“The year 1983 was decisive in many ways…” Walter Familler describes the geopolitical landscape in which the beginnings of the co-publishing project emerged. Out of Europe's division during the Cold War arose the need to communicate and exchange ideas about the mutual challenges that lay ahead. The first European meeting of cultural journals was held on neutral ground in Switzerland in 1983.
In 1995, a meeting in Vienna invited journals from the former Soviet bloc, and “For the first time, I discussed the media revolution brought about by the Internet.”.
It was not until 1997 that the potential of the World Wide Web was highlighted in Moscow, leading to the creation of the Web's own web magazine, Eurozine in 1998.
“With such speed…” notes Judith Vidal-Hall, “it was the demolition of the wall that physically divided Europe” that followed the torrent of magazines wanting to find common ground and build a common culture. “This remains an extremely valuable find and Eurozine legacy.”
today, Eurozine It collaborates with more than 100 journals, journals and institutions from most European countries, offering translations and language editions as well as publishing in English. The struggle for space and attention continues as technology changes, however, some magazines remain rooted in print and still harbor suspicions about the Internet as a whole.
“It was a fairly natural and understandable step to use the Internet for further dissemination and for a wider audience,” points out Andrea Zerdebauer, “The second reason why print magazines’ use of it as a tool has been so compelling is its archival function.” “.
“In essence…the editors who questioned the importance of the Internet, suggesting that it was mostly porn and then the side stories…were right.” Karl-Henrik Fredriksson teases the future of ever-expanding cultural content, and asks what the future of Eurozine holds.
Today's guests
Judith Vidal Hall He is a member of the Advisory Board of Eurozine and was recently appointed to the Board of Directors of the Center Libreexpression. She is a former editor of Freedom of Expression magazine Oversight index.
Walter Famler He is publisher, organist and general secretary of Alte Schmid Kunstverein In Vienna. He was a long-time editor of Eurozine's founding partner magazine Hornets' nest.
Andrea Zederbauer He is co-editor of partner magazine Eurozine Hornets' nest Translated from Swedish.
Carl Henrik Fredrickson He is a Swedish literary critic, columnist, essayist and translator based in Vienna. He was the first editor-in-chief of Eurozine from 1998 to 2015, and was previously editor-in-chief of its Swedish partner magazine. Word and picture.
We meet them at Alte Schmiede Kunstverein, Vienna
Creative team
Rika Kinga Papp, Editor-in-Chief
Murphy Akiel, Artistic Director
Zylvia Pinter, producer
Zofia Gabriella Babb, executive producer
Salma Shaka, writer and editor
Priyanka Hutchenreiter, Project Assistant
administration
Hermann Riesner General Manager
Judit Ksikos is project manager
Ms. Chela Kardos, Office Administration
Octo crew
Senad Hergić is producer
Video recording by Leah Hochdlinger
Video recording by Marlena Stolzi
Clemens Schmidbauer video recording
Audio recording by Richard Prosek
Budapest video crew
Nora Roszkay, audio engineering
Gergely Aaron Babai, Photography
Laszlo Halasz, photography
Post production
Nora Roszkay, lead video editor
Istvan Nagy, video editor
Milan Golovics, Conversation Editor
art
Animation by Victor Maria Lima
Cornelia Frischoff, theme music
Captions and subtitles
Please see the updated list in the previous document with my comment.
Hosted by Alte Schmiede Kunstverein, Vienna
Related readings
Expanding the context: creating a European journal network By Karl Henrik Fredriksson and Klaus Nehlen, Eurozen.
Eurozine timeline since 1983Eurozine.
disclosure
This talk show is produced by Display Europe: a leading media platform based on public values.
This program is jointly funded by the European Union's Creative Europe Program and the European Cultural Foundation.
Importantly, the views and opinions expressed here are solely those of the authors and speakers and do not necessarily reflect the views of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for it.
