For our last Digital Aesthetics workshop of Fall 2023, please join us in welcoming Thomas Lamarre, who will present on “Harvesting Light” on December 5, 5-7PM PT. The event will take place in the Stanford Humanities Center Watt Dining Room, where refreshments will be served. Please find the abstract and bio below. We look forward to seeing you there!
Discussions of environmental media tend, as if ineluctably, to introduce a rigid divide between economy and ecology, with infrastructures, markets, and geopolitical forces on one side of destruction, while ecology implies an utterly different, highly vulnerable set of processes. This talk aims to reconsider some of these seemingly insuperable divides through a focus on artificial photosynthesis, which often described as a form of bioinspiration, biomimicry, or homeotechnology. Part of what is interesting about artificial photosynthesis is that it tentatively blurs and contests the distinction between artificial and natural. It thus encourages a rethinking of the production of value in terms of a systematicity that does not rely on a strict divide between economy and ecology. Here I propose to explore the production of value by opening a dialogue between artificial photosynthesis and some recent thinkers of environmental Marxism such as Jason Moore and Saitō Kōhei. In this way, I hope also to reconsider what media studies has to offer environmental studies in an era of anthropogenetic climate change.
Bio:
Thomas Lamarre teaches in the departments of Cinema and Media Studies and East Asian Languages and Civilizations at the University of Chicago. Publications on media, thought, and material history include work on communication networks in 9thcentury Japan (Uncovering Heian Japan, 2000); silent cinema and the global imaginary (Shadows on the Screen, 2005); animation technologies (The Anime Machine, 2009) and infrastructure ecologies (The Anime Ecology, 2018). Major translations include Kawamata Chiaki’s Death Sentences (2012), Muriel Combes’s Gilbert Simondon and the Philosophy of the Transindividual (2012), David Lapoujade’s William James, Empiricism, and Pragmatism (2019), and Isabelle Stengers’s Making Sense in Common (2023).
I am happy to announce the call for papers for the 5th annual Stanford-Leuphana Academy for Media Studies, which will again take place in Berlin (June 24-28, 2024)!
Stanford-Leuphana Summer Academy on Humanities and Media 2024
Open to advanced PhD candidates
Date: June 24-28, 2024
Location: Stanford Berlin, Haus Cramer, Pacelliallee 18, 14195 Berlin
Application Deadline: January 15, 2023
2024 topic: »Art, Technology, and the Problem of Acceleration«
For the last two hundred years, any number of writers and scholars have claimed that life is speeding up. As early as 1880 Goethe called the emerging industrial era “velociferous.” In today’s information era, such diagnoses flourish from popular punditry to Paul Virilio’s “Dromology,” Hartmut Rosa’s “Social Acceleration” and, of course, the philosophers of “Accelerationism.” An even older line of thought, a line we can trace back to Newton and Galileo, reminds us that in physics, and perhaps in the social world too, acceleration is always linked to forces of resistance, to inertia and redirection. Today such resistance ranges from a booming deceleration and disconnection industry to reactionary critiques of modernity, from institutional inertia and foot-dragging to the persistence of habits, emotions, mindsets, and values.
How can we understand this interplay of acceleration, technology, and inertia? What roles might media, art, and technology play in processes of acceleration and resistance? Can the study of literature or painting or multimedia sculpture, for instance, help us explore the forces driving acceleration? Give us new ways to understand the refusal to accelerate? What roles has aesthetics played in the economic, organizational, and technological changes under way around the world? And can we make new forms, new stories or images or objects, that let us imagine how we might do things differently?
We aim to bring together emerging scholars from a variety of fields to explore these and related questions. We welcome applications from across the humanities, the arts, and the social sciences. We hope to work collectively and to give participants a newly multidisciplinary toolkit with which to analyze acceleration and deceleration, in the past, the present, and the future.
Core Faculty
1. Timon Beyes (Sociology of Organization and Culture, Leuphana)
2. Shane Denson (Film & Media Studies/Modern Thought & Literature, Stanford)
3. Ute Holl (Media Studies, Basel)
4. Sybille Krämer (Philosophy, Leuphana)
5. Claus Pias (History and Epistemology of Media, Leuphana)
Wolfgang Ernst (Media Theory, Humboldt University Berlin)
Application
All applications from advanced doctoral candidates must be submitted electronically in PDF format. Please submit your CV (1-2 pages) along with a 500-word abstract of your topic and a short letter of intent explaining why you would like to attend this Summer Academy.
Please use the following naming convention for your application files: Lastname_CV.pdf,
Please email your applications by January 15, 2024 to stanleu@leuphana.de.
The working language of the Summer Academy will be English. The organizers will cover travel (economy) and accommodation costs for the time of the summer school. No additional fees will be charged.
General information
The Stanford-Leuphana Summer Academy addresses the intersection between individual humanities disciplines and studies of media and technology from a variety of historical, systematic, and methodological perspectives. As we live in a time when new technologies are emerging at an increasingly rapid pace, the Academy seeks to address vital questions about how different media can drive political and social change, but it also inquires into the assumptions and values that produce technological artifacts. Media studies and media theory intersect with various disciplines in the humanities and social sciences that treat the transmission of information, the formation of social networks, and the embodiment of knowledge in technological artifacts. Therefore, the Academy will bring together faculty and students from various branches of the humanities and social sciences to think about how »mediality« permeates these disciplines in distinct ways; we will approach these issues not only from a robustly interdisciplinary vantage but also by way of comparative cultural and historical perspectives. In this way, the Academy will contribute to our understanding of the fundamental ways that forms of media and technological mediation inform disciplinary knowledge across the humanities, as well as the ways that these disciplinary knowledge formations are an essential precondition to any serious thinking about mediality.
In this artist talk, Mark Amerika shares his creative process as a digital artist whose symbiotic relationship with both language and diffusion models informs his artistic and theoretical pursuits. Turning to his most recent book, My Life as an Artificial Creative Intelligence (Stanford University Press) and his just-released art project, Posthuman Cinema, Amerika will demonstrate, through personal narrative and theoretical asides, how different rhetorical uses of language can transform AI into a camera, a fiction writer, a poet and a philosopher.
Throughout the performance, Amerika will ask us to consider at what point a language artist becomes a language model and vice-versa. He will also question what new skills artists will have to develop as they co-evolve in a creative work environment where one must maintain a playful and dynamic relationship with the rapid technical maneuvering of the machinic Other. Will a more robust, intuitive yet interdependent relationship with AI models require artists to fine-tune what Amerika refers to as a cosmotechnical skill, one that is at once imaginative and indeterminate, playful and profound, grounded yet otherworldly in its aesthetic becoming? And how do we teach this skill at both the undergraduate and graduate level?
Borrowing from Beatnik poets and jazz musicians alike, Amerika suggests that a continuous call-and-response improvisational jam session with AI models may unlock personal insights that reveal how one’s own unconscious neural mechanism acts (performs) like a Meta Remix Engine. Engaging with other artists and writers who have tapped into their creative spontaneity as a primary research methodology, Amerika will discuss how digital artists can train themselves to intuitively select and defamiliarize datum for aesthetic effect. In so doing, Amerika suggests that this is how an artist connects with their own alien intelligence, a mediumistic sensibility that takes them out of their anthropocentric stronghold and invites them to reimagine what it means to be creative across the human-nonhuman spectrum.
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Mark Amerika has exhibited his art in many venues including the Whitney Biennial, the Denver Art Museum, ZKM, the Walker Art Center, and the American Museum of the Moving Image. His solo exhibitions have appeared all over the world including at the Institute of Contemporary Arts in London, the University of Hawaii Art Galleries, the Marlborough Gallery in Barcelona and the Norwegian Embassy in Havana.
Amerika has had five early and/or mid-career retrospectives including the first two Internet art retrospectives ever produced (Tokyo and London). In 2009-2010, The National Museum of Contemporary Art in Athens, Greece, featured Amerika’s comprehensive retrospective exhibition entitled UNREALTIME. The exhibition included his groundbreaking works of Internet art GRAMMATRON and FILMTEXT as well as his feature-length work of mobile cinema, Immobilité. In 2012, Amerika released his large-scale transmedia narrative, Museum of Glitch Aesthetics (MOGA), a multi-platform net artwork commissioned by Abandon Normal Devices in conjunction with the London 2012 Olympic and Paralympic Games. His public art project, Glitch TV, was featured at the opening of the “video towers” at Denver International Airport.
He is the author of thirteen books including My Life as an Artificial Creative Intelligence, the inaugural title in the “Sensing Media” series published in 2022 by Stanford University Press.
The Department of Art & Art History presents a special screening of the documentary film Invisible Landscapes. This event is free & open to the public. A Q&A with Ivo Bystřičan (Director) and Tereza Swadoschova (Producer) will be held after the screening.
It sounds like a bird’s song, and you can’t take your ears off it. But it’s not – it’s just the popping bubbles of a melting glacier. A group of musicians equipped with sensitive microphones and headphones set out on an exploration. They head to places in the Czech and Icelandic countryside both marred by industry and untouched by man to discover and understand the sound of catastrophe – the sound of ongoing climate change, which in itself can be far more beautiful, and more imaginative, than what it heralds. While sight allows phenomena and things to be encompassed in a static state and in a certain entirety, hearing allows us to understand how they affect and clash with their surroundings. Sound is the consequence of an event that happened in the past and points towards a future now being decided, one that may potentially be inevitable and destructive for us. It cannot yet be seen in the invisible landscapes, but – if we listen carefully – it is already there.
Czech Republic, 2022, 48 minutes.
Ivo Bystřičan is Czech documentary director, dramaturg, screenwriter and producer. His work focuses on social and environmental topics with a sociological accent. His feature documentary debut Byeway (2014) focuses on the controversial role of the state in the construction of the highway as a public good. In his films, he dives into the tobacco industry, industrial agriculture, resource extraction, refugee crisis or the evolution of industrial capitalism. He focuses on uncovering the latent functions of institutions and the unintended consequences of an action. Invisible Landscapes is his latest film as a part of the multidisciplinary project Future Landscapes. He also works as a dramaturg of documentary films and audio podcasts, and lecturer of film workshops. He is the author of several documentary podcast series. He graduated from sociology at Masaryk University, Brno and documentary filmmaking at FAMU, Prague.
Tereza Swadoschová is a Czech producer and programmer. Her work engages with science, using art as a primary tool, and emphasizes social and environmental themes. “Future Landscapes,” her latest project, delves into the insights that sound can provide about our future. This is represented through documentaries, a podcast series, a music album, and artistic interpretations of rituals. Tereza is the head of the Inspiration Forum at the Jihlava IDFF. This platform annually hosts discussions on a range of topics from social, political, cultural to environmental issues. She co-founded the first platform in the Czech Republic dedicated to the ethics of documentary filmmaking. A graduate of Masaryk University, Tereza is currently collaborating with artist Kateřina Šedá on a project that focuses on the role of industry in marginalized areas.
VISITOR INFORMATION: Oshman Hall is located in the McMurtry Building on Stanford campus at 355 Roth Way. Visitor parking is free all day on weekends and after 4 pm on weekdays, except by the Oval. Alternatively, take the Caltrain to Palo Alto Transit Center and hop on the free Stanford Marguerite Shuttle. If you need a disability-related accommodation or wheelchair access information, please contact Julianne Garcia at juggarci@stanford.edu.
This event is made possible with the generous support of:
CREEES Center for Russian, East European & Eurasian Studies Department of Art & Art History Department of English Department of Slavic Languages and Literatures Film and Media Studies
Yesterday, TheStanford Daily ran an article by student reporter Joshua Kim about the book launch of Post-Cinematic Bodies, which you can find here. Interestingly, it seems that the article was immediately picked up, processed with AI (I can only assume), and (re)published in machinically modified form, complete with a listicle-like FAQs section, by a certain “Simon Smith,” on a website illustrated exclusively with AI-generated images. Welcome, as Matthew Kirschenbaum writes, to the Textpocalypse!
Book launch in the Terrace Room, Margaret Jacks Hall, Nov. 6, 2023It was a packed house. Gave away 40 copies of my book!A long overdue gathering of friends and colleagues. My last book came out in the deepest Zoom time of the pandemic, so I had to make up for it!Discussing Rafael Lozano-Hemmer’s Pulse series, which I write about in Chapter 5.Wonderful response from Annika Butler-Wall, focusing on the implications of my book for feminist studies of technology.Hank Gerba introducing Scott BukatmanScott Bukatman’s excellent response focused on the continuities in spirit, and changes in the world, from his Terminal Identity (1993) to my Post-Cinematic Bodies (2023)Bryan NortonTRONPavle LeviWith Sepp GumbrechtWith Grace HanCheers!
For our second Digital Aesthetics workshop of the year, please join us in welcoming Ge Wang, who will present on “Artful Design and Artificial Intelligence: What do we (really) want from AI?” on November 14, 5-7PM PT. The event will take place in the Stanford Humanities Center Watt Dining Room, where refreshments will be served. Below you will find an abstract and bio, as well as a poster for lightweight circulation. We look forward to seeing you there!
We all design, shaping the world around us in the form of tools, policies, education, and communities. In recent months we’ve seen the growing emergence of “astoundingly competent” AI tools, leading many of us to wonder how AI might soon impact our work, our lives, our world. How do we (want to) live and work with artificial intelligence? How might we artfully design tools and systems that balance machine automation and human interaction? And perhaps the most basic question of all, what do we (really) want from AI?
In this presentation, we will engage with these questions through an artful design lens, considering factors such as aesthetics, ethics, and accountability. As a case study, we will draw from the teaching of “Music and AI”, a critical-making course at Stanford, and explore the power of human creativity in using AI not as an “oracle”, but as a tool for creative expression.
Bio:
Ge Wang is an Associate Professor at Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA). He researches the artful design of tools, toys, games, musical instruments, programming languages, expressive VR experiences, and interactive AI systems with humans in the loop. Ge is the architect of the ChucK audio programming language, the director of the Stanford Laptop Orchestra and the Stanford VR Design Lab. He is the Co-founder of Smule and the designer of the Ocarina and Magic Piano apps for mobile phones. He is a Senior Fellow and a Associate Directory of Stanford Human-Centered AI Institute. A 2016 Guggenheim Fellow,Ge is the author of /Artful Design: Technology in Search of the Sublime/, a photo comic book about how we shape technology — and how technology shapes us.
