Tag: workshop

Digital Aesthetics Workshop-Workshop, May 24, 2024

Digital Aesthetics Workshop – Workshop

Stanford University, May 24, 2024 

We’re pleased to announce the return of the Digital Aesthetics Workshop – Workshop. In the spirit of the Digital Aesthetics series – which invites faculty from various institutions to speak about their work – we envision the DAW-W to be a space for graduate students to share any work-in-progress research in a half-day workshop at the Stanford Humanities Center.

We welcome 250-word abstracts from Stanford graduate students for 15-20 minute presentations. Presentations can be about papers, practice-based projects, and alternative forms of research relevant to the theme of “digital aesthetics,” broadly understood. Presentations will then be workshopped with their peers and faculty mentors Shane Denson (Art History) and Angèle Christin (Communication). Lunch and refreshments will be provided to attendees.

Please send your abstracts to Hank Gerba (hankg@stanford.edu) and Grace Han (ghahahan@stanford.edu) by 6 May 2024, with the email title “DAW-W Abstract.” Acceptances will be sent out shortly after.

CFP(articipants): CPU Media/Arts Workshop on SELF-ORGANIZED CRITICALITY

CPU, the Critical Practices Unit, is bifurcating. In addition to hosting events, such as last quarter’s exploration of robotics and performativity, CPU is inaugurating a media/arts workshop.

This will be a space, organized around periodic themes, in which we will plan, discuss, and create projects which disturb the unhappily inherited oppositions of theory/practice, life/art, art/science, and scholarship/the rest. Writers, artists, coders, musicians, everybody (anybody), with a desire to explore alternate ways of making-alongside-theory is welcome. We are looking for critical making, art, manifestos, noise, digital humanities, novel forms of publication, works in progress, and more. There will be no imposed limitation to the scale, medium, or temporality of these projects—only a dotted timeline of informal get-togethers (with snacks) in which we can provide feedback, support, and a shared (if distributed) space for one another. If you’re already working on something (or know someone who is (please forward widely !)), or want to start something, let us know !

CPU’s first workshop theme will be SELF-ORGANIZED CRITICALITY.

Plucked from complexity sciences, SoC is a speculative mechanism which describes how “natural systems,” such as life, might form out of chaos. The term prompts, among many potential questions: How do we(?) position criticality (historically, socially, ontologically) ? Is there any pleasure in critique ? How to navigate porosities or closures between the humanities and sciences (physis/nomos, physis/techne) ? What does it mean for material to gather ? Can material be maternal, or sex abstract ? Who is the ‘self’ which organizes, and how is it oriented (toward/against futures, origins, vortices, decay) ? What does it mean to do all this at Stanford ? Word-play is encouraged—no association is too loose.

We’ll be organizing a first get-together soon.

Again, if interested, please reach out to Hank Gerba: hankg@stanford.edu

Scholarship in Sound & Image

2015-02-05 02.45.18 pm

I have long been interested in “videographic criticism” — that is, scholarly (interpretive, argumentative, and sometimes more poetic) work done in the medium of sound and moving images. Such work is especially relevant for engagements with film and video, television, and video games — i.e. for the critical analysis of media that themselves operate with sound and moving images of various sorts. Until now, I have only dabbled in videographic criticism, but I regard it as an important means of gaining insight and materially grappling with moving-image media; the process of planning and executing a video essay can be literally eye-opening to students who are just coming to terms with concepts and practices of cinematographic framing and continuity editing, for example, but the experience is no less powerful for seasoned scholars who are used to engaging with moving images through the more conventional channel of written text.

Over the past few years, as a result, I have made a commitment to myself to work towards more fully integrating videographic modes and methods into my pedagogical and scholarly practice. I have encouraged students to produce video essays as seminar coursework (e.g. in my 21st-century film course) — and I have plans to expand my incorporation of such assignments in future courses. In the meantime, a great number of people have been busy developing the form, exploring best practices for conducting this type of work, and even setting up peer-reviewed journals for videographic criticism — if you haven’t seen it yet, be sure to check out the awesome journal [in]Transition. In other words, while this is still a relatively new field of scholarly publication (though it clearly draws on older forms of documentary and creative work), there is a growing community of people and a growing body of work and experimentation that can be drawn upon and learned from.

I am therefore very excited to be attending a workshop this summer, “Scholarship in Sound & Image” (June 14-27, 2015 at Middlebury College), where I look forward to meeting some of these people and learning from their experience. Co-directed by Christian Keathley and Jason Mittell, and with guest presentations by the incomparable Catherine Grant and Eric Faden, the workshop promises to be a once in a lifetime learning event.

In other words: Expect to see more moving-image experiments on this blog!

Lectures & Workshop with Mark B. N. Hansen (Duke University)

On the occasion of his visit to the Leibniz University of Hannover, the American Studies department / English Seminar and the Initiative for Interdisciplinary Media Research are proud to present a series of lectures and workshops with renowned media theorist Mark Hansen.

Professor of Literature at Duke University since 2008, Mark Hansen is the author of the monographs Bodies in Code: Interfaces with Digital Media (2006), New Philosophy for New Media (2004), and Embodying Technesis: Technology Beyond Writing (2000), as well as numerous other publications in the field of media theory. In addition to two guest lectures, a workshop will provide the opportunity to discuss Prof. Hansen’s research on the basis of selected texts.

Mon, 2 July 2012, 6:00 pm: Lecture: “Feed Forward, or the ‘Future’ of 21st Century Media”

Tue, 3 July 2012, 10:00 am: Guest lecture: “The End of Pharmacology?: Historicizing 21st Century Media.”

Fri, 6 July 2012, 2:00 – 5:00 pm: Workshop on selected media-theoretical texts by Mark Hansen 
(to participate in the workshop, please register via email)

(All events will take place in room 615 in the “Conti-Hochhaus”: building 1502 at Königsworther Platz 1.) For further information and to register for the workshop, please contact Shane Denson.