ecological footprint, but we don't want to prevent the artistic experience that only international cooperation allows thanks to a wide range
Ensembles from Flanders or from Brussel have an opportunity to create international performances and because of the virtual reality anybody from whole world could see it (and because of the virtual reality Flanders and Brussels audience could see the ensembles from whole world). We suggest, new world platform for the cover virtual reality for cultural projects may be born. Last think, because is not necessary to visit the concerts (because of the opportunity of virtual reality), it may reduce the ecological footprint because of the reduction of travel to performance.
we are flexible
CET-Central European Time-UTC +1
Dutch, English, German, Other
Karel Valenta, firstname.lastname@example.org, +420 606 603 781
I wish to tackle the challenges entailed in digital artivist exchanges between Global South marginalised groups in Latin America and Africa. The aim is to investigate how digital artivism can be used to connect colonial histories separated by Global geographies of oppression. How can digital artivism capture instances when plural Souths meet? How can these work as tools for movement building?