Out Now: “Visualizing Digital Seriality” in Kairos 22.1

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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!

Post-Cinema: Videographic Explorations

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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.

The show will be on view May 1-12, 2017 in the Gunn Foyer, McMurtry Building (home of the Department of Art & Art History) at Stanford University.

#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.

Out Now: ETC Media 110

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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.

Collaborators

Grégory Chatonsky
Eve K. Tremblay
Pau Waelder
Bertrand Gervais and Arnaud Regnauld
Shane Denson
DeForrest Brown Jr.
Goliath Dyèvre
Pierre Cassou-Noguès
Erik Bordeleau
Nora N. Khan
Dylan Trigg
Pierre-Alexandre Fradet
Jussi Parikka

#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.