'Nondescript News' is a compilation of TV stills (partly hidden by the speed of the medium) from several European news bulletins. These public images were watched collectively and categorically and form part of our worldview. Stripped of commentary and freed from their context, these explicit images have been neutralised. They are open to interpretation; an appeal is made to the viewer's archive of images. This always produces (individual) associations. But these rely on external iconography and may include stereotypes and preconceptions.
What have we all been watching and can we still interpret images in their originality?
(www.hanskoster.com)

'Nondescript News' is a compilation of TV stills (partly hidden by the speed of the medium) from several European news
bulletins. These public images were watched collectively and categorically and form part of our worldview. Stripped of
commentary and freed from their context, these explicit images have been neutralised. They are open to interpretation;
an appeal is made to the viewer's archive of images. This always produces (individual) associations. But these rely on
external iconography and may include stereotypes and preconceptions. What have we all been watching and can we still interpret images in their originality?
(www.hanskoster.com)

'Nondescript News' is a compilation of TV stills (partly hidden by the speed of the medium) from several European news bulletins. These public images were watched collectively and categorically and form part of our worldview. Stripped of commentary and freed from their context, these explicit images have been neutralised. They are open to interpretation; an appeal is made to the viewer's archive of images. This always produces (individual) associations. But these rely on external iconography and may include stereotypes and preconceptions.
What have we all been watching and can we still interpret images in their originality?
(www.hanskoster.com)

CCTV images shown in various European news bulletins.
(www.hanskoster.com)

More and more newsbulletins make use of 'embedded footage': pictures from
CCTV, widely discussed internet clips, 'newsletters' and 'viewer videos'.
It is a logical development of control over society and, on the other hand,
the possibility of recording every event and publishing it on the internet.

Applying 'embedded footage' meets the demand for 'real life entertainment'.
Frequently images become content and objectivity is not (always) guaranteed.

Are we happy to conclude that the mass media are now at last accessible to
the masses and keep a close eye on society, or are we concerned about
the imminent erosion of serious newsbulletins and the evaporation of journalistic ethics?
(www.hanskoster.com)

Person of the year 2011: The Protester
(www.hanskoster.com)

Embedded images from several European news bulletins.
(www.hanskoster.com)

Are we happy to conclude that the mass media are now at last accessible to the masses and keep a close eye on society, or are we concerned about the imminent erosion of serious newsbulletins and the evaporation of journalistic ethics?
(www.hanskoster.com)

'Nondescript News' is a compilation of TV stills (partly hidden by the speed of the medium) from several European news bulletins. These public images were watched collectively and categorically and form part of our worldview. Stripped of commentary and freed from their context, these explicit images have been neutralised. They are open to interpretation; an appeal is made to the viewer's archive of images. This always produces (individual) associations. But these rely on external iconography and may include stereotypes and preconceptions.
What have we all been watching and can we still interpret images in their originality?
(www.hanskoster.com)

'Nondescript News' is a compilation of TV stills (partly hidden by the speed of the medium) from several European news bulletins. These public images were watched collectively and categorically and form part of our worldview. Stripped of commentary and freed from their context, these explicit images have been neutralised. They are open to interpretation; an appeal is made to the viewer's archive of images. This always produces (individual) associations. But these rely on external iconography and may include stereotypes and preconceptions.
What have we all been watching and can we still interpret images in their originality?
(www.hanskoster.com)