Post-Cinematic Realism


For readers of German, the Leibniz School of Education in Hannover, Germany has a nice write-up of the talk I gave there on “Post-Cinematic Realism” back in July. The material I presented there will also appear in my forthcoming book, Discorrelated Images.

Cinemática II: O pós-cinema e a experimentação para além da tela / Post-Cinema and Experimentation Beyond the Screen — October 8-10, 2019, São Paulo, Brazil

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On October 8, I will be giving a keynote lecture at “Cinemática II: O pós-cinema e a experimentação para além da tela” (Post-Cinema and Experimentation Beyond the Screen) at the Universidade de São Paulo in Brazil. My talk, titled “Discorrelated Images, Algorithmic Affects, and the Hyperinformatic Environment,” draws on my forthcoming book Discorrelated Images.

I am very excited to visit Brazil for the first time, and very grateful for the invitation from Prof. Giselle Gubernikoff of the Escola de Comunicações e Artes!

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The Algorithmic Nickelodeon

Yesterday was the first event on my trip to Germany and Switzerland: the symposium Videographic Criticism: Aesthetics and Methods of the Video Essay, organized by Kathleen Loock, and with talks/screenings from her, Allison de Fren, Chloé Galibert-Laîné and Kevin B. Lee, Liz Greene, David Verdeure, and myself.

Above, you will find my video contribution, “The Algorithmic Nickelodeon,” which builds on work started at the Duke S-1: Speculative Sensation Lab during my time there as a postdoc. The video is offered as proof-of-concept for an experimental approach to videographic theory–using video not (only) as a vehicle for theoretical expression but as a more radically transductive medium of media-theoretical exploration and transformation.

“Discorrelation and Seamfulness” at ZHdK, June 29

Discorrelation and Seamfulness

On June 29, 2019, I will be presenting work from my forthcoming book, Discorrelated Images, at the media-philosophical workshop on “Reflexivity in Digital Media” at the Zürcher Hochschule der Künste. Thanks to Katerina Krtilova for organizing, and thanks to Dieter Mersch for the invitation to be a part of this!

“The Algorithmic Nickelodeon” at ACUD-Kino Berlin — Symposium on Videographic Criticism


Next Friday, June 21, 2019, I am excited to present “The Algorithmic Nickelodeon,” a literally mind-bending EEG-powered videographic experiment, in the context of the symposium on “Videographic Criticism: Aesthetics and Methods of the Video Essay.”

The symposium, organized by Kathleen Loock, will take place at the ACUD-Kino in Berlin, and will bring together lots of leading practitioners of videographic scholarship to screen their work and discuss questions of aesthetics, methods, and theory.

The event is free and open to the public, so come by if you’re in the neighborhood!

Resistance is Futile Against Hot Asexuality

Recently, I wondered whether it was time to leave social media and reboot the blog as a space of active thinking and sharing. The jury is still out on whether that is feasible and even desirable. But I would like to use this space to post more than just upcoming talks and publications. In that spirit, I’d like to point out Yvette Granata’s 360-degree video CLONE (2017), which you can see above (but which is better viewed on a smartphone through the YouTube app, and even better with Google Cardboard or similar contraption).

On her website, Granata describes the video thus:

CLONE (HD Video, 2017) is a 360 video essay and a para-sexual design fiction. It narrates a future time after global climate collapse and mass pollution have made sexual reproduction no longer viable. Both sexual reproduction and the networked technology of the 21st century have all melted from the humidity produced by runaway greenhouse gasses. In this speculative future, a Xenofeminist world government has re-purposed the data farms of former tech companies for Mono-auto-sexual cloning clinics — the artificial wombs for the hot asexuality of the future.

I have recently been writing about this remarkable video against the background of big-budget movies about artificial women, including Her (2013), Ex Machina (2014), and Blade Runner 2049 (2017). Those movies, all of which happen to be directed by white men, are interesting meditations on, or parables of, artificial creation in an age of computer-generated imagery. But Granata’s weird video, drawing inspiration from the Xenofeminist Manifesto, goes farther than any of those movies in raising questions about the interface between gender, capital, climate change, and moving-image media.

Here is a brief snippet of what I’ve been writing:

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The Horror of Discorrelation—Kristiansand, Norway


This week, thanks to a kind invitation from Julia Leyda, I have been in Trondheim, Norway, where I’ve led two workshops on videographic scholarship and pedagogy with Kathleen Loock and, today, gave a talk on “Screen Time.” Tomorrow, March 29, 2019, I will head down south, where I will be speaking on “The Horror of Discorrelation” at University of Agder in Kristiansand, Norway. Thanks to Ahmet Gürata for inviting me!