Category: Theory

Out Now: ETC Media 110

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I am proud to have a piece on “Pre-Sponsive Gestures” and the work of French media artist Grégory Chatonsky included in the new issue of the Montreal-based ETC Media. Looks like a great issue, and happy to be in such good company!

CURRENT ISSUE // 110
GRÉGORY CHATONSKY: APRÈS LE RÉSEAU / AFTER THE NETWORK

Issue 110 of ETC MEDIA is dedicated to Grégory Chatonsky, who has curated the form and content of this special issue. A Montreal resident for the last ten years, the artist is a pioneer of net art, founding Incident.net in 1994, and an unflagging explorer of the relationships between technology and anonymous existence. In this issue, the artist and a few other friends, artists, philosophers, art historians, and art critics reconsider the last two decades of experimentation, a time in which the world drastically changed through the widespread use of the Internet to reach a digital omnipresence that heralds a near extinction. Divided into 3 sections—“infinitude,” “hyperproduction,” “without ourselves”—ETC MEDIA becomes a platform for navigating in our era and gaining a better understanding of a future whose portents remain deeply ambivalent—promising and threatening all at once. Rather than being reduced to trendy notions often misunderstood by the contemporary art milieu, the concepts of post-digital, accelerationism, and speculative materialism constellate a world in the process of perishing and being born.

Collaborators

Grégory Chatonsky
Eve K. Tremblay
Pau Waelder
Bertrand Gervais and Arnaud Regnauld
Shane Denson
DeForrest Brown Jr.
Goliath Dyèvre
Pierre Cassou-Noguès
Erik Bordeleau
Nora N. Khan
Dylan Trigg
Pierre-Alexandre Fradet
Jussi Parikka

#SCMS17 Conference Program

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The conference program for the 2017 SCMS conference in Chicago is now available online (opens as PDF). As I mentioned recently, I will be participating in panel K3 (Friday, March 24, 2017, 9:00-10:45am) — a workshop dedicated to “Deformative Criticism and Digital Experimentations in Film & Media Studies.”

Frankenstein@200

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Happy to be on the steering committee for Frankenstein@200 — a year-long series of events taking place at Stanford in 2018. I’ll be participating in a number of ways, including  talks and several courses related to Frankenstein, among other things. I’ll post details here in due time. Also be sure to check out the project website, which is still under construction, but which is already chock full of announcements and constantly being updated.

The year 2018 marks the 200th anniversary of the publishing of Mary Shelley’s novel Frankenstein. The novel is eerily relevant today as we face ethical dilemmas around appropriate use of stem cells, questions about organ donation and organ harvesting, as well as animal to human transplants. Additionally, the rise of artificial intelligence portends an uncertain future of the boundaries between machines and humans. Frankenstein@200, will be a year-long series of academic courses and programs including a film festival, a play, a lecture series and an international Health Humanities Conference that will examine the numerous moral, scientific, sociological, ethical and spiritual dimensions of the work, and why Dr. Frankenstein and his monster still capture the moral imagination today. This project will be sponsored by the Stanford Medicine & the Muse Program in partnership with the Stanford Humanities Center, the Stanford Arts Institute, the Office of Religious Life, the Vice Provost for Teaching and Learning, Stanford Continuing Studies, the Cantor Arts Center, the Department of Art & Art History, and the Center for Biomedical Ethics.

Download PDF — Post-Cinema: Theorizing 21st-Century Film

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I am pleased to announce that Post-Cinema: Theorizing 21st-Century Film, which I co-edited with Julia Leyda, is now available for download in PDF format.

The open-access book, which has been available in an online HTML version since earlier this year, weighs in at a whopping 990 pages (!) and can now be downloaded for offline reading in two versions (9mb or a higher-quality 13mb version).

There are also two new endorsements for the book. First, from Tanya Horeck at Anglia Ruskin University:

Post-Cinema: Theorizing 21st-Century Film is an intellectually exciting and important book. Editors Shane Denson and Julia Leyda have assembled an extraordinary range of notable contributors with the aim to open up a critical conversation on the very notion of the post-cinematic – something they achieve in a most novel and engaging way. Through essays and roundtable discussions, Post-Cinema formulates fresh and nuanced questions about the consumption and spectatorship of post-millennial film and other media as they circulate through contemporary digital media ecologies. As is fitting given its subject matter of changing media formats, the design and layout of this book – with its open access digitality and its collaborative dialogues – is as relevant and pioneering as its content. Inviting us to rethink received ideas about how 21st-century media reshape “new forms of sensibility,” Post-Cinema: Theorizing 21st-Century Film is critically imperative reading for anyone interested in ongoing vital transformations in moving image media.

– Tanya Horeck, Reader in Film, Media, and Culture, Anglia Ruskin University

And also an endorsement from Michael Lawrence at University of Sussex:

The essays and discussions that have been assembled in Post-Cinema: Theorizing 21st–Century Film provide the reader with a remarkably comprehensive and compelling survey of the diverse critical and theoretical responses to the formal, technological, affective, political and ecological dimensions of our contemporary post-cinematic landscape. That landscape now has an authoritative and inspirational field guide: by gathering together foundational interventions alongside the most recent contributions this collection will prove indispensable to anyone wishing to take these conversations forward.

– Michael Lawrence, Reader in Film Studies, University of Sussex

More info and an official announcement can be found here.

Out Now: Network Ecologies

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Network Ecologies is a great new open-access collection edited by Amanda Starling Gould and Florian Wiencek and published by the Duke Franklin Humanities Institute. The collection takes advantage of the Scalar publishing platform to include a variety of media alongside scholarly texts. Among other things, it includes a collection of artworks by Karin Denson and myself, which we developed for an exhibit at Duke in 2015 (also organized by Amanda Starling Gould) and which grew out of a collaboration with the Duke S-1: Speculative Sensation Lab. There is also an archive of videos from a 2013 symposium, including contributions from Jussi Parikka, Mark Hansen, Stephanie Boluk, Patrick LeMieux, and many others. Lots of great things to discover here–check it out!

 

Generativity and Creative Agency in Post-Cinematic Media — SLSA 2016 Panel

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I am excited to be chairing and participating in the panel “Generativity and Creative Agency in Post-Cinematic Media” at the 2016 conference of the Society for Literature, Science, and the Arts (SLSA), which will be taking place this year in Atlanta, November 3-6, 2016. Below you will find the panel description and links to the individual abstracts.

Generativity and Creative Agency in Post-Cinematic Media

SLSA 2016 Panel

Chair: Shane Denson, Stanford University

This panel seeks to elucidate the generative potentials and creative agencies of contemporary audiovisual media, or post-cinematic media. We explore these potentials in terms of technological, aesthetic, affective, and political processes involved in 21st-century media, theorizing their impact on the images that dominate our experience of the contemporary lifeworld. Collectively, these presentations provide a picture of post-cinema as a field of material, cultural, informatic, and ideological agencies—a media regime that exhibits an unprecedented form of productivity, or creative force, owing in part to the shift from a photographic-indexical to a computational ontology, but continuing to speak to human sensibilities through images that actively generate an interface with sub-perceptual and informational processes.

Shane Denson’s contribution introduces the notion of post-cinema as a framework for contemporary experience—a generative framework that displaces human perspectives while simultaneously re-situating them with respect to the microtemporal processes that subtend perception in the age of digital, networked media. Mark Hansen’s talk turns to the use of military drones in the production of strategic and aesthetic images, questioning the relation between the visual and the informatic. Ozgun Eylul Iscen picks up this thread and links the political power of post-cinematic images to the generative power of the glitch, a phenomenon which hovers between properly perceptual and infrastructural registers. Finally, Jason Lajoie’s contribution focuses on interactive potentials and the reconfiguration of photographic media and agencies in contemporary videogames.

Abstracts for the individual papers:

Shane Denson, “Post-Cinema as a Generative Media Regime”

Ozgun Eylul Iscen, “Indexicality as ‘Shadow Archive’ in Post-Cinema”

Mark B. N. Hansen, “Between Information and Fabulation: Cinema After Drones”

Jason Lajoie, “Playing the Photographer: Creative Self-Expression through In-Game Photography”

Post-Cinema as a Generative Media Regime — Shane Denson

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My abstract for the panel “Generativity and Creative Agency in Post-Cinematic Media” at SLSA 2016 in Atlanta:

Post-Cinema as a Generative Media Regime

Shane Denson, Stanford University

This presentation examines recent theories and approaches to post-cinema, understood broadly as the informatically informed audio-visual media regime that follows in the wake of electronic and digital media’s absorption and re-tooling of cinematic technologies and modes of representation. Taking cues from Steven Shaviro’s Post-Cinematic Affect (2010) and the diverse contributions to the collection Post-Cinema: Theorizing 21st-Century Film (2016, co-edited by Shane Denson and Julia Leyda), among others, I aim in particular to foreground the ways in which what has often been conceived in terms of loss (e.g. the loss of indexicality, the demise of celluloid, or the death of cinema as an institution or context for collective reception) inevitably also involves an additive or generative moment—a moment of technical and cultural creation informed by the microtemporal and computational processes that displace and transform the photographic ontology of cinema. Such generativity has been glimpsed in a variety of critical and theoretical statements, such as Lev Manovich’s argument that digital processes render all images “animation,” Steven Shaviro’s focus on “affect” as the pre-perceptual site of these images’ registration, or Vivian Sobchack’s recent meditations on the emergence of a new spatiotemporal dimension within the “screen-sphere” that now encompasses all of human life. As of yet, however, these approaches have not been synthesized into a more general, comprehensive framework of post-cinematic generativity. This talk aims to make a step in this direction by identifying the technical, phenomenological, and pre-personal foundations of the post-cinematic media regime and its particular mechanisms of creative agency.

Indexicality as “Shadow Archive” in Post-Cinema — Ozgun Eylul Iscen

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Ozgun Eylul Iscen’s abstract for the panel “Generativity and Creative Agency in Post-Cinematic Media” at SLSA 2016 in Atlanta:

Indexicality as “Shadow Archive” in Post-Cinema

Ozgun Eylul Iscen, Duke University

If technical infrastructures are no longer homogenous with surface appearances in the era of computerized and networked media, how can we reach out to the structures that are not available to us immediately but that underlie the very constitution of the digital image itself? Can a digital image become an index of its own mediation? In this paper, I draw upon Akira Mazuta Lippit’s notion of the “shadow archive” (as inspired by Derrida); the concept underlines an accumulation of accidental recollections and enfolded traces at the edge of visibility, thus taking the form of “avisuality.” I propose that the notion of shadow archive could play a key role in mapping out the diverse layers of digital processes that act while remaining invisible. This raises questions about whether it is possible to trace back those layers, what kind of aesthetics would be called for, and what the political significance would be. For instance, glitch, as an error within a digital image, can be indexical of an ‘accident’ in hardware or in the material infrastructure (e.g. electricity). While the visibility of a digital image deteriorates, the invisible but constitutive elements of the image come to the surface. Thus, glitch reminds us of digital information’s analog roots, confronts the apparent perfectness of the digital, and reveals both the materiality and the ideology that digital media are built on. I argue that this understanding of indexicality as a shadow archive underscores digital imagery’s analog roots and its processual and immanent nature.

Between Information and Fabulation: Cinema After Drones — Mark B. N. Hansen

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Mark Hansen’s abstract for the panel “Generativity and Creative Agency in Post-Cinematic Media” at SLSA 2016 in Atlanta:

Between Information and Fabulation: Cinema After Drones

Mark Hansen, Duke University

This talk focuses on the use of high speed digital video cameras onboard Unmanned Aerial Vehicles or military drones to gather “intelligence, surveillance, and reconnaissance” (ISR).  In order to address the key “aesthetic” issue involved here—the question of whether such ISR can be said to operate through the register of the visible, and thus the question of where to locate its cinematic dimension—I shall approach the images generated by drone reconnaissance on two planes: as a source of information that can only be analyzed by computers and as a “vision machine” that renders visibility asymmetrical in order to identify it with power.  My talk will think with and through Israeli artist Omer Fast’s 2011 video 5000 Feet is the Best in order to explore: 1) the decoupling of “cinema” from human perception that is at issue in ISR images; and 2) how a cinematic aesthetic can create an indirect perceptual interface onto the imperceptible, informational domain “machinically-presentified” by and through these images.