A collective of the largest German YouTubers have just before the European elections launched a campaign against the CDU and it’s a joy to see.
The CDU which is usually fully ignorant when it comes to digital issues has taken this broadside seriously. That by itself was a huge mistake. Most serious institutions would and should brush off something coming from new media.
Whether this will have an effect is hugely unclear. The core CDU audience is disconnected and apathetic but they do get a lot of votes from other segments as well and there they could be slightly vulnerable. In any case, the series of fumbles that the CDU has embarked upon while trying to address this has only served to give the boycott movement wings.
What’s interesting about the YouTubers is that they break with the German institutional consensus which is white, male and old. That group of people has a certain set of opinions and interests which has made sure that Germany has become increasingly backward. The YouTubers are young, (judging by their names and handles) diverse and not all male. And most importantly they have reach and fewer entrenched interests.
Even given that this is an amazing job description, you don’t often see companies describing themselves as a ‘socio-technical system’. This is a great way to show off both your care and your depth of thinking.
Zoom is an excellent video-conferencing app which turns out to be built on some technical excellence of its own (running WASM encoders and decoders in the browser).
“Really, though, it was the same liberal fantasy, where everyone could laugh together because they were all on the right side of history.”
Despite all the recommendations, I’ve always managed to resist watching Parks and Recreations. I have no time or patience for hopepunk.
The best thing about ContraPoints is that she gives the most charitable possible treatment to in this case Gender Critical people (the other time it was Incels) and then still rips them for all that they are.
Looked up Game of Thrones bastard names and I have to conclude that the surname for a bastard in Germany would have to be Wurst, like Hans Wurst.
Geert Wilders, leader of the PVV —the far right Dutch Freedom Party— had his campaign start today for the upcoming parliamentary elections in Spijkenisse, one of his traditional strongholds.
The eight o’clock news of the NOS (the Netherlands’ state broadcaster) opened with this and their reporter Michiel Breedveld on the scene in the video below said it had attracted ‘an unbelievable crowd of people’.
Other reporters who were on the scene today (1, 2) said the number of people Wilders had attracted was somewhere between 80 to 200 and that the ratio of supporters and press was about 1:1.
Salima Bouchtaoui: ‘Spijkenisse this Saturday morning. Lots of press. And lots of police. Few people.’
Haro Kraak: ‘There were at most 150 supporters of the PVV, probably fewer. And at least as much press, probably more.’
There seems to have been so much press that this was what it looked like most of the time.
This incident is oddly reminiscent of Trump’s inauguration where the actual number of people present was much lower than was claimed by the administration.
But the crucial difference is that Trump was the liar. Wilders could spread the lie that his campaign start ‘had the most people ever’ but why should he if the state broadcaster does it for him?
I strolled through the massive exhibition ‘Welt am Draht’ at Leipziger Strasse this weekend. This is a selection of video art from the massive Julia Stoschek Collection exhibited in the former Czech Cultural center.
Like everybody says the quality of video art in general is extremely inconsistent. That is true in this exhibit as well. There are a bunch of works where it is not at all obvious why somebody finished it, somebody approved it and somebody paid money for it.
The works that were most interesting in this exhibition consistently were not the video ones but those created with a game engine. That may be my own novelty bias at work, but a fully digital workflow like that allows: 1. more and faster iteration 2. fully dynamic products, the combination of which leads to totally new kinds of things that can be produced.
I forget what this was, but despite the concept being more or less ridiculous it has a compelling internal consistency.
RMB City by Cao Fei is a rich and spectacular playground of randomness.
I can’t really argue with any of Ed Atkins’s work which stands out for the pure skill of the renderings combined with spoken word that is not trite (so rare).
Ian Cheng’s Emissary Forks at Perfection is an ongoing collage of elements in a dynamic simulation that looks like an edgy version of the large scale installations Theo Watson makes.