Out Now: Media Fields 13 — Mediating the Anthropocene

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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.

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Ends of Cinema: Center for 21st Century Studies 2018 Conference at UW Milwaukee

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I am excited to be participating in the Ends of Cinema conference at the Center for 21st Century Studies, taking place May 3-5, 2018 at University of Wisconsin Milwaukee. There are some great keynote speakers, including my colleague Jean Ma and lots of other wonderful people. The C21, under the expert leadership of Richard Grusin (who is now back at the helm after a short hiatus), has put on some of my personal favorite conferences, and I expect this one to be no less exciting and thought-provoking.

My own contribution will be a paper titled “Post-Cinematic Realism” — work in progress for my current book project Discorrelated Images. Here is the abstract:

Post-Cinematic Realism

Shane Denson, Stanford University

In its classical formulation, cinematic realism is based in the photographic ontology of film, i.e. in the photograph’s indexical relation to the world, which grants to film its unique purchase on reality; upon this relation also hinged, for many realist filmmakers, the political promise of realism. Digital media, meanwhile, are widely credited with disrupting indexicality and instituting an alternative ontology of the image. David Rodowick, for example, argues that the interjection of digital code disrupts film’s “automatisms” and eradicates the index in favor of the symbolic. But while such arguments are in many respects compelling, I contend that the disruption of photographic indexicality might also be seen to open up spaces in which to explore new automatisms that communicate reality and/or realism with and through post-indexical technologies.

Whereas André Bazin privileged techniques like the long take and deep focus for their power to approximate our natural perception of time and space, theorists like Maurizio Lazzarato and Mark Hansen emphasize post-cinematic media’s ability to approximate the sub-perceptual processing of duration executed by our pre-personal bodies. The perceptual discorrelation of computational images gives way, in other words, to a more precise calibration of machinic and embodied temporalities; simultaneously, the perceptual richness of Bazin’s images becomes less important, while “poor images” (in Hito Steyerl’s term) communicate more directly the material and political realities of a post-cinematic environment. As I will demonstrate with reference to a variety of moving-image texts employing glitches, drones, and other computational objects, post-cinematic media might in fact be credited with a newly intensified political relevance through their institution of a new, post-cinematic realism.

Discorrelated Images — Digital Aesthetics Workshop, April 3

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On Tuesday, April 3, 2018 (4:00-6:00pm), I will be giving a talk titled “Discorrelated Images” in the context of the Digital Aesthetics Workshop at the Stanford Humanities Center. The talk draws on my current book project of the same title and will address primarily temporal and affective relations and transformations occasioned by digital images.

Participants are encouraged (but not required) to read my chapter “Crazy Cameras, Discorrelated Images, and the Post-Perceptual Mediation of Post-Cinematic Affect” prior to the event.

Horror and New Media, and the Horror of New Media #SCMS18 #SCMS2018

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Looking forward to speaking on this panel, alongside Cecilia Sayad, Adam Hart, and Kevin Chabot at the 2018 Society for Cinema and Media Studies conference in Toronto. Panel L13, Friday, March 16, 2018 (3:15pm – 5:00pm).

Thesis of my paper: “Post-cinematic horror is a side-channel attack on our affective processing of time itself.”

Post-Cinema After Extinction

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The 2015 Annual C21 Conference (April 30 – May 2, 2015 at the Center for 21st Century Studies, University of Wisconsin-Milwaukee) will be devoted to the theme “After Extinction,” which can be thought from a variety of related perspectives. As the conference CFP put it:

C21’s conference After Extinction will pursue the question of what it means to come “after” extinction in three different but related senses.

1) In temporal terms, what comes after extinction, not only the event of extinction but also the concept? After we think extinction what comes next? Are there historical models or examples of what comes after? Can these past extinctions measure up to present day events, or do the possible scales on which extinction might operate today make such comparisons incompatible? Is extinction something that only happens belatedly, after there are already species or forms or practices in place, or does extinction work prior to the emergence of species, as generative of the evolution or emergence of any form of life or being? Is extinction terminal or can species return, a la Jurassic Park or European projects to restore the auroch or Przewalski’s horse?  Can dead or dying languages be revitalized?

2) In an epistemological sense, what does it mean for an image, graphic, text, video or film to “take after” the concept of extinction, to mediate it in such a way as to resemble or be mimetic of extinction. What is “after extinction” in the sense that a painting is “after O’Keeffe” or a child “takes after” its parent? In order to be recognized as coming after extinction an event or occasion must be seen as being related to extinction, to have been consequent or emergent from the event of extinction. Thus we mean to explore the premediation of future extinctions in a variety of formal and informal, print, audiovisual, and networked media.  What forms of knowledge emerge in such anticipatory pursuits?

3) In spatial terms, what will remain physically after extinction?  Extinction is not simply death or absence but a geophysical event that occurs in space.  What does it mean to pursue extinction, to go “after” it with technologies and scientific techniques of making extinction legible by premediating its possible occurrence through climate change modeling or pandemic forecasting?  How should one act “after extinction” in order to plan for, prevent, or preempt the end of crucial life forms, for example, by establishing seed banks or stockpiling DNA? How does the extinction of one species threaten the lifeblood of the entire biosphere (e.g., the impact of bee colony collapse on particular flora and fauna as well as on human practices like agriculture)?  Have new artifacts surfaced either as sentinels or fossils of extinction (e.g., animal carcasses washed up on shore filled with plastic, or mutant plants in irradiated nuclear test fields)? Even if extinction has always been thought of as impacting a larger ecology, has the scale of risk changed in light of the accelerated networks of the 21st century?

I am very happy to have the opportunity to return to Milwaukee this year in order to pursue these questions at what promises to be another great C21 event! My own paper, which was just accepted, will focus on questions of extinction in relation to the concept of post-cinema.

Here is my abstract:

Post-Cinema after Extinction

Shane Denson

In this presentation, I argue that contemporary, digital moving-image media – what some critics have come to see as properly “post-cinematic” media – are related materially, culturally, and conceptually to extinction as their experiential horizon. Materially and technologically, post-cinema emerges as a set of aesthetic responses to the real or imagined extinction of film qua celluloid or to the death of cinema qua institution of shared reception. Significantly, however, such animating visions of technocultural transformation in the wake of the demise of a formerly dominant media regime are linked in complex ways to another experience of extinction: that of the human. That is, post-cinema is involved centrally in the (pre-)mediation of an experience of the world without us – both thematically, e.g. in films about impending or actual extinction events, and formally, in terms of a general “discorrelation” of moving images from the norms of human embodiment that governed classical cinema. Such discorrelation is evidenced in violations of classical continuity principles, for example, but it is anchored more fundamentally in a disruption of phenomenological relations established by the analogue camera. Digital cameras and algorithmic image-processing technologies confront us with images that are no longer calibrated to our embodied senses, and that therefore must partially elude or remain invisible to the human. Anticipating and intimating the eradication of human perception, post-cinema is therefore “after extinction” even before extinction takes place: it envisions and transmits affective clues about a world without us, a world beyond “correlationism,” that arises at the other end of the Anthropocene – or that we inhabit already.

Bibliography:

Denson, Shane, and Julia Leyda, eds. Post-Cinema: Theorizing 21st-Century Film. Sussex: REFRAME Books, forthcoming.

Kara, Selmin. “Beasts of the Digital Wild: Primordigital Cinema and the Question of Origins.” Sequence 1.4 (2014).

Shaviro, Steven. Post-Cinematic Affect. Winchester: Zero Books, 2009.

Sobchack, Vivian. The Address of the Eye: A Phenomenology of Film Experience. Princeton: Princeton UP, 1992.

_____. “The Scene of the Screen: Envisioning Photographic, Cinematic, and Electronic Presence.” Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley and Los Angeles: U of California P, 2004. 135-162.

Nonhuman Perspectives and Discorrelated Images in Post-Cinema

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As I mentioned recently, I will be speaking next week at the Post-Cinematic Perspectives conference taking place November 22-23, 2013 at the Free University Berlin. Below you’ll find the abstract for my talk:

Nonhuman Perspectives and Discorrelated Images in Post-Cinema

Shane Denson

With the shift to a digital and more generally post-cinematic media environment, moving images have undergone what I term their “discorrelation” from human embodied subjectivities and (phenomenological, narrative, and visual) perspectives. Clearly, we still look at – and we still perceive – images that in many ways resemble those of a properly cinematic age; yet many of these images are mediated in ways that subtly (or imperceptibly) undermine the distance of perspective, i.e. the quasi-spatial distance and relation between phenomenological subjects and the objects of their perception. At the center of these transformations are a set of strangely irrational mediators and “crazy” cameras – physical and virtual imaging apparatuses that seem not to know their place with respect to diegetic and nondiegetic realities, and that therefore fail to situate viewers in a coherently designated spectating-position. A phenomenological and post-phenomenological analysis of such mediating apparatuses points to the rise of a fundamentally post-perceptual media regime, in which “contents” and “perspectives” are ancillary to algorithmic functions and enmeshed in an expanded, indiscriminately articulated plenum of images that exceed capture in the form of photographic or perceptual “objects.” Post-cinema’s cameras thus mediate a nonhuman ontology of computational image production, processing, and circulation, where these images’ discorrelation from human perceptibility signals an expansion of the field of material affect: beyond the visual or even the perceptual, the images of post-cinematic media operate and impinge upon us at what might be called a “metabolic” level.

Shane Denson, “Crazy Cameras, Discorrelated Images, and the Post-Perceptual Mediation of Post-Cinematic Affect” — #SCMS13

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[UPDATE March 7, 2013: Full text of the talk now posted here.]

Here is the abstract for Shane Denson’s paper on the panel “Post-Cinematic Affect: Theorizing Digital Movies Now” at the 2013 SCMS conference (Session H — Thursday, March 7, 2013, 3:00 – 4:45 pm):

Crazy Cameras, Discorrelated Images, and the Post-Perceptual Mediation of Post-Cinematic Affect

Shane Denson

Post-millennial films are full of strangely irrational cameras – physical and virtual imaging apparatuses that seem not to know their place with respect to diegetic and nondiegetic realities, and that therefore fail to situate viewers in a coherently designated spectating-position. While analyses ranging from David Bordwell’s diagnosis of “intensified continuity” to Matthias Stork’s recent condemnation of “chaos cinema” have tended to emphasize matters of editing and formal construction as the site of a break with classical film style, it is equally important to focus on the camera as a site of material, phenomenological relation between viewers and contemporary images. Thus, I aim to update Vivian Sobchack’s film-theoretical application of Don Ihde’s groundbreaking phenomenology of mediating apparatuses to reflect the recent shift to what Steven Shaviro has identified as a regime of “post-cinematic affect.” By setting a phenomenological focus on contemporary cameras in relation both to Shaviro’s work and to Mark B. N. Hansen’s recent work on “21st century media,” I will show that many of the images in today’s films are effectively “discorrelated” from the embodied interests, perspectives, and phenomenological capacities of human agents – pointing to the rise of a fundamentally post-perceptual media regime, in which “contents” serve algorithmic functions in a broader financialization of human activities and relations.

Drawing on films such as District 9MelancholiaWALL-E, or Transformers, the presentation sets out from a phenomenological analysis of contemporary cameras’ “irrationality.” For example, virtual cameras paradoxically conjure “realism” effects not by disappearing to produce the illusion of perceptual immediacy, but by emulating the physical presence of nondiegetic cameras in the scenes of their simulated “filming.” At the same time, real (non-virtual) cameras are today inspired by ubiquitous, aesthetically disinterested cameras that – in smartphones, surveillance cams, satellite imagery, automated vision systems, etc. – increasingly populate and transform our lifeworlds; accordingly, they fail to stand apart from their objects and to distinguish clearly between diegetic/nondiegetic, fictional/factual, or real/virtual realms. Contemporary cameras, in short, are deeply enmeshed in an expanded, indiscriminately articulated plenum of images that exceed capture in the form of photographic or perceptual “objects.” These cameras, and the films that utilize them, as I shall argue in a second step, mediate a nonhuman ontology of computational image production, processing, and circulation – leading to a thoroughgoing discorrelation of contemporary images from human perceptibility. In conclusion, I will relate my findings to recent theorizations of media’s broader shift toward an expanded (no longer visual or even perceptual) field of material affect.

Bibliography:

Bordwell, David. “Intensified Continuity: Visual Style in Contemporary American Film.” Film Quarterly 55.3 (2002): 16-28.

Hansen, Mark B. N. Feed-Forward: The Future of 21st Century Media. Unpublished manuscript, forthcoming 2013/2014.

Ihde, Don. Technology and the Lifeworld: From Garden to Earth. Bloomington and Indianapolis: Indiana UP, 1990.

Shaviro, Steven. Post-Cinematic Affect. Winchester: Zer0 Books, 2010.

Sobchack, Vivian. The Address of the Eye: A Phenomenology of Film Experience. Princeton: Princeton UP, 1992.