The new issue of Media Fields, devoted to the topic of “Mediating the Anthropocene,” is out now. Included among the many exciting contributions is my article “Post-Cinema After Extinction.” Check out the whole issue here.
There is a new review of several works on all things post-cinematic, including Post-Cinema: Theorizing 21st-Century Film (which I co-edited with Julia Leyda), alongside Francesco Casetti’s The Lumière Galaxy; Malte Hagener, Vinzenz Hediger, and Alena Strohmaier’s edited collection The State of Post-Cinema; Vinzenz Hediger and Miriam de Rosa’s special issue Post-What? Post-When?; and Astrid Deuber-Mankowsky’s Queeres Post-Cinema.
The review, in German, is titled “Werden/Weiter/Denken: Rekapitulation eines Post-Cinema Diskurses” (roughly: Becoming/Further/Thinking — suggesting a thinking in flux and a thinking beyond — Recapitulation of a Post-Cinema Discourse). The text, by Elisa Linseisen from the Ruhr-Universität Bochum, appears in Zeitschrift für Medienwissenschaft 18 (2018). The full text is available as an open-access PDF.
I am excited to see my interactive piece, “Visualizing Digital Seriality, or: All Your Mods Are Belong to Us,” out now in the latest issue of Kairos: A Journal of Rhetoric, Technology, and Pedagogy. This is by far the most technically demanding piece of scholarship I have ever produced, and it underwent what is possibly the most rigorous peer-review process to which any of my published articles has ever been subject. If you’re interested in data visualization, distant reading techniques, network graphing, critical code studies, game studies, modding scenes, or Super Mario Bros. (and who doesn’t like Super Mario Bros.?), check it out!
The new issue of Cinéma & Cie, edited by Miriam de Rosa and Vinzenz Hediger, is out now. The special issue, which goes to the heart of recent discussions of post-cinema, is provocatively titled “Post-What? Post-When?,” and it includes my own contribution, titled “Speculation, Transition, and the Passing of Post-Cinema” alongside pieces by Malcolm Turvey & Ted Nannicelli, Sabrina Negri, Rachel Schaff, Saige Walton, and Monica Dall’Asta. The contributions are framed by a “Conversation on the ‘Posts’ of Post-Media and Post-Cinema” by Miriam de Rosa & Vinzenz Hediger.
General description of the special issue:
If we live in a post-media and post-cinema condition, how much longer will it last, and how will it end? Picking up on the recent debate about post-media and post-cinema, this special issue of Cinéma & Cie addresses the question of temporality and periodization in media history and asks what exactly the ‘post’ in post-cinema means. The contributions approach this question from a variety of perspectives and discuss a number of key issues, from the question of medium ontology to that of medium specificity, from the development of digital and hybrid cinematic forms to the problems and pitfalls of preservation. Exploring new analytical and theoretical frameworks that account for the moving image in the multiplicity of its configurations, the contributions open up new avenues of research and provide a sense of what may lie beyond our current post-media and post-cinema condition.
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.
Eve K. Tremblay
Bertrand Gervais and Arnaud Regnauld
DeForrest Brown Jr.
Nora N. Khan
The latest issue of MEDIENwissenschaft: Rezensionen/Reviews includes a nice review of my book Postnaturalism: Frankenstein, Film, and the Anthropotechnical Interface.
For those of you who read German, you can find the entire text of the review, by Anya Heise-von der Lippe (Tübingen/Berlin), here. For everyone else, here is a (rough) translation of the reviewer’s summary statement:
“Postnaturalism offers a philosophical approach and an engagement with fundamental ontological and phenomenological questions of human and nonhuman materiality, which is indispensable especially for a post-postmodernity characterized by resource scarcity, climate change, and species extinctions, as well as the threat of a return to essentialist positions in politics and popular culture. Adapting a phrase from Bruno Latour, Denson counters the latter with a postnatural position: “We have never been natural” (24). Furthermore, Denson’s detailed examination — at the level of content, reception, and production — of Frankenstein adaptations is an asset for the analytical and production-aesthetic [produktionsästhetische] investigation of a central text (or modern myth) and its many adaptations in a wide range of text-critical disciplines: from media studies to literary to cultural studies.”
(Again, the translation is rough. Tweaks are more than welcome! Especially if you have suggestions for produktionsästhetisch or for making that first sentence more readable, drop me a line in the comments below…)
Finally, make sure you check out the entire issue of MEDIENwissenschaft, which is chock full of great stuff. Of particular interest to readers of this blog, among other things: the “Perspectives” section contains a longer piece on seriality and television series’ interrelations by Tanja Weber and Christian Junklewitz.
Check out the full contents of the issue here.
The latest issue of [in]Transition: Journal of Videographic Film & Moving Image Studies has just been published. This is a special issue featuring video essays that emerged out of the NEH workshop on videographic criticism that I attended last summer at Middlebury College, organized by Jason Mittell and Christian Keathley. In addition to my video essay “Sight and Sound Conspire: Monstrous Audio-Vision in James Whale’s Frankenstein (1931)” — with peer reviews by Steven Shaviro and Drew Morton — the special issue also contains great pieces by Allison de Fren, Patrick Keating, Jaap Kooijman, and Michael Talbott. Check it out!