Advert Classics

Event Date: 
Thu, 01/07/2010 (All day) to Fri, 22/07/2011 (All day)
Beurs van Berlage

Advertising forms part of our national culture and of our personal history. Advertising shows us who we were and who we are, often in a humorous and sometimes poignant manner. Ask a random person on the street what his favourite paintings are and chances are you’ll get a short answer. But ask that same passer-by what his favourite ad-campaign or commercial is and you’ll get an immediate response.

At the exhibition ‘Advert Classics’ at the Beurs van Berlage, visitors will take a journey past a historical mix of public favourites and classic campaigns,. Take the very first Blue Band (margarine brand) girl, the controversial ‘Rather naked than fake’ or the Just Call Apeldoorn commercials, a reference to the head-office of insurance company Centraal Beheer which is situated in Apeldoorn.

Also part of the exhibition is the El HEMA pop-up shop – an imaginary Arabic version of the popular Dutch warehouse HEMA. The shop aims to unite some remarkable expressions of the Dutch and Arabic culture. The products for sale (T-shirts, wine, coffee and chocolate) and the packaging for the El HEMA pop-up store are designed by Mediamatic together with a team of designers from Lebanon, Kuwait and the Netherlands.

The exhibition covers more than 150 Dutch advert classics. The selection is made by the leading advertising historian of the Netherlands, Wilbert Schreurs, who is also curator of the exhibition, and has then been submitted to a jury consisting of 32 communication professionals. The exhibition is opened daily, until 27-02-2011. The location is Beurs van Berlage in Amsterdam. Wilbert Schreurs is a member of the VU-team of TEF.

Knowledge Transfer events: “Advertising and the Sublime”

Event Date: 
Fri, 19/04/2013 (All day) to Sun, 21/04/2013 (All day)
Netherlands Institute for Sound and Vision, Hilversum: 19 April 2013, EYE Film Institute Netherlands, Amsterdam: 20 April 2013


This project brought aspects of the findings of two HERA projects, TEF (Technology, Exchange and Flow: Artistic Media Practices and Commercial Application) and CIM (Creativity and Innovation in a World of Movement), to invited, targeted and self-selecting audiences in order to exchange knowledge, ideas, feelings and sentiments about images and objects with a strong personal significance ranging from religious talisman to childhood adverts, reflected in the “sensational form” of media as they are used in advertising for the knowledge economy, life style and belief choices. 

The event focussed upon the sublime in the everyday in popular culture and comprise a two-day event in April 2013 at the Netherlands Institute for Sound and Vision (19.4.) and the Eye Film Institute Netherlands (20.4.). The events comprised screenings and displays of archival advertising materials and objects relating to advertising, the sublime and the everyday. The public were invited to bring their own objects and images relevant to audio-visual media, advertising, religious practices, and art and to engage with the presented materials to stimulate discussion and knowledge exchange in order to draw out the affective and sensational form of the media as they relate to belief, imagination and transcendence of everyday experience. This dynamic engagement took place in a symmetrical exchange among participants, designed to encourage plenary participation that proved valuable to professionals and the wider public in understanding the affective responses that can be stimulated by audio-visual mediation. The event was actively targeted to include new audiences comprising heritage professionals, artists, archivists, media practitioners and professionals, educators, museum curators and policy makers.

The second day concluded with an evaluation event involving senior participants and stakeholders responsible for policy and decision making in (i) the academic (ii) curatorial (iii) commercial and (iv) the cultural heritage sectors. A structured discussion addressed future directions of user-led approaches to knowledge transfer as it applies to the affective dimensions of objects and audio-visual materials, cultural heritage (in particular artefacts from popular culture) and the integration into specific institutional and professional frameworks.

This project was funded by HERA and is a collaboration between TEF, Plymouth University (Prof. dr. Michael Punt, Dr. Martha Blassnigg); CIM, Utrecht University (Prof. dr. Birgit Meyer) and the TEF Associate Partners: Eye Film Institute Netherlands (Mark-Paul Meyer), Netherlands Institute for Sound and Vision (Bas Agterberg).

As part of the preparations for the events in Amsterdam and Hilversum, the team gathered images that express affective dimensions about “sublime” moments following the idea to choose one image to take on a desert island: http://trans-techresearch.net/tef/knowledge-exchange-project/sublime-island/

Additional support is drawn from TEF and CIM teams and partners:

TEF: VU Amsterdam (Prof. dr. Bert Hogenkamp, Dr. Rudmer Canjels, Mr. Wilbert Schreurs, Dr. Ivo Blom), University of Applied Arts Vienna (Dr. Margarete Jahrmann, Prof. Brigitte Felderer, Dr. Fares Kayali)

CIM: Queen’s University Belfast (Dr. Maruska Svasek), Open University UK (Leon Wainwright) and Associate Partners: Museum für Völkerkunde Wien (Barbara Plankensteiner), Museum of Cultural History Oslo (Oivind Fuglerud).


Offshore Media – Workshop in Stavanger

Event Date: 
Thu, 16/12/2010 (All day) to Fri, 17/12/2010 (All day)
Stavanger’s Oil Museum

On 16 and 17 December in Stavanger’s Oil Museum, the workshop Offshore Media was held, organized by Bjørn Sørenssen from the Norwegian University of Science and Technology. The workshop focused on the use of film and video in connection with the North Sea oil activity.

TEF participant Rudmer Canjels gave a presentation on the history and uses to which the films by the oil company Shell were put, making use of recent research from his TEF subproject, Dynamics of Celluloid. Other presentations were made by Bjørn Sørenssen, Mats Jönsson (University of Lund), Paul Wells (Loughborough University), Patrick Vondereau (University of Stockholm), and Gunnar Strøm (Volda University College). Topics ranged from the use of animation and rhetorical strategies of national contexts embedded in international oil films, to the investigation of the status and use of industrial films in film research. Also interviews were held with those from the production side of these industrial oil films.

The workshop ended with a fruitful discussion on the various possibilities for future projects where further research could be undertaken and oil films and their history and impact could be presented. Here, a possible cooperation with the TEF research group was suggested, linking it with subprojects from Rudmer Canjels and Bert Hogenkamp.

Panel on sponsored film and video at ESSHC

Event Date: 
Wed, 11/04/2012 (All day) to Sat, 14/04/2012 (All day)

TEF was represented at the recent European Social Science History Conference 2012 in Glasgow. In a special panel on ‘Commissioning Consumption – Strategies and Impact of European Sponsored Films and Commercials’ representatives of three different research projects presented papers. Sema Colpan and Lydia Nsiah (Ludwig Boltzmann Institut für Geschichte und Gesellschaft, Vienna) discussed the research project ‘”Sponsored Films” and the culture of modernization: interferences between aesthetics and economy in Austrian advertising and industrial film’ and showed some interesting examples. Bjørn Sørenssen (Norwegian University of Science and Technology, Trondheim) pointed out what a positive impact the discovery  North Sea oil has had on the audiovisual sector in Norway. The research project that he is leading is called ‘Offshore Media: audiovisual Mediation of the Norwegian Offshore Oil Industry 1967-2000′.  Bert Hogenkamp (TEF/VU University, Amsterdam) discussed the impact of video on the sponsored film sector in the Netherlands, which resulted in decentralisation and a new ‘ production mode’ based on television rather than documentary and avant-garde film. The panel ended with a discussion, chaired by Beata Hock (Universität Leipzig), on the similarities and differences in development of sponsored film and video production in different European countries. The conclusion was that comparative research could produce new insights into a research area that itself is very recent.

Play& Prosume: Technology, Exchange and Flow

Event Date: 
Tue, 05/03/2013 (All day) to Sun, 17/03/2013 (All day)
Kunsthalle/Project Space Vienna
External Website Address: 

Play& Prosume: Technology, Exchange and Flow


Opening March 5, 2013

Exhibition March 6 - 17, 2013

Kunsthalle/Project Space Vienna


This exhibition represents the major output of the HERA funded research project “Technology Exchange and Flow: Artistic Media Practices and Commercial Application”. This high concept exhibition has been curated by Margarete Jahrmann and Brigitte Felderer as an apparatus for dynamic public-facing interactions at the Kunsthalle Projectspace Vienna and associated presentations in the Filmmuseum Vienna. It brings together the key research findings of the project research teams at Plymouth University, VU University Amsterdam and the University of Applied Arts Vienna together with contributions from the EYE Film Institute, Amsterdam and the Netherlands Institute for Sound and Vision, Hilversum.


The exhibition adopts an experimental approach in which the exhibition space will be intertwined with the reality of the visitors in order to explore how traffic between cultural forms in Europe, such as industrial film and new media arts on the one hand, and commercial exploitation of audio-visual media on the other hand, is radically transformed at key moments of technological change. It is intended to reveal that audio-visual media linked to consumption such as advertising are indebted to the artistic use of cinematographic form and audio-visual technologies in a three-way dialogue between creatives, industry and users. Exhibits include examples of early advertising in film and television, experimental film, trade cards, industrial films as well as contemporary video games.


The exhibition programme includes the presentation of objects, texts, moving images, and reproductions of ephemera together with a series of lectures, discussions, performances and the use of real-time game strategies as the exhibition interface. It is designed to encourage participants to become both consumers and producers in order to contribute to the final research outcomes of the research project and participate and critically engage with the persuasive power of the materials presented.


A catalogue will accompany the exhibition, which includes contributions by the project partners about major findings, as well as reflections about key terms such as "serious games", "interfaciality" or the "prosumer". The character of texts ranges from essays, interviews, commented images to literary reflections.


The project “Technology, Exchange and Flow: Artistic Media Practices and Commercial Application” (TEF) has been undertaken as a three-year collaborative project by Prof. dr. Michael Punt, Dr. Martha Blassnigg, Dr. Ivo Blom, Dr. Rudmer Canjels, Prof. Brigitte Felderer, Prof. dr. Bert Hogenkamp, Dr. Margarete Jahrmann, Dr. Fares Kayali, Wilbert Schreurs, Martyn Woodward. It gratefully acknowledges the support of Bas Agterberg at the Netherlands Institute for Sound and Vision, Hilversum and Mark-Paul Meyer at the EYE Film Institute Netherlands, Amsterdam. It is financially supported by the HERA Joint Research Programme co-funded by AHRC, AKA, DASTI, ETF, FNR, FWF, HAZU, IRCHSS, MHEST, NWO, RANNIS, RCN, VR and The European Community FP7 2007-2013, under the Socio-economic Sciences and Humanities programme.




TEF Expert Seminar: Produsage and Popaganda, Strategies of persuasion in arts, early film,advertisment movies and games as key moments of agency.

Event Date: 
Fri, 13/07/2012 - 10:00 to 19:00
Kunsthalle projectspace
External Website Address: 




Propaganda and play are critically connected – in the new social network forms of Produsage (Bruns 2008). Regarded as a concept in media it invalidates the distinction between producer and consumer. The collective production in social media has the aim of persuasion. This symposium reflects Produsage and persuasive strategies in early film and advertisement movies as well as in games and arts. In order to communicate this research, curatorial practice, performance and new hybrid exhibition formats will be discussed as methodologies of arts research.

The symposium builds on panel discussions and the input of international speakers from international museums, arts universities, curators, museums and exhibition architects as well as independent game designers, performance artists and representatives of new interactive film funds. It will reflect the joint HERA research project TEF Technology Exchange and Flow and put a focus on the target of examining new arts research methodologies and dissemination in an exhibition game, and methods of produsage, as method derived from reverberations of uses of film, TV and games.

Curatorial practice, arts, and independent games designers and technologies development open new discourses on consumer and producer technologies and its exchange on arts avant-garde and commercial applications. The inquiries made in the research process question research methodologies by embracing public art, playful technologies and exhibitions. Researchers, artists and Indie game developers as well as curators will discuss these relations, and compare it to historic moments of intervention in film and publicity. This discourse will critically question film, TV and game technologies and practices as techniques of propaganda. Through the observation of phenomena of media use within historic and contemporary audiovisual media the symposium will implicitly question the correlation of arts and propaganda. The discourses in the Kunsthalle projectspace in Vienna will evaluate artistic practices and its commercial application in the distinct area of arts, exhibition design as game design and curatorial practice — as hybrid realities and arts research methodologies.


10:00 - 10:45 Welcome and Positioning of Arts Research

Gerald Bast (president die Angewandte/University of Applied Arts Wien)

Margarete Jahrmann (artist and researcher Die Angewandte Wien)

Eva Blimlinger (des. Rektorin Akademie der bildenden Künste Wien)

Barbara Fränzen (Leiterin der Abteilung Film im Bundesministerium für Unterricht, Kunst und Kultur)


11:00 – 12:30 TEF research/ Archives and museums as venues to test new methodologies of research
Mark-Paul Meyer (senior curator, the Eye Film Institute Netherlands)
Bas Agterberg (curator, the Netherlands Institute for Sound and Vision Hilversum)
Martyn Woodward (Michael Punt/ Martha Blassnigg, University of Plymouth, Transtechnology Research)
Bert Hogenkamp/ Rudmer Canjels (Free University Amsterdam)
12:40 – 13:40 Panel: TEF research/ Art and exhibitions, inside outside urban interventions and Alternate Reality Plays.
Brigitte Felderer (curator, researcher, die Angewandte Vienna)
Margarete Jahrmann (artist, researcher, die Angewandte Vienna/ Game Design at University of Arts Zurich)
Manfred Hermann (architect, researcher Vienna)
Axel Stockburger (artist researcher, University of Fine Arts Vienna)
Kristian Lukic (curator researcher, Novisad/ Bratislava)
Clemens Wolf (artist and urban interventionist Vienna)
15:00 – 16:30 Panel: Independent Game Design and Tactics of Persuasion
Fares Kayali(University of Technology Vienna/ University of Applied Arts, Vienna)
Peter Purgathofer (Institute of Design and Assessment of Technology, Vienna University of Technology)
Felix Bohatsch(Broken Rules, Game Design Company Vienna)
Alessandro Ludovico (artist and editor of Neural Italy)
Jörg Hofstätter (Ovos, Game Design Company Vienna)
17:00 – 17:30
analogsat / uli kühn
carrera carrer, Musikperformance mit Carrerabahnen 
Ongoing: Alternate Reality Conference Play: live performance by Michael Johannes Muik


TEF Expert Seminar: Symposium on the Sponsored Film, from Celluloid to Magnetic Tape to Bits and Bytes

Event Date: 
Thu, 02/12/2010 - 10:00 to 18:00
Netherlands Institute for Sound and Vision
External Website Address: 

On Thursday 2 December 2010 the Netherlands Institute for Sound and Vision in collaboration with the VU University Amsterdam is organising a symposium about the changes in the production of sponsored films from celluloid to video and later to digital.

The introduction of video in the audiovisual sector in the 1970’s resulted not only in the birth of a new medium but it was also the start of a challenge with regard to the creative skills of the film-makers concerned. Many units that were making films in commission were forced to switch to video. On the one hand because the commissioning bodies demanded this, on the other because it enabled them to provide a product that was cheaper and/or could be put to more effective use. There was however considerable resistance against the new medium. Film-makers were concerned about its quality: compared to film the image quality of video was poor, not to mention the limitations with regard to editing. Another concern was the lack of standardisation, with different systems being introduced and disappearing in quick succession.

How has the arrival of video changed the production process of sponsored films? Was it the film-maker using video for his/her own artistic endeavours? Or the other way around was it video that determined his/her creative developments? The same questions can be asked about the audiovisual production in the current digital age.

At a time when magnetic tape is no longer in use in the audiovisual industry and a legacy is therefore in danger of literally turning into dust, there is a clear need to re-examine the impact of the arrival of video. Whereas a considerable amount of literature on video art has been published, the consequences for the sector of the audiovisual industry that mattered most in output and turnover have largely been neglected. Elaborating on the pioneering work done by Siegfried Zielinski (Zur Geschichte des Videorecorders, 1986) and Roy Armes (On Video, 1988), the symposium will look at this field of research from a number of angles. Plenty of audiovisual extracts will be screened.

With contributions from: Brian Winston (University of Lincoln), William Uricchio (MIT, University of Utrecht), Rudmer Canjels, Bert Hogenkamp and Wilbert Schreurs (VU University Amsterdam), Floris Paalman (University of Amsterdam), and others.

This symposium is one of the activities undertaken as part of the Sound and Vision Professorial Chair at the VU University Amsterdam, sponsored by the Netherlands Institute for Sound and Vision. The research into the impact of the arrival of video for the sponsored film is being carried out as part of the HERA-sponsored project ‘Technology, Exchange and Flow: Artistic Media Practices & Commercial Application’.

TEF Expert Seminar: ‘Screening the Sublime’

Event Date: 
Sat, 21/01/2012 (All day)
Jill Craigie Cinema (Roland Levinsky Building)
Plymouth University
External Website Address: 

This Expert Seminar was a one-day public event intended to share research findings of a three year EU research project ‘Technology, Exchange and Flow: Artistic Media Practices and Commercial Application’ funded by HERA (ESF). The seminar was the third in a series of public events exploring the relationship between creativity and innovation in the traffic between industrial film, new media arts and the commercial exploitation of audiovisual media in the mid 20th century. Programme:

Saturday 21 January 2012: 10:00 – 12:00:

Keynotes / Screening

10:00 – 10:15: Welcome, Prof. dr. Michael Punt

10:15 – 10:30: Opening remarks Prof. David Coslett, ExecutiveDean, Faculty of Arts / Pro Vice-Chancellor,Plymouth University

10:30 – 11:15: Keynote Presentation Prof. Malcolm LeGrice

11:15 – 12:00: Keynote Presentation Prof. Tony Hill

12:00 – 12:30: Screening Research Materials / Plymouth Team

12:30 – 14:00: Lunch

14:00 – 17:30: Research Presentations

14:00 – 14:15: Prof. dr. Michael Punt, Introduction HERA JRP

14:15 – 14:45: Dr. Martha Blassnigg (Plymouth University) ‘Reflections on the Im/material in the Perception of Audio-Visual Media’

14:45 – 15:15: Martyn Woodward (Plymouth University) ‘Screening a Puff: Advertising Film and the Enduring Forms of Modernism’

15:15 – 15:45: Coffee / tea break

15:45 – 16:30: Prof. dr. Bert Hogenkamp (VU University) ‘Searching for Professionalism, Creativity, and Progress in Sponsored Film and Television Advertising’

16:30 – 17:15: Prof. Dr. Margarete Jahrmann / Prof. BrigitteFelderer (University of Applied Arts, Vienna) ‘Exhibiting the Subliminal. An ARG as RabbitHole to Research’

17:15 – 17:30: Closing Remarks

Technology, Exchange and Flow: Artistic Media Practices & Commercial Application (TEF)



The project will explore the relationship between creativity and innovation within the contemporary European media sector. The project asks how traffic between cultural forms in Europe, such as industrial film and new media arts on the one hand, and commercial exploitation of audiovisual media on the other hand, is radically transformed at key moments. As such it is intended to prepare the way for thinking about new media environments when the distinctions between kinds of producers and the consumer and the producer are no longer valid or viable distinctions. The project brings together three expert teams and two significant archives in a research partnership which focuses on three distinct European examples of artistic practices and their commercial applications: early advertising and experimental film at a moment when the technologies of production become more widely available, post-war industrial films & early television commercials, and finally the emerging category of prosumers in contemporary distributive media consequent on games culture.

The project examines the connections between the arts and their application from a Pan-European perspective by combining philosophical, historical, and practice-based approaches. The crucial question is how can we understand the relationship between commercial applications and implementation of artistic media practices in Europe? Is it determined by technological opportunity? Or the exchange between artists, producers and consumers? Or an interweaving of cultural and media formats (film, video, internet) which carry reproductive and distributive possibility? The project findings will be presented in publications, symposia and conferences culminating in a major public exhibition using gaming feedback strategies. The project will contribute widely applicable conclusions concerning creativity and innovation relevant to the burgeoning globalisation of media cultures.

Associated Partners: 

Mark-Paul Meyer

Eye Film Institute, Netherlands


Bas Agterberg

Netherlands Institute for Sound and Vision




Brigitte Felderer

Curator, Researcher
University of Applied Arts Vienna

Brigitte Felderer, curator, teaches at the University of Applied Arts Vienna. Her exhibition projects focus on themes within the field of cultural history and technology and have been shown internationally.


Exhibitions (i. a.): Wishmachine Worldinvention/Wunschmaschine Welterfindung. A History of Technical Visions since the 18th Century, Kunsthalle Vienna 1996;Rudi Gernreich. Fashion will go out of fashion, Steirischer Herbst, Graz 2000 / Institute of Contemporary Art, Philadelphia 2001; Phonorama. A Cultural History of the Voice as a Medium, ZKM Karlsruhe 2004/05; Thinking without brain, speaking without lips. The Automatons and Machines of Wolfgang von Kempelen, Humboldt University Berlin 2005 (w. E. Strouhal); Rare Arts. Conjuring Arts in Conjuring Books, Vienna City Library 2006; Sound of Art, Museum der Moderne Salzburg 2008 (w. E. Louis); Fashion & Despair, freiraum/quartier21 Wien 2008 (w. Eva Blimlinger); Museum of the Underworld/Museum der Unterwelten, OK Linz, Linz 2008; Zauberkünste, Cultural Capital Linz, 2009; Ha Zwei Ooo, Zoom Children’s Museum Vienna, 2010; The Digital Uncanny (working title), Edith-Ruß-Haus für Medienkunst, Oldenburg (in preparation)


Project Title: 


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