Looking forward to speaking on this panel, alongside Cecilia Sayad, Adam Hart, and Kevin Chabot at the 2018 Society for Cinema and Media Studies conference in Toronto. Panel L13, Friday, March 16, 2018 (3:15pm – 5:00pm).
Thesis of my paper: “Post-cinematic horror is a side-channel attack on our affective processing of time itself.”
The call for papers is now out for the “Frankenstein 2018: 200 Years of Monsters” conference hosted by the Australian National University and the National Film and Sound Archive in Canberra, Australia (12 – 15 September 2018). I will be giving one of the four keynote talks — on Frankenstein in film and other media. Proposals are being solicited for talks on a range of Frankensteinian topics, including:
For more info and the CFP, take a look at the conference website: http://rsha.cass.anu.edu.au/events/conference-frankenstein-two-hundred-years-monsters
At this year’s SLSA conference, “Out of Time,” hosted by Arizona State University, I will be chairing a panel titled “Rethinking Temporalities in Cinema and Digital Media” (Saturday, November 11, 2017; 4:00-5:30pm). My own talk is titled “Pre-Sponsive Gestures: Post-Cinema Out of Time.” Here is the complete list of panelists and topics:
Next week, on April 7, 2017, I’ll be giving a talk titled “Post-Cinematic Artifacts: Digital Glitch and the Ruins of Perception” at the 2017 Media Fields conference, “RUINS,” at UC Santa Barbara.
Building on recent work I’ve been doing, I’ll be arguing “that new forms of sensibility and collectivity may become thinkable in the spaces opened up by post-cinematic media – that new ways of being and relating to the world may arise from the ruins of perception.”
The full conference program is posted on the conference website.
Click here or on the image above to view the slides from today’s workshop on “Deformative Criticism & Digital Experimentations in Film & Media Studies” at the 2107 SCMS conference.
Also, see here for a Google Doc with my contribution (“Glitch Augment Scan”) — including thoughts on AR, examples, and a super-simple AR tutorial — as well as links to videos, code, experiments, and deformations by my co-panelists Stephanie Boluk, Kevin Ferguson, Virginia Kuhn, Jason Mittell, and Mark Sample.
If you’re in Chicago for the Society for Cinema and Media Studies conference this week, come check out our workshop on “Deformative Criticism and Digital Experimentations in Film and Media Studies” on Friday, March 24 at 9am. More info here.
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.”
At the upcoming SCMS conference in Chicago, I will be participating in a workshop on “Deformative Criticism and Digital Experimentations in Film & Media Studies” (panel K3 on Friday, March 24, 2017 at 9:00am):
Deformative criticism has emerged as an innovative site of critical practice within media studies and digital humanities, revealing new insights into media texts by “breaking” them in controlled or chaotic ways. Deformative criticism includes a wide range of digital experiments that generate heretical and non-normative readings of media texts; because the results of these experiments are impossible to know in advance, they shift the boundaries of critical scholarship. Media scholars are particularly well situated to such experimentation, as many of our objects of study exist in digital forms that lend themselves to wide-ranging manipulation. Thus, deformative criticism offers a crucial venue for defining not only contemporary scholarly practice, but also media studies’ growing relationship to digital humanities.
Also participating in the workshop will be Jason Mittell (Middlebury College), Stephanie Boluk (UC Davis), Kevin L. Ferguson (Queens College, City University of New York), Mark Sample (Davidson College), and Virginia Kuhn (USC).
My own presentation/workshop contribution will focus on glitches and augmented reality as a deformative means of engaging with changing media-perceptual configurations, including the following case study:
Glitch, Augment, Scan
Scannable Images is a collaborative art/theory project by Karin + Shane Denson that interrogates post-cinema – its perceptual patterns, hyperinformatic simultaneities, and dispersals of attention – through an assemblage of static and animated images, databending and datamoshing techniques, and augmented reality (AR) video overlays. Viewed through the small screen of a smartphone or tablet – itself directed at a computer screen – only a small portion of the entire spectacle can be seen at once, thus reflecting and emulating the selective, scanning regard of post-cinematic images and confronting the viewer with the materiality of the post-cinematic media regime through the interplay of screens, pixels, people, and the physical and virtual spaces they occupy.
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.
I am excited and honored to be delivering one of the keynote addresses at this conference on “Encoding the Future” at the University of Siegen, December 1-2, 2016. More info and program here.