Think of something better than a sunny Sunday in Bruxelles.
Free chocolate leaking from trees? Maybe.
We were actually referring to Saint-Gilles’ “parcour d’artistes”.

Tens of artists meet ordinary people in their own house-atelier. They can sell (yeah, artists are part of the market in Northern Europe!) their works (the European Commission will guarantee competitive prices) but even show and explain them only.

Against a vision of arts as an elitist sector, in which mutual ignorance represents an added economic value, this public initiative, at its fifth edition (the first one in 2004), confirms the vitality of a curious neighborhood, Saint-Gilles.
Following the rise of the new Bruxelles as a whole, the little shop of Saint-Gilles mixed the so-called “ethnic” diversity with the “age” and “culture” diversity, developing those dynamic metropolitan codes that always anticipate new real estate price explosions.
It’s as if arts and social media, in the whole Europe, were forced to perform the dirty job that “free market” is not capable to manage: innovation.
The only problem is that when the first ones “steal” ideas from mainstream culture, they are called “pirates” and severly judged. When it’s the latter that steal grassroots innovation, mad men call it “crowdsourcing”.

The talent-seekers, of which Naomi Klein already talked in her “No Logo” more than ten years ago, will have a new chance to get some fresh ideas (for free) soon.
Among the members of Smart, the influential trade unions for arts, “Les Ateliers pARTage” and more partners organize “Festival art links – l’art crée du lien”.

This meaningful initiative in the little shop of Saint-Gilles will allow arts specialists and common people to meet and share expositions and discussions, in particular about the most important and popular form of arts nowadays: the networking.


Close to the first BILLION of views of their channel, the American trio “Lonely Island” gave an official interview to Youtube.

The guys were asked about the genesis of their greatest hits, from “Jizz in my pants” to “Dick in a Box” (feat. Justin Timberlake), from “I just had sex” to “Like a boss“.

Most importantly, they were asked about the difference between web and TV success.
Simple, banal: TV gives money, on condition that you have an extraordinary success on the web before, which gives you all freedom but no money.

Not differently than any form of mainstream power, TV doesn’t like to take any risk: let’s have success with what has already succeeded.
What are the reasons of “The lonely island” success, though?
We believe that, not differently than in most cases of life, it lies upon smartness.
The trio gets their communicational power from the contrast between a “serious” mise en scène and popular (gross) linguistic expressions.

As our favorite track – “Ras Trent” (“A reggae song about the plight of being a white, upperclass, Ivy League Rasta”) – testifies, it might even be easy to analyze contradictions in a consumerist society. Nonetheless, what is astonishing, to the point to call it “talent”, is the ability to give back this complexity through a simple (therefore, effective) image.

The reduction of (political-social-cultural) complexity through audiovisuals is what we intend by “v-ideology”.

It grows

May 6, 2012

Espace Blanche“, contemporary art gallery, hosts a new young talent every month, in the open space you find behind the Grand Place, rue du marché au charbon, Bruxelles.
For the whole month of May “Espace Blanche” will give the floor to Sebastien Gairaud, Beaux Arts student from the South of France, who exposes in the capital city for his first time.

“‘Croissance’ (growth) here defines not only the organic state of these drawings that develop on leaves, but also the way ideas flourish and interact to each other in order to shape new figures and forms”, his presentation reads.

This exploration draws its raw materials from natural sciences, but also maths, physics, geography, digital technologies, and so on. As many dimensions that are connected to each other as well as to Arts (because of a continue questioning of the world around us, a world that we are keen to know from different angles), as possible points of view around the same object.”


It’s interesting how contemporary communication follows similar patterns of development, until it seems not possible anymore to distinguish the roots from which the leaves (a mass message) originated.
Multimedia-popular-street-institutional-visual-info communication grows up and never dies because it was never actually born.

3D Infovisions

April 29, 2012

Last Saturday, 28th of April, My PixHell organized an “Adobe After Effects users” meeting at l’École Supérieure des Arts SaintLuc de liège. They invited François Grassard to give a speech about 3D technologies in general.

Two things need to be stressed, such as a good and a bad news. The good news is how these powerful softwares (a good percentage of which are released under open source and/or free licenses) allow young techno-artists to produce even more powerful info-visions (it was interesting when Grassard explained how he got used to turn a limit within the software development into an opportunity).

The bad news deals with how muc time you have to dedicate to the (self)learning of these tools (sorry guys, you cannot have it all and for free): Grassard told his audience that he began to use AE fifteen years ago.
Nonetheless, the real barriers to a so-called “democratic” development of info-graphical knowledge lie utterly beyond the single individual’s time and will.

Info-visions don’t intend to ignore material obstacles to a free flow a crea(c)tivity: they just help people to pretend that ideas will save us.
That’s why we legitimately speak of (v)ideology, the science of video ideas.
Being ‘video’ the latin expression for ‘I see’, (v)ideology clearly becomes the science of ideas that I can see.

Still don’t know if what I can see deserves to be trusted.

Invaders in Bruxelles

April 22, 2012

Friday night Brussels hosted a major event: the vernissage of a well know street artist, “Space Invader”.
This is why the European Union capital has been recently covered with this original, still old-fashioned, form of graffiti.

Photo by Alessandro Cozzutto
Further example of the dynamism of Bruxelles D.C., Space Invader has become more famous than ever thanks to his participation to Banksy’s film “Exit through the gift shop”:

Moving fast in between political engagement and smart acceptance of the rules of the capitalistic game (which Banksy’s 2011 Academy Awards nomination for best documentary testifies), as it has often been the case for contemporary popular art in general, these artists are gaining more and more mainstream acclamation.

Do we think that the EU institutions can learn something from such a communication strategy?
Ask the Simpsons..

Speaking at the 2012 World Wide Web conference (Lyon, France), Commissioner Neelie Kroes, Vice-President of the European Commission, delivered an important speech, whose title reads “What does it mean to be open online?“.

It appears more and more clear that innovation is not just a matter of hardware and software, but requires, first of all, a strong engagement toward change, both at an organizational and intellectual level.

On the same Commissioner Kroes Youtube channel, it is possible to find an inspiring animation.
The inspiration sounds like: will EC trainees change the world?


April 19, 2012


Videotrainees is a platform, which the VideoMaking & WebSharing SubCommittee has made available to all SubCommittees that are part of the European Commission 2012 Summer Stage.

Do you want your SubCommittee to be part of our digital multimedia network?
We offer you technology, openness, and a video-making service for free..

Do you want to know more?

Document Freedom Day

April 15, 2012

The Video-Making & Web-Sharing Subcommittee presents the sum up of the Document Freedom Day at the European Parliament, Bruxelles (28th of March 2012).
The initiative aimed at raising awareness about the importance of interoperability in the development of a single European digital market.

The complete streaming of the conference is available at the following address

The VideoMaking & WebSharing aims at exploring the possible contamination between institutional and grassroots forms of communication, toward a more democratic access to the power of voice.
One basic requirement to establish such a bridge is a wider access to technology, both in terms of property and know-how.

We are all fakes
Who argues that professionals are supposed to take care of communication is missing the point: a professional as well as a non-professional (still, not less serious) are complementary to the development of common good practices, towards a knowledge spill-over effect.

Do you want to know more about this particular contemporary (v)ideology?

Stay tooned…