O4/30/2O22, 8:58pm Eastern Early Evening Time



     A playfull re-appraisal of the humble origins    of 

‘ Vimeo, Inc. ’    also-known-as  VMEO  [NASDAQ] 

Via curated revivals of the site’s historical record 

Time  and time again, technological advancements

confound, uproot, and re cast our inhabitance 

within the realm 

of kaleidoscopic media environment


Being between eras and key industry players, 

retrospective and forward–looking conversations,

and as participants of the internet-as-ongoing-event,

We inherit, shape, and are shaped by the mediums of our 



In time, growth and cognition make way for   

Perceptual shifts that shed new light on prismatic questions 


What is the future of online videos       ?

How does it feel to be online     ¿?

What is the role of the archaeology of technology in our lives ?





Where once       The World Wide Web was a

seemingly futuristic place accessed primarily by

dial-up data transferred through telephone

modems, the Internet of 2O22 is largely

omnipresent, pervasive, and practically un–

observable in its totality.

Just as the spirit of the Internet is being re–

written through chiefly financialized lenses, the

vimeo of 2O22 is in the process of eschewing

its indie origins in favor of purveying

commercialized video distribution products and

services for professionals and businesses.

The story tellingly unfolds by way of vimeo’s

perennially updated tagline:: “watch, upload,

and share”    shifted into “discover, create,

share, sell”    before becoming 

“create, manage, grow ”   and ultimately 

 landing on  a 

“video for every venture.  

Historically, the first movie cameras were

invented in the 188O’s with commercial motion

pictures premièring as early as the 189O’s. Fast

forward to the year 2OO4, after voicemail but

before virtual reality:: a group of film-enthusiast

friends embark on a side project envisioned as

a simple website for organizing and sharing

video clips online. The project was dubbed

vimeo (a play on “video“and”me”), and in the

years following the Dot-Com Bubble Burst, it

came to be known as the first video sharing

platform to support high-definition

videos with nŎ advertisements. In 2OO6, the

same year … that Google acquired Youtube, IAC


an American holding company, acquired and

ultimately oversaw vimeo’s development of

high-definition content delivery systems, its

pivot to business-to-business 

Software-as-a-Service (B2B SaaS), and of late, 

its spinoff into a stand alone public company.

vimeo’s initial waves of growth, and online video

sharing at large, mushroomed thanks to the

introduction of broadband internet, Wi-Fi, social

media networks, smartphones, cloud

computing, advancements in miniaturization,

and the rise of networked devices. The pioneers

of early film may well have foreseen some

commercial application for their innovations, 

though they likely could not have imagined the

globalized motion picture industry of the

2O2O’s. Similarly, in 2OO4 it might have

seemed unimaginable to the young founders of

vimeo that they would be ousted by the very

company that acquired them in just a few short


In light of vimeo’s open-ended corporate

restructurings, and its successive marketing

campaigns away from everyday videographers

and towards primarily business and professional

clientele, it can’t be understated that the vimeo

of today is one of countless companies with a

history and present significantly at odds with

each other. Despite the perpetual invocations of

growth and progress, we need not embrace

these  technological advancements or

enterprise evolutions as


rather we can understand them as a series of

choices with weighted consequences and viable


Our challenge and collective responsibility is to

find creative ways to evaluate today’s

technologies outside of their current narratives

and business contexts– so, let’s take this

opportunity to look forward into the past & look

back into

the future::

Spelunking through the backwaters of vimeo’s

oft re-vamped website, this film festival

highlights a compilation of compelling, yet

seemingly overlooked videoworks. However,

online videos such as these, may well have 

been tailor-made and uploaded for particular

audiences and otherwise unconcerned with

broader viewership. Given the present-day

preoccupation with view-counts and data

analytics, it’s heartening to recall a time before

dog-eat-dog benchmarkers and overly

competitive metric jockeying.

In spite, or perhaps because of the ability of

these platforms to withstand the relentless

commodification of The Internet 

[...[ The rise of attention economies,

autonomous machines, 

The Internet of Things, and  legal rulings over

digital anthropomorphisms such as “business

intelligence” and “electronic persons,” it seems

More-Timely-Than-Ever to resurface these 22

lesser-viewed videoworks published on vimeo

over the last decade by children, parents,

animators, designers, tourists, renderers,

artists, teachers, filmmakers, neighbors,

documentarians, walkers, archivists, and nature


Before viewing we recommend a few breaths of fresh air. 

So, let’s

  Get comfortable

Find a quiet place to sit or relax

Breathe in through your nose

Let your insides fill with air

Breathe out through your nose

Take three more full, deep breaths




Now that we’ve all hit [Refresh], ,

we invite Y0U   

and online-video-enjoyers from all walks of life to delight, 

as we       have, in the following   



1, 2    MOTHER  & SON

(Jo Law, 0m54s, 2020, @3tix)

(Hollis Bridgeman Law, 2015, 0m22s, @11tix)


(Kristin Walsh, 2017, 2m01s, @7tix)

(Lise Vabo, 2012, 2m14s, @10tix)


(Xentci, 2021, 0m21s, @5tix)

(Eleanor Suess, 2020, 1m00s, @0tix)


Untitled ’ 
(Gina Telaroli, 2009, 2m19s, N/A–tix)

(Charlotte Lagro, 2015, 7m09s, @29tix)


(Bob Armstrong, 2017, 2m31s, @20tix)

walking ’ 
(Xentci, 2021, 16m57s, @1tix)


(Peter Humble, 2015, 6m00s, @5tix)

estado febril ’ 
(Gustavo, 2020, 0m21s, @16tix)


I    N    T    E    R    M    I    S    S    I    O    N        02 minutes 


Objects ’ 
(Chiemi Shimada, 2017, 3m00s, N/A–tix)

Alexandra Sà ’ 
(Aldéric Trével, 2021, 2m23s, @3tix)

15, 16    EMBODIED  TIME

(Neven Lochhead, 2021, 31m02s, @8tix)

(louise curham, 2015, 16m20s, @12tix)

** This Video by Vimeo user louise curham has
gone offline, possibly privated, possibly deleted.
In keeping with the capricious spirit of this
online film festival, and Louise’s own work on
the tending of archives, a serendipitous
screenshot from the video will inhabit this space
pending the re–surfacing of the original works. 



(4649, 2021, 1h00m06s, @31tix)

(Cultural Studios, 2012, 0m52s, N/A–tix)



(Steven Sherrill, 2019, 9m28s @15tix)

Vågor ’ 
(Daniel Zalewski, 2016, 5m06s, @13tix)




(Slanted Magazine & Weblog, 2018, 20m44s, N/A–tix)

(laurenrodz, 2015, 1m19s, @17tix)

B  I
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Note:  Please, email klaimco@gmail.com with
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