"Propaganda 2012 is a 95–minute video that presents itself as a North Korean educational video intending to inform the citizens of the Democratic People's Republic of Korea about the dangers of Western propaganda. The video's uploader, known as 'Sabine', reiterates a statement she gave to the Federal Police regarding the movie's origins. She explains how the film was given to her by people claiming to be North Korean defectors whilst she was visiting Seoul. ...
Although the origins of Propaganda 2012 are contentious, its power lies in the fact that much of its content attempts to avoid invented history. Considering the media buzzwords associated with the alleged country of origin, Propaganda 2012 turns a mirror onto the Western world and seeks to criticise its entire history and culture–from the genocide and imperialism of its past, to the interventionism and consumerism of the modern era. The movie's overall attitude seems to express an intention to educate, shock and caution its audience into realising that people in the West are governed by a super–rich ruling class (The one per cent), who do not offer them true democracy; but instead seek to invade and assimilate as many countries as possible, whilst distracting their population with a smokescreen of consumerism, celebrity, and reality television. This message is spread across the video's 17 chapters, which each attempt to focus on specific examples of Western indoctrination and oppression. The film is regularly punctuated by commentary from an anonymous North Korean professor, and quotes from Western thinkers such as Noam Chomsky and Richard Dawkins. ...
Propaganda 2012 is certainly a film where the audience takes from it what they bring to it, and a variety of emotions can be induced upon viewing. Laughter, cynicism, outrage, contemplation and reflection would all be adequate responses to the video's tough, and often graphic, portrayal of the complex world in which we are living. Yet perhaps the most important thing to remember when watching the film is that the video is available to view uncensored, on a largely unregulated world wide web, and merely represents an extreme end of the vast spectrum of free expression. Therefore, during this festive end to an austere year, enjoy Propaganda 2012 as an interesting and beguiling alternative voice that cries loudly against the dangers of religious consumerism, and reminds us to remain humble and reflect on those less fortunate than ourselves."
(Kieran Turner–Dave, 17 December 2012, Independent Arts Blogs)
"Lors des bombardements allemand de la seconde guerre mondiale, Londres à été une des villes les plus détruite. On y trouvait fréquemment des espaces vide crée entre deux immeubles démolis et bourrés de gravats. Ces espaces vides, terrains vagues, en friche, "poubelles" en attente d'être reconstruit furent pendant une période des espaces de terrains de jeux consacré exclusivement aux enfants. L'idée était de donner un lieu spécifique pour que les enfants à la fois s'exprime librement, évite l'ennuie et l'inactivité qui peuvent conduire à la délinquance et participe à leurs façon à la période de reconstruction.
Ces terrains d'aventures, appelés Junk playground (terrains vague) ont été des espaces de libertés encadré ou les enfants construisirent à partir des gravats des "sculptures installation et autres inventions".
La fabrication par lui même (de l'enfant) de ses propres jeux par la maîtrise des outils (marteau, scie...) furent une expérience inédite et fondamentale dans l'approche citoyenne et pédagogique du rôle du jeu comme source d'épanouissement et d'éveil des consciences. La liberté quasi anarchique de ces terrains, laissant à l'enfant la responsabilité de ses actes, en étant acteur de sa propre aventures comme facteur de régénération pour une société pacifié, sans violence ou chacun peut s'exprimer et trouver sa place de citoyen. Cette expérience éphémère n'a pas survécu aux règles de sécurité, aux normes. Mais aussi aux formatages d'équipements modulaires produits en masse ou l'enfant n'est plus l'acteur (car exclu du processus de conception) mais simple utilisateur, spectateur, consommateur et non plus comme citoyen."
(Éric Malaterre, 03/01/2011, BTS Design d'Espace Toulon)
Aldo "Van Eyck believed playgrounds should challenge a child's imagination without jarring the adult's aesthetic sensibilities. His abstract, elementary forms – often manufactured out of metal tubes like modernist furniture – were meant to belong in a well–mannered streetscape. During the same period in Britain, however, we were developing a tradition of playground design that was almost diametrically opposed. The first 'junk' playgrounds emerged amid the rubble of the Blitz, and the results were far less polite. Consisting of makeshift structures cobbled together out of roof beams and detritus, they were often designed with the assistance of the children themselves. That essential character survives today in descendants such as Glamis Adventure Playground in Shadwell, east London, a riot of skew–whiff woodwork and clashing colours, and an odd hybrid of post–war austerity and postmodern assemblage.
The junk playground model was created by the Danish architect Carl Theodor Sorensen, who believed playgrounds should reflect the imagination of the child not the architect. In 1943, having observed the creative way children play in construction sites, he developed the prototype junk playground on the Emdrup housing estate in Copenhagen.
The concept was brought to Britain by Lady Allen of Hurtwood, who tested it out on the site of a bombed church in Camberwell and then built dozens of what she called 'adventure playgrounds' – the term 'junk' tended to turn local mothers into nimbys. Not only did Allen feel that ordinary playgrounds were sterile places ('it is little wonder that [children] prefer the dumps of rough wood and piles of bricks and rubbish of the bombed sites'), but she believed in the healing effects of exposing children to the urban scars of warfare. At the same time, having them take part in the post–war reconstruction effort was deemed a good way of shaping model citizens.
Essentially, all playgrounds are designed to do the same thing: to help children develop their abilities, use up excess energy and keep them off the streets. But the ideology of the adventure playground is interesting for several reasons. First, there's the notion of not restricting children to the repetitive motions of the slide or swing, because the sooner you reach the technical limits of the equipment, the sooner you have to stretch those limits – hence all those swings you see coiled around the crossbar. The adventure playground was designed to liberate the wild thing within and, by exposing children to risk, teach them personal responsibility (all forms of play are underpinned by some form of didactism, so it's worth reminding ourselves that this is also simply more fun). Just as crucially, it was intrinsic to the concept that children be involved in designing the playgrounds, dreaming up weird structures and adapting them later by tacking on extra elements. This participatory dimension, managed by volunteer play leaders, is key to the development of their creativity.
It's curious how much the ethos of the adventure playground chimes with the language of a new era of design today: a 'participatory' process, recycled materials, an adaptive product. It doesn't sound like the 1940s. But equally valuable is the zone of exception that the adventure playground represents in the city, one of improvisation and informality that, pace Van Eyck, does not blend in to a polite streetscape.
Today, there are few true adventure playgrounds left, but occasionally another is built that follows all the essential tenets, such as the Kilburn Grange Park playground in north London, designed last year by Erect Architecture and based on the ideas of local kids. Increasingly, though, 'adventure playgrounds' are produced by specialist manufacturers and merely designed to look rustic. You can't adapt them, or at least anyone who tried would be carted off. These are the products of a health and safety culture that watered down adventure playgrounds in the 1980s and 90s. There was a minor revival a few years ago, when the Labour government invested £230m in new play spaces across England, but the coalition government freed that budget up for other uses, so it was short–lived. And now, with the cuts, several adventure playgrounds, including the giant ones in Battersea and Kilburn, face losing the play workers that make such playgrounds what they are.
It's worth remembering just how cheap and yet how luxurious these spaces are. We should let kids loose on this new breed of sanitised playground, to inject a little of the old spirit in them. I hear the builder behind Kilburn Grange Park salvaged the formwork from Zaha Hadid's Olympic diving towers – that could come in handy."
(Justin McGuirk, Tuesday 3 July 2012 15.40 BST, The Guardian)
"As internet video matures, we face a crossroads: will technology and public policy support a more participatory culture – one that encourages and enables free expression and broader cultural engagement? Will video be woven into the fabric of the open web? Or will online video become a glorified TV–on–demand service? Open Video is a movement to promote free expression and innovation in online video through open standards, open source, and sharing."
(Open Video Alliance)