GLOBAL ART FORUM 9 THE USE AND ABUSE OF YOUTUBE FOR LIFE

Provenance

Self-transcribed from the recording's audio/video with Whisper ASR, then drawn from the frozen curation of the CCRU oral archive. The identifiers below fingerprint the exact source transcript files.

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Adjudicated APPROVED 2026-07-11 (basis: owner ruling 2026-07-11: institutional recordings released except fee-charging course content; lane recent-institutional -> recent-institutional-released). Series: standalone. Source: audio original (.mp3).

Timestamped map

These jump targets come from timestamps preserved in the source transcript, so they work as navigational anchors rather than editorially invented section labels. Timings are approximate — they mark where a passage begins, not exact word timing.

• 00:00:25

  Okay, hi. Penultimate session, which I've just been told eight minutes ago has had a radical rewiring of content, which renders the introduction I was about to give you completely useless. Thanks, Kojo. A man full of surprises. But it doesn't change the fact that, well, just to let you know, I guess, the nature…

• 00:04:56

  And without further ado, we're going to begin. Within the ramifying dimensions of the YouTube platform, composed of an instructional video of a Korean woman in her mid-30s spoon in one hand, knife in the other, explaining the correct way to prepare kimchi, of fail videos of Asian-American college jocks in flannel…

• 00:08:43

  what do they possess? as these formats studied another and ignored us it was as if no, it was indeed the case that we were face to face with the external objectification of thought with an industrialization of thought that needed that needed humans to function but which demanded to be analyzed upon its own terms which…

• 00:16:24

  when did it then enter your kind of mind screen as the otolith group I mean I think it's been there on the periphery of perception for a long time but as with most of the the most intriguing developments of the last few years there is a kind of tug of war between fascination and a kind of irritation so the clip…

• 00:24:01

  footage if you take film a film which seems finished and completed the fact of of taking a moment and looping that implies an unfinished dimension to that work it implies that the work is not locked but can be opened up again and so I started to appreciate the that dimension of the unfinished nature of the work…

• 00:30:00

  The only reason that the, the Lumiere brothers made that film, Trains Leaving the Station, is because they realized that the trains left the station and arrived at the station every day at the same time. The only reason they could make Workers Leaving the Factory is because the workers left the factory at the same…

• 00:33:39

  So the loops have something to do with the drive towards death. At the same time loops have something to do with the question of musicality. I think it's crucial the loops are silent. I think if they were like six chunks, six seconds of sound, that would destroy it. The kind of the visual music of the scenes from…

• 00:38:22

  And so there's a the very short and the very durational they meet and they curve around each other. I'm afraid we've run out of time but I would urge you to ask Kojo and Anjali personally your question and they will answer it personally. Will you join in thanking Kojo and Anjali the Otterly group. Thank you very much…