Next Wednesday, November 6, 2019, I will be in conversation with media artist Jim Campbell at the Anderson Collection at Stanford, where a stunning exhibition of his LED-based works is currently on show.
About two years ago, the exhibition On Display: Immemory, Soft Cinema, After Video at Bilkent University in Ankara brought together projects by Chris Marker, Lev Manovich, and the contributors to the “video book” after.video — including the collaborative AR piece “Scannable Images” that Karin Denson and I made. Recently, Oliver Lerone Schultz (one of the editors of after.video) brought to my attention this “critical tour” of the exhibition, which takes the form of a discussion between Ersan Ocak and Andreas Treske. It is audio only, and you might need to turn up the volume a bit, but it’s an interesting discussion of video and media art.
(See here for more on after.video. Also, I should note that the AR on “Scannable Images” is currently not working due to the ephemeral business models of AR platforms these days, but I hope to port it over to a new platform and get it up and running again soon!)
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.
Eve K. Tremblay
Bertrand Gervais and Arnaud Regnauld
DeForrest Brown Jr.
Nora N. Khan
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.
Recently, I posted about a project called after.video, which contains an augmented (AR) glitch/video/image-based theory piece that Karin Denson and I collaborated on. It has now been announced that the official launch of after.video, Volume 1: Assemblages — a “video book” consisting of a paperback book and video elements stored on a Raspberry Pi computer packaged in a VHS case, which will also be available online — will take place at the Libre Graphics Meeting 2016 in London (Sunday, April 17th at 4:20pm).
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.”
Sneak preview: “Post-Cinema: 24fps@44100Hz” — Acrylic on canvas, 24″ x 24″, augmented with digital video and Markov chains…