#SCMS17 Deformative Criticism Workshop — Slides, Videos, Tutorials, Stuff

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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.

#SCMS17 Workshop on “Deformative Criticism and Digital Experimentations in Film and Media Studies”

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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.

#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.”

Deformative Criticism at #SCMS17

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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.

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 LearningStanford Continuing Studies, the Cantor Arts Center, the Department of Art & Art History, and the Center for Biomedical Ethics.

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”