This is the updated poster for the opening colloquium for Stanford’s Frankenstein@200 Initiative, October 17, 2017 (7:00-8:30pm in Cubberley Auditorium, Stanford School of Education). I’ll be speaking alongside Denise Gigante (English Department), Aleta Hayes (Theater and Performance Studies), Russ Altman (Bio-Engineering, Genetics, Medicine, Computer Science), and Hank Greely (Law and Genetics), moderated by Jane Shaw (Dean for Religious Life).
Free and open to the public: All humans, monsters, cyborgs, others welcome.
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!
Starting May 1, I am proud to present an exhibition of video essays, including works by well-known scholar-filmmakers Allison de Fren and Kevin B. Lee, as well as students from my “Post-Cinema” seminar. Selected videos deal with a range of topics, including digital animation, Beyoncé’s Lemonade and the visual album, contemporary horror, slow cinema, transmedia franchises and post-cinematic television, and more.
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.
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.
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 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.”