Open Set Lab is a long-term, thematic research programme in which participants dive deep into a specific, socially significant context and produce an individual work inspired by that case study. The programme closes with public symposia; during the closing conferences, participants present their projects to general audiences, thereby expanding their research beyond the confines of Open Set.
Open Set is pleased to announce Open Set Lab, a new research programme on the intersection between design, film, art and the humanities. The Lab runs from September 2017 until January 2018 and consists of lectures, interactive real-time sessions, and group critiques led by notable Dutch and international figures in design, art, and research. The programme provides a unique opportunity to fully access one of the largest audiovisual archives in Europe: the Netherlands Institute for Sound and Vision (television, radio, music, documentary films), containing factual and fictional narratives from 1898 to the present.
Open Set Lab offers participants flexibility through an innovative, hybrid learning environment: the programme operates in the online as well as physical realms, with dual headquarters at the Netherlands Institute for Sound and Vision at the Media Park in Hilversum and at the Master Institute at AKV|St.Joost in Den Bosch.
Participants can attend both physically at the headquarters and online via the Open Set Dahsboard platform. The real-time working sessions and group critiques will take place every two weeks on Fridays and Saturdays.
The five-month programme concludes with a public conference where participants can present their results.
The Lab is aimed at International designers, media artists, film makers, photographers and other cultural producers.
Being oriented towards analysis of the visuals and algorithms of the archive, the Dutch language is not a prerequisite for participating in the project.
In light of the increasing complexity and uncertainty of the political, environmental and social challenges humanity is facing now, a growing number of events and publications are addressing the necessity and difficulty of envisioning alternative futures. There seems to be an urge for re-engaging with our heritage and memories, not only as the ‘source’ of the present condition but, paradoxically, as an instrument for planning the future. How can we de-mystify our historical conventions, re-contextualize our previous experience, give it new meaning based on present conditions and transform it for the future? How do we preserve the traces of the past, and how do we make sense of them in the digital age? Whether it be social network platforms, carefully curated collections, or state archives, how we archive and what we archive are unavoidable aspects that determine our memory.
The Lab investigates the power of agency held by designers and artists to create new tools, ways of thinking and visual or performative narratives that can reactivate our memory – and as a result, open up futuristic pluralities. However, the complexity of the global challenges described above calls for a concerted effort of research expertise in the domains of the arts, humanities, philosophy and technology.
1. Mutation of the nature, meaning and practice of archives in the digital era. The contemporary archive as an authority that narrates collective memories versus a territory for creating subjective memories and futuristic pluralities.
2. Visual strategies in audiovisual documents: the codified construction of events or facts. What role does fiction play in factual news reporting? The constructing of a public audience in the history of broadcasting: conventions, or contradictory evidence proposing an alternative public or alternative history of the same events?
3. Algorithmic nature of contemporary data archives: curatorial dimension of algorithms for analyzing, searching and distributing content; influence of computer learning mechanisms on the design of archival algorithms. The archival process and archival infrastructure: misuse and disruption of systems that predetermine the usual direction of viewing and navigation.
Examples of potential projects could be models and prototypes of moderating, selecting and publishing an archive, visual and speculative essays built on the content of the archive, analysis of the visual strategies and ‘codes’ that have been used in Dutch television for more than a century, etc;
This includes access to live feedback sessions and lectures, as well as the possibility to present their research during public events, in the Online Reader, and via other channels.
The building of the Institute of Sound and Vision, design Neutelings Riedijk Architecten. Foto: Daria Scagliola en Stijn Brakkee
Part of the Wall of Fame. Foto: Beeld en Geluid
Efficiency marathon for self made vehicles, Students of the College of Technology in Delft, 1 January 1979. Source: Open Images | www.openbeelden.nl
Exhibition man and computer, the Museum for Education in The Hague, 1 January 1979. Source: Open Images | www.openbeelden.nl
Independence demonstration in Paramaribo, 15 December 1971. Source: Open Images | www.openbeelden.nl
The largest flower auction in the world in Aalsmeer, 1 April 1972. Source: Open Images | www.openbeelden.nl
Morgen Gebeurt Het (TV Series), 26 November 1958. Source: Netherlands Institute for Sound and Vision, 2017
The programme operates in the online and physical realm, with dual headquarters at the Netherlands Institute for Sound and Vision at the Media Park in Hilversum and at the St. Joost Master Institute in Den Bosch.
Deadlines for applications:
Early Birds — May 22, 2017; the final deadline is extended until July 31, 2017.
Full programme fee: 900 euro (800 euro for Early Birds).
A maximum of 32 applicants will be accepted.
The programme is made possible by the support of Het Pauwhof Fonds and organized in collaboration with the Netherlands Institute for Sound and Vision and The Master Institute at AKV|St.Joost.
Design: Studio Rodina