There is a short article in today’s Stanford News about the Scholars Select exhibition that’s on right now until until April 14 at Green Library. The centerpiece of the article is this set of pictures by University Photographer Linda A. Cicero, who shot a selection of scholars and their objects. Each image links to the short statement that the faculty member prepared about their object. Take a look!
The Videographic Frankenstein exhibition at Stanford came to a close today, but like any good monster its demise is only temporary… On November 8, 2018, the show will be resurrected in the form of an augmented reality pop-up exhibition at the Library of Congress in Washington, D.C., as part of an event called “Playtest: An Open House for Emerging Media in the Digital Humanities” organized by Tahir Hemphill.
Incidentally, the Library of Congress has just made a beautiful new restoration of Thomas Edison’s 1910 Frankenstein available here.
Check it out!
Works from the course “Let’s Make a Monster: Critical Making,” which I co-taught this quarter with my art practice colleague Paul DeMarinis, are currently on display in the Shriram Center for Bioengineering and Chemical Engineering at Stanford University. The show, which officially opened today, is up through Friday, June 8.
We are particularly excited to take this work across campus and show it in the context of a space devoted to cutting-edge engineering work, where we hope that it provokes thought and discussion about the transformations of technology, experience, and life itself taking place in Silicon Valley and elsewhere. Thanks especially to Prof. Drew Endy for his help in facilitating and making this show possible.
Here are just a few glimpses of the work on display.
Nora Wheat, Decode (2018)
Hieu Minh Pham, The Knot (2018)
Raphael Palefsky-Smith, Brick (2018) — more info here
David Zimmerman, Eigenromans I-III (2018)
Jennifer Xilo, Mirror for Our Upturned Palms (2018)
Jackie Langelier, Creepers (2018)
Post-Cinema: Videographic Explorations — an exhibition of video essays that I am curating at Stanford — opens today. The wall text (above) outlines the aims and objectives of the show. Here is a list of the 13 works included:
Post-Cinema: Theorizing 21st-Century Film (Book Trailer), 2016
The Beyoncé Image: Synesthetic Abilities of the Visual Album, 2017
Iñárritu’s Films in a Conversation on Realism, Hyperrealism, Time-Image, and Movement-Image, 2017
Raquel Orendain Shrestha
WTF IS THAT? The Pre- and Post-Cinematic Tendencies of PARANORMAL ACTIVITY, 2017
Allison de Fren and Brian Cantrell
The Shared Universe Cinema, 2017
Transformers: The Premake (a desktop documentary), 2014
Kevin B. Lee
Slowness and Slow Cinema, 2017
FX’s LEGION and Post-Cinematic Television, 2017
Questioning the Human Machine in EX MACHINA, 2016
Allison de Fren
New Forms of Racism in the Post-Cinematic Dispositif, 2017
Jace Alexander Casey
A Closer Look at/into Depth Perception: Illusion, Impression, and Indexicality in Animation, 2017
VHS Found Footage and the Material Horrors of Post-Cinema, 2015
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 first two pictures from the opening of the Hyperrhiz exhibit at the Digital Studies Center at Rutgers University-Camden. Opening Reception October 15, 4-6pm.
Six Data gnomes, data portraits, and other physical and augmented elements of Manifest Data, a project of the Duke S-1 Speculative Sensation Lab (with Amanda Starling Gould, Karin & Shane Denson, Luke Caldwell, Libi Striegl, and David Rambo), will be on display alongside other contributions to a special issue of Hyperrhiz on “Kits, Plans, and Schematics.”