FILMSTUD 252/452 — Spring 2018 — Prof. Shane Denson — Tuesdays 10:30-1:20
FILMSTUD 252/452 — Spring 2018 — Prof. Shane Denson — Tuesdays 10:30-1:20
Syllabus for my graduate seminar “Currents in Media Theory” (Stanford, Spring 2018).
As I wrote here recently, I will be taking part in a roundtable discussion on media theory at this year’s FLOW Conference at the University of Texas (September 11-13, 2014). My panel — which will take place on Friday, September 12 at 1:45-3:00 pm (the full conference schedule is now online here) — consists of Drew Ayers (Northeastern University), Hunter Hargraves (Brown University), Philip Scepanski (Vassar College), Ted Friedman (Georgia State University), and myself.
In preparation for the panel, which is organized as a roundtable discussion rather than a series of paper presentations, each of us is asked to formulate a short position paper outlining our answer to an overarching discussion question. Clearly, the positions put forward in such papers are not intended to be definitive answers but provocations for further discussion. Below, I am posting my position paper, and I would be happy to receive any feedback on it that readers of the blog might care to offer.
Nonhuman Media Theories and their Human Relevance
Response to the FLOW 2014 roundtable discussion question “Theory: How Can Media Studies Make ‘The T Word’ More User-Friendly?”
Shane Denson (Leibniz Universität Hannover, Germany / Duke University)
1. Theory Between the Human and the Nonhuman
Rejecting the excesses of deconstructive “high theory,” approaches like cultural studies promised to be more down-to-earth and “user-friendly.” While hardly non-theoretical, this was “theory with a human face”; against poststructuralism’s anti-humanistic tendencies, human interaction (direct or mediated) returned to the center of inquiry. Today, however, we are faced with (medial) realities that exceed or bypass human perspectives and interests: from the microtemporal scale of computation to the global scale of climate change, our world challenges us to think beyond the human and embrace the nonhuman as an irreducible element in our experience and agency. Without returning to the old high theory, it therefore behooves us to reconcile the human and the nonhuman. Actor-network theory, affect theory, media archaeology, “German media theory,” and ecological media theory all highlight the role of the nonhuman, while their political (and hence human) relevance asserts itself in the face of very palpable crises – e.g. ecological disaster, which makes our own extinction thinkable (and generates a great variety of media activity), but also the inhuman scale and scope of global surveillance apparatuses.
2. With Friends Like These…
The roundtable discussion question asks how theory can be made more “user-friendly”; but first we should ask what this term suggests for the study of media. Significantly, the term “user-friendly” itself originates in the context of media – specifically computer systems, interfaces, and software – as late as the 1970s or early 1980s. Its appearance in that context can be seen as a response to the rapidly increasing complexity of a type of media – digital computational media – that function algorithmically rather than indexically, in a register that, unlike cinema and other analogue media, is not tuned to the sense-ratios of human perception but is designed precisely to outstrip human faculties in terms of speed and efficiency. The idea of user-friendliness implies a layer of easy, ergonomic interface that would tame these burgeoning powers and put them in the user’s control, hence empowering rather than overwhelming. As consumers, we expect our media technologies to empower us thus: they should enable rather than obstruct our purposes. But should we expect this as students of media? Should we not instead question the ideology of transparency, and the disciplining of agency it involves? Hackers have long complained about the excesses of “user-obsequious” interfaces, about “menuitis” and the paradoxical disempowerment of users through the narrow bandwidth interfaces of WIMP systems (so-called because of their reliance on “windows, icons, menus/mice, pointers”). Such criticisms challenge us to rethink our role as users – both of media and of media theory – and to adopt a more experimental attitude towards media, which are capable of shaping as much as accommodating human interests.
3. Media as Mediators
The give and take between empowerment and disempowerment highlights the situational, relational, and ultimately transformational power of media. And while cultural studies countenanced such phenomena in terms of hegemony, subversion, and resistance, the very agency of the would-be “user” of media might be open to more radical destabilization – particularly against the background of media’s digital revision, which “discorrelates” media contents (images, sounds, etc.) from human perception and calls into question the validity of a stable human perspective. More generally, it makes sense to think about media in terms of agencies and affordances rather than mere channels between pre-existing subjects and objects – to see media, in Bruno Latour’s terms, not as mere “intermediaries” but as “mediators” that generate specific, historically contingent differences between subject and object, nature and culture, human and nonhuman. Recognizing this non-neutral, lively and unpredictable, dimension of media invites an experimental attitude that not only taps creative uses of contemporary media (as in media art) but also privileges a sort of hacktivist approach to media history as non-linear, non-teleological, and non-deterministic (as in media archaeology) – and that ultimately rethinks what media are.
4. Speculative Media Theory
By expanding the notion of mediation beyond the field of discrete media apparatuses, and beyond their communicative and representational functions, approaches like Latour’s actor-network theory gesture towards a nonhuman and ultimately speculative media theory concerned with an alterior realm, beyond the phenomenology of the human (as we know it). This sort of theory accords with the aims of speculative realism, a loose philosophical orientation defined primarily by its insistence on the need to break with “correlationism,” or the anthropocentric idea according to which being (or reality) is necessarily correlated with the categories of human thought, perception, and signification. Contemporary media in particular – including the machinic automatisms of facial recognition, acoustic fingerprinting, geotracking, and related systems, as well as the aesthetic deformations of what Steven Shaviro describes as “post-cinematic” moving images – similarly problematize the correlation of media with the forms (and norms) of human perception. More generally, a speculative and non-anthropocentric perspective equips us to think about the way in which media have always served not as neutral tools but, as Mark B. N. Hansen argues, as the very “environment for life” itself.
5. Media Theory for the End of the World
Perhaps most concretely, the appeal of this perspective lies in its appropriateness to an age of heightened awareness of ecological fragility. As we begin reimagining our era under the heading of the Anthropocene – as an age in which the large-scale environmental effects of human intervention are appallingly evident but in which the extinction of the human becomes thinkable as something more than a science-fiction fantasy – our media are caught up in a myriad of relations to the nonhuman world: they mediate between representational, metabolic, geological, and philosophical dimensions of an “environment for life” undergoing life-threatening climate change. Like never before, students of media are called upon to correlate content-level messages (such as representations of extinction events) with the material infrastructures of media (like their environmental situation and impact). The Anthropocene, in short, not only elicits but demands a nonhuman media theory.
At long last, I am excited to announce that my application for a 2-year postdoctoral fellowship at Duke University has been approved for funding through the DAAD (German Academic Exchange Service). At Duke, I will be working closely with Mark B. N. Hansen and other scholars of media and culture to develop a media-archaeological perspective on serialization processes in video games and digital media culture more generally. The fellowship, which runs from August 2014 to July 2016, will allow me to conduct archival research in the US that will supplement and expand my work in the project “Digital Seriality” that I co-direct with Andreas Jahn-Sudmann in the context of the DFG Research Unit “Popular Seriality — Aesthetics and Practice.” Needless to say, I am very excited about this, and I will continue to post updates here! More soon…
Here is the final program for our symposium “Imagining Media Change” (print version above, and links to each speaker’s abstract below):
Imagining Media Change — June 13, 2013, Leibniz Universität Hannover
9:30 — Welcome, Ruth Mayer (Chair of American Studies, Hannover)
9:45 – 11:15 — Keynote I, Jussi Parikka (Southampton): “Cultural Techniques of Cognitive Capitalism: On Change and Recurrence”
11:15 – 11:45 — coffee break
11:45 – 13:15 — Panel I:
11:45 — Florian Groß (Hannover): “The Only Constant is Change: American Television and Media Change Revisited”
12:15 — Bettina Soller (Göttingen): “How We Imagined Electronic Literature and Who Died: Looking at Fan Fiction to See What Became of the Future of Writing”
12:45 — Shane Denson (Hannover): “On NOT Imagining Media Change”
13:15 – 15:00 — lunch break
15:00 – 16:30 — Keynote II, Wanda Strauven (Amsterdam): “Pretend (&) Play: Children as Media Archaeologists”
16:30 – 17:00 — coffee break
17:00 – 18:30 — Panel II:
17:00 — Christina Meyer (Hannover): “Technology – Economy – Mediality: Nineteenth Century American Newspaper Comics”
17:30 — Ilka Brasch (Hannover): “Facilitating Media Change: The Operational Aesthetic as a Receptive Mode”
18:00 — Alexander Starre (Berlin): “Evolving Technologies, Enduring Media: Material Irony in Octave Uzanne’s ‘The End of Books'”
19:30 — symposium dinner
Abstract for Jussi Parikka’s keynote talk at the symposium “Imagining Media Change” (June 13, 2013, Leibniz Universität Hannover):
Cultural Techniques of Cognitive Capitalism: On Change and Recurrence
This talk has primarily two functions and aims. Firstly, it discusses the concept of cognitive capitalism from the perspective of its constituent cultural techniques. It proposes the ever so slightly unholy wedding together of post-fordist political theory with some currents in German media theory. This is done in order to discuss some of the mediatic aspects of the notion of cognitive capitalism (Yann Moulier Boutang). Secondly, the talk discusses media cultural change and the temporalities in which such notions like cognitive capitalism are distributed. By discussing software culture it argues for the various temporalities of change that are always at play in media cultural perspective.
Abstract for Wanda Strauven’s keynote talk at the symposium “Imagining Media Change” (June 13, 2013, Leibniz Universität Hannover):
Pretend (&) Play: Children as Media Archaeologists
In this talk, I will present a series of concrete situations where children make, very intuitively, connections between the past, the present and the future of media. In their play, children often “imagine” future media applications by actually applying them. Their imagination is therefore more than just a fantasy or mental fabrication; it is instead a practice or “form of activity” (Tätigkeit), to use Siegfried Zielinski’s definition of media archaeology. Especially in their act of “repurposing” media and other devices, children become true media archaeologists. In other words, I will offer some thoughts about the child’s play as a media-archaeological laboratory. For this purpose, I will also take into account some general theories about play, game, object lesson, optical toys and language.
On Wednesday, June 5, 2013 (at 6:00 pm in room 608 in the Conti-Hochhaus), the Film & TV Reading Group will meet to discuss two texts relevant to the larger theme of “Imagining Media Archaeology” (part of a semester-long series of events detailed here). The texts are:
1) Jussi Parikka, “Imaginary Media: Mapping Weird Objects.” In:What Is Media Archaeology? Hoboken: John Wiley & Sons, 2012. 41-62.
2) Wanda Strauven, “The Observer’s Dilemma: To Touch or Not to Touch?” In: Media Archaeology: Approaches, Applications, and Implications. Eds. Erkki Huhtamo and Jussi Parikka. Berkeley: U of California P, 2011. 148-163.
In case you missed it: both Jussi Parikka and Wanda Strauven will be keynote speakers at our symposium “Imagining Media Change,” which will be held on June 13, 2013 — for more info, check here and here.
As for the Film & TV Reading Group: we are always happy to welcome new participants to our informal discussion group! For more information, please contact Felix Brinker.
[UPDATE: See here for the complete symposium program and abstracts.]
Recently, I posted the description for the symposium on “Imagining Media Change” that we’re organizing this June, with keynote speakers Jussi Parikka and Wanda Strauven — part of this semester’s larger series of events. Now I am proud to present the poster for the symposium (designed by Ilka Brasch and Svenja Fehlhaber), which includes an overview of the schedule and speakers. A more detailed schedule, including the titles of talks, will be made available soon.
[UPDATE: See here for the complete symposium program and abstracts.]
Imagining Media Change
Symposium of the Initiative for Interdisciplinary Media Research and the American Studies department at the Leibniz University of Hannover, 13 June 2013 (Niedersachsensaal, Conti-Campus)
In the midst of the ongoing digitalization of our contemporary media environment, recent media and cultural studies have developed a renewed interest in the production and staging of technological innovation, in the occurrence and impact of media change, and in the ways these transformations inform the production, circulation, reception, and aesthetics of popular texts and media forms. The emergence of ‘new media’ in particular, it would seem, prompts us to rethink the role of mediating technologies within social and cultural spheres, and to explore how our everyday lives are transformed by a newly digitalized technical infrastructure. Such explorations are necessarily reflexive, however, as our attempts to imagine media change are themselves mediated by cultural texts and technologies in the grip of change. Dynamics of medial self-historicization guide our very thinking about media history: commercial logics, in particular, emphasize the superiority of the new, attest to the inevitability of the past’s obsolescence, and seek to captivate our imaginations with branded visions of the media-technological future. Seeking to look beyond these pressures, a reflexive engagement with recent media change is therefore called upon to reevaluate the impact of previous transitions and transformations throughout media history, and to excavate, if possible, discontinuities and ruptures in the development of modern media as they relate to broader social, cultural, and material processes of change. From a media-archaeological perspective, the history of media emerges not as a straightforward, linear process of technological innovation and implementation, but rather as a discontinuous series of media crises and negotiations of change. Understanding the uneven historical emergence and transformation of different types of media thus promises a renewed understanding not only of historical media, but also of contemporary media change and our present (in)ability to imagine its scope and impact. Crucial to this enterprise is an appreciation of reflexivity itself – a recognition of the fact that when media change, they also change our imaginations, including our imagination of media change. In the face of corporate and other interests that seek to capitalize on this logic and to steer our imaginations of the digital transition for their own benefit, what’s ultimately at stake in a media-archaeological excavation of our medial past and present is therefore nothing less than a political question: Will we be the subjects or merely the objects of “imagining media change”?
The symposium “Imagining Media Change” takes a broad view of media-historical and counter-historical developments and transformations since the nineteenth century, focusing in particular on the reflexive interactions between media undergoing change and media being used to imagine the parameters, effects, and significance of media-technological transformations. We are interested in historical and contemporary visions of change as they are articulated in or pertain to a wide range of media (including film, television, literature, and other visual, aural, textual, or computational media). The one-day symposium aims to bring together a variety of disciplinary perspectives and interests and to facilitate discussion of the material, political, aesthetic, and speculative dimensions of media change. Keynote lectures will be held by Jussi Parikka (University of Southampton, UK) and Wanda Strauven (University of Amsterdam, NL).