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      • Extra Resources >
        • ​1. Context for Research from 1971 forwards
        • ​2. Emerging technologies in industry prior to the research period (2007)
        • ​3. High Resolution Research 2007 - 2010
        • 4. Higher Dynamic Range Research 2010 - 2016
        • 2016 Bristol International Festival of Cinematography Video Documentation >
          • Cinefest 2016 Trailer
        • 2015 Bristol International Festival of Cinematography Video Documentation
        • The Verbatim History of Digital Cinematography >
          • The FIlms of Roberto Schaefer ASC, AIC at Encounters 2013 >
            • Professor Duncan Petrie on the structure of film training in the UK
            • An introduction to 'Resolution'
            • Projection Mapping
            • An Introduction to Motion Capture
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            • The Neurocinematics of FIlm: Hasson et al
            • RGB-Z Depth Capture in real time
            • The Future of Display Technology
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              • 18 Seconds
              • BOUNCE
              • 7 seconds
              • 4 seconds
          • Verbatim Interviews
          • The Verbatim History of the Aesthetics and Technologies of Analogue Video
          • A History of Video Art
          • Discussions
  • News
    • Latest releases & exhibitions
  • SHOP
  • The Present & The Past
    • The Present and The Past
    • Vida 1976 - 1981
    • Transition 1981 - 1982
    • Early Broadcast work: Triple Vision & Videomakers 1982 - 1985
    • Triple Vision & Channel 4 1985 - 1992
    • A Trip Sideways to the BBC
    • Cinematography and Scripting 1992 - 2006
    • Academia and a developing Artistic Practice 2007 - 2016
    • 2015 & 2016 Cinefest Bristol International Festival of Cinematography
    • Sedition 2015 - Present >
      • Sedition 2015 - Larger
    • Makersplace and NFT's 2020 - 2022
    • 2025 and beyond?
    • Resurrection (for Jean Cocteau) >
      • RWA, FRPS, academic
    • Anecdotal Evidence
  • Artworks, Installations, Docs
    • Artworks, Documentaries, Installations
    • Longer Form Artworks
    • Installations 1992 - The Present >
      • Proposed Exhibition
    • Short works with a life of their own
    • Collaboration: Terry Flaxton Shawn Bell
    • Collaboration: Terry Flaxton Emily Burridge
    • Collaboration: Terry Flaxton Charlotte Humpston
    • Collaboration: Terry Flaxton Al Lethbridge
    • Documentaries 70s to 90s
    • Channel 4 - Moving Image Art Resources
    • Blink 2003 to 2012
    • Work on Racism 1976 - 2000
    • Short Dramas
    • Music Industry Work
    • Music and Sound 1969 - 1975
    • An Early History of Video Art in the UK
    • Theatre Work
    • The Cold War Game: The Soviet Union
  • Phd
    • Abstract >
      • Aims of the Critical Commentary
      • Introduction: practice as research as an investigative tool and methodology
      • Prologue: My Prior Development as an Industry Practitioner, Artist & Academic
    • Portfolio 1 Guide >
      • Critical Commentary on Portfolio 1
      • Portfolio 1 Complete list of outputs
    • Portfolio 2 Guide >
      • Critical Commentary on Portfolio 2
      • Portfolio 2 Complete list of outputs
    • Portfolio 3 Guide >
      • Critical Commentary on Portfolio 3
      • Portfolio 3 Complete list of outputs
    • Portfolio 4 Guide >
      • Critical Commentary on Portfolio 4
      • Portfolio 4 Complete list of outputs
    • Phd Conclusion >
      • Consolidated Bibliography of Works Referred to in the Critical Commentaries
      • Key Propositions from the Research Period
      • Complete List of Outputs
      • Extra Resources >
        • ​1. Context for Research from 1971 forwards
        • ​2. Emerging technologies in industry prior to the research period (2007)
        • ​3. High Resolution Research 2007 - 2010
        • 4. Higher Dynamic Range Research 2010 - 2016
        • 2016 Bristol International Festival of Cinematography Video Documentation >
          • Cinefest 2016 Trailer
        • 2015 Bristol International Festival of Cinematography Video Documentation
        • The Verbatim History of Digital Cinematography >
          • The FIlms of Roberto Schaefer ASC, AIC at Encounters 2013 >
            • Professor Duncan Petrie on the structure of film training in the UK
            • An introduction to 'Resolution'
            • Projection Mapping
            • An Introduction to Motion Capture
            • Cinematographers Discuss Their Role
            • The Neurocinematics of FIlm: Hasson et al
            • RGB-Z Depth Capture in real time
            • The Future of Display Technology
            • CMIR ONE >
              • 18 Seconds
              • BOUNCE
              • 7 seconds
              • 4 seconds
          • Verbatim Interviews
          • The Verbatim History of the Aesthetics and Technologies of Analogue Video
          • A History of Video Art
          • Discussions

OPEN SPACE Symposium:
Aesthetics/Politics/Activism/Art: What is Radical Now?

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Venue: Bush House (rear of Arnolfini Gallery), 64 Prince Street, Bristol, BS1 4QD

Date: Friday 19th September 2014

The Centre for Moving Image Research, in association with the Bristol Radical Film Festival and Encounters Short Film and Animation Festival, invited all those with an interest in radicalism in the moving image to discuss, debate and explore exactly what that word has, does, could or should mean.

From newsreel, documentary and fiction film to artists’ film and video and gallery installation the word ‘radical’ has been used to describe a variety of practices that may be broadly grouped under the banner of the moving image. From its long association with the politics of the radical left and grass-roots activism to its more general usage to describe fundamental or profound departures from the norm (whatever that is), ‘radicalism’ is a word with a variety of competing and sometimes contradictory meanings.
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This event was dedicated to exploring radicalism in the moving image using the Open Space Technology (OST) format (http://en.wikipedia.org/wiki/Open_Space_Technology). In contrast to the traditional mode of conference organisation, the OST format allowed participants to self-organise the event on the day: collectively forming the agenda, electing facilitator/s and deciding the nature and duration of each of the processes that comprise the symposium. A CMIR representative talked through the OST process at the start of the day and there was a loose schedule to fall back on, but the idea was to design the day together and encourage free-thinking within a safe, yet ‘live’, environment.

In addition to this free-form, ‘unconference’ approach, we enabled brief (under 10 minutes), presentations to stimulate and inform the discussions. 

This was part of a weekend of events exploring radicalism in the moving image during Encounters Short Film and Animation Festival. Saturday saw the Bristol leg of ‘Vienna-Bristol-Riga: a journey in radical filmmaking’: three sessions of short films curated respectively by Encounters and the Bristol Radical Film Festival, Vienna Independent Shorts, and 2Annas International Film Festival in Latvia; while Sunday hosted a variety of 8mm film workshops, screenings and live performances. All events on both days took place at the Cube Microplex.
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