#SCMS15 — Post-Cinema, Digital Seriality, and a Book Giveaway!

2015-03-10 06.03.52 pm

Only two weeks until the 2015 Society for Cinema and Media Studies annual conference (March 25-29 in Montreal)! In case you haven’t seen it already, the official program is now up here (warning: opens as a PDF).

As I have posted before, I will be participating in two panels this year:

First, I will be serving as chair on the “Post-Cinema and/as Speculative Media Theory” panel (Session K7: Friday, March 27, 9:00 – 10:45am), for which I feel extremely lucky to have secured an all-star lineup of panelists: Steven Shaviro, Patricia Pisters, Adrian Ivakhiv, and Mark B. N. Hansen (click on each name to read the panelists’ abstracts). I also feel very honored that the Media and the Environment Special Interest Group has chosen this panel for official sponsorship!

Second, I will be co-presenting a paper on “Hardware Seriality” with my colleague Andreas Jahn-Sudmann in the “Digital Seriality” panel (Session Q20: Saturday, March 28, 3:00 – 4:45pm). Other panelists include Scott Higgins and Dominik Maeder (click for their abstracts). (Unfortunately, Daniela Wentz will not be able to attend the conference.)

Finally, just for fun: A BOOK GIVEAWAY! The first person to ask me (in person, during the conference) about my book Postnaturalism: Frankenstein, Film, and the Anthropotechnical Interface (excerpt here) will get a free copy! So be on the lookout!

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SCMS 2015 Preliminary Schedule Online — #SCMS15

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The preliminary schedule for the Society of Cinema and Media Studies 2015 conference in Montreal is now online (here). As I posted recently, I will be involved in two separate panels:

First, I will be chairing the panel on “Post-Cinema and/as Speculative Media Theory” (panel K7, Friday, March 27, 2015, 9:00-10:45am) — with presenters Steven Shaviro, Patricia Pisters, Adrian Ivakhiv, and Mark B. N. Hansen. You can find the complete panel description, as well as individual abstracts, here. Note also that all participants on this panel are contributors to the forthcoming Post-Cinema: Theorizing 21st-Century Film, which I am co-editing with Julia Leyda.

Second, I will be participating in a panel on “Digital Seriality” (panel Q20, Saturday, March 28, 2015, 3:00-4:45pm) — along with Andreas Jahn-Sudmann, Scott Higgins, Dominik Maeder, and Daniela Wentz. Panel description and abstracts can be found here. And, as with the other panel, this one too has a tie-in with a publication: all the participants on this panel were contributors to the special issue of Eludamos: Journal for Computer Game Culture that Andreas Jahn-Sudmann and I edited on the topic of “Digital Seriality.”

Out Now: Digital Seriality — Special Issue of Eludamos

eludamos-digital-seriality-cover

The latest issue of Eludamos: Journal for Computer Game Culture, a special issue devoted to the topic of “Digital Seriality” — edited by yours truly, together with Andreas Jahn-Sudmann — is now out! Weighing in at 198 pages, this is one of the fattest issues yet of the open-access journal, and it’s jam-packed with great stuff like:

  • Patrick LeMieux on the culture and technology of tool-assisted speedrunning
  • Jens Bonk on the serial structure of Halo
  • Scott Higgins on the ludic pre-history of gaming in serial films
  • Lisa Gotto on ludic seriality and digital typography
  • Tobias Winnerling on the serialization of history in “historical” games
  • Till Heilmann on Flappy Bird and the seriality of digits
  • David B. Nieborg on the political economy of blockbuster games
  • Rikke Toft Nørgård and Claus Toft-Nielsen on LEGO as an environment for serial play
  • Dominik Maeder and Daniela Wentz on serial interfaces and memes
  • Maria Sulimma on cross-medium serialities in The Walking Dead!

So what are you waiting for? Do yourself a favor and check out this issue now!

“Digital Seriality” — Panel at #SCMS15 in Montreal

giphy-digital-seriality

At the upcoming conference of the Society for Cinema and Media Studies (March 25-29, 2015 in Montréal), I will be participating in a panel on “Digital Seriality,” co-chaired by Andreas Jahn-Sudmann and Scott Higgins, along with Dominik Maeder and Daniela Wentz.

Here is our panel description, along with links (below) to the abstracts for the various papers:

Digital Seriality

Seriality and the digital are key concepts for an understanding of many current forms, texts, and technologies of media, and they are implicated in much broader media-historical trajectories as well. Beyond the forms and functions of specific cultural artifacts, they are central to our global media ecology. Surprisingly, though, relatively few attempts have been made at thinking the digital and the serial together, as intimately connected perspectives on media. This is precisely the task of the present panel. On the one hand, the papers interrogate the serial conditions, forms, and effects of digital culture; on the other hand, they question the role of the digital as technocultural embodiment, determinant, or matrix for serialized media aesthetics and practices. The panel thus brings together heretofore isolated perspectives from studies of new media culture (cf. Manovich 2001, Jenkins 2006) and emerging scholarship on seriality (cf. Kelleter 2012, Allen and van den Berg 2014).

Seriality and digitality are understood here in terms not only of their narrative/representational manifestations but also their technical-operational impacts on our media environments. Accordingly, Shane Denson and Andreas Jahn-Sudmann’s paper looks to the case of the Xbox One in order to show how computational platforms affect the serial forms and practices emerging within, among, and around digital games (“intra-,” “inter-,” and “para-ludic” serialities; cf. Denson and Jahn-Sudmann 2013), but also how these platforms inscribe themselves – as a serialized factor in their own right – into the parameters of computational expression. Whereas video games serve here to highlight the differences between digital and pre-digital serial forms, Dominik Maeder approaches things from the opposite direction, arguing that the interfaces of Netflix, Hulu, and other digital streaming services embody a form of spatio-temporal serialization that, already anticipated by TV series, is closely related to (pre-digital) televisual seriality. As a complementary perspective, Daniela Wentz’s paper shows how certain TV series anticipate their own digital afterlives in the form of fan-made gifs and memes. Finally, Scott Higgins provides an “archeological” perspective, exploring the ludic dimensions of the operational aesthetic, which anticipates computer games in pre-digital forms, thus offering a fruitful case for rethinking digital seriality from a media-comparative perspective.

Bibliography

Allen, Robert, and Thijs van den Berg, eds. Serialization in Popular Culture. London: Routledge, 2014.

Denson, Shane, and Andreas Jahn-Sudmann. “Digital Seriality: On the Serial Aesthetics and Practice of Digital Games.” Eludamos: Journal for Computer Game Culture 7.1 (2013): 1-32.

Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: New York UP, 2006.

Kelleter, Frank, ed. Populäre Serialität: Narration – Evolution – Distinktion. Zum seriellen Erzählen seit dem 19. Jahrhundert. Bielefeld: Transcript, 2012.

Manovich, Lev. The Language of New Media. Cambridge, MIT, 2001.

Finally, here are links to the individual abstracts:

Shane Denson and Andreas Jahn-Sudmann, “The Xbox One as Serial Hardware: A Technocultural Approach to the Seriality of Computational Platforms”

Dominik Maeder, “Serial Interfaces: Publishing and Programming Television on Digital Platforms”

Daniela Wentz, “The Infinite Gesture: The Serial Culture of the Gif”

Scott Higgins, “Ludic Operations: Play and the Serial Action Sequence”

Daniela Wentz, “The Infinite Gesture: The Serial Culture of the Gif” #SCMS15

giphy-brando

Here is the abstract for Daniela Wentz’s paper on the panel “Digital Seriality” at the 2015 SCMS conference in Montréal:

The Infinite Gesture: The Serial Culture of the Gif

Daniela Wentz (Bauhaus University)

The looping digital moving image format of the animated gif enjoys an extremely high level of popularity at present within (digital) media culture. Although gifs are one of the oldest image formats on the web, they have established themselves as a dominant part of the aesthetics and image practices of today’s networked media. At the same time, these images challenge the conceptual frameworks within which we understand moving images, demanding in particular that they be accounted for in terms of a robust and multifacted notion of seriality.

This paper addresses the multiple dimensions in which seriality is crucial for the logics and functions of animated gifs: firstly, their occurrence as loops, repeating the same gesture or facial expression ad infinitum; secondly, the part they play in the production and spread of memes, which circulate on social networks and other platforms; and thirdly, their assemblage into “supercut” videos, fan-produced compilation videos that strive to collect a comprehensive set of recurring actions, phrases, camera angles, or other elements into a single montage. Memes are themselves processes which are based in a thoroughly serial processuality, in processes of coupling, doubling, replication, repetition, imitation, and more or less independent distribution (Shifman 2014). Supercut videos, for their part, can be understood as analytical tools to reveal patterns and notorious clichés also far beyond the borders of Internet culture. Serial repetition thus represents the heart of the aesthetic and analytical potential of the animated gif, as well as the larger media ecology of which it is a part; accordingly, these mechanisms of serialization must be taken into account in any analysis of the basic characteristics of networked, digital media.

Bibliography:

Fuller, Matthew: Media Ecologies: Materialist Energies in Art and Technoculture. Cambridge, Mass. and London: The MIT Press, 2007.

Hagman, Hampus: “The Digital Gesture: Rediscovering Cinematic Movement through Gifs.” Refractory 21 (2012), Special Issue on “Digital Cartography: Screening Space”: http://refractory.unimelb.edu.au/2012/12/29/hagman/ 6/9, 2012.

Shifman, Limor: Memes in Digital Culture. Cambridge, Mass. and London: The MIT Press, 2014.

 

Author Bio:

Daniela Wentz is a researcher and lecturer at the “Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie (IKKM), Bauhaus-University Weimar. Her main fields of research are media philosophy, seriality, diagrammatics, and television studies. She is the author of Bilderfolgen: Diagrammatologie der Fernsehserie (Fink, forthcoming 2015) and co-editor of a special issue of Zeitschrift für Medienwissenschaft on “The Series.”