Syllabus for my graduate seminar “Currents in Media Theory” (Stanford, Spring 2018).
Next week, media theorist Claus Pias, Professor for the Theory and History of Media at Leuphana Universität Lüneburg, will be visiting Stanford for a series of events: on Monday, October 23 (5:30 – 7:00pm), he will be delivering a public lecture titled “Between Information Aesthetics and Design Amplification,” which will be held in my home department of Art & Art History. (More info here.)
The following day, Tuesday, October 24 (11:30am – 1:00pm), he will be discussing his book Computer Game Worlds, which is newly translated into English, at a lunchtime event with the Digital Aesthetics Workshop. (See the poster below or find more info here.)
Starting this quarter, I am excited to serve as faculty coordinator for the Stanford Humanities Center Geballe Research Workshop “Digital Aesthetics: Critical Approaches to Computational Culture.” We have a great lineup for the 2017-2018 academic year, details of which I’ll be sharing here.
In the meantime, take a look at all of this year’s research workshops at the Stanford Humanities Center on their website.
Start of the fall quarter is coming up fast!
Next week, on April 7, 2017, I’ll be giving a talk titled “Post-Cinematic Artifacts: Digital Glitch and the Ruins of Perception” at the 2017 Media Fields conference, “RUINS,” at UC Santa Barbara.
Building on recent work I’ve been doing, I’ll be arguing “that new forms of sensibility and collectivity may become thinkable in the spaces opened up by post-cinematic media – that new ways of being and relating to the world may arise from the ruins of perception.”
The full conference program is posted on the conference website.
The new issue of Cinéma & Cie, edited by Miriam de Rosa and Vinzenz Hediger, is out now. The special issue, which goes to the heart of recent discussions of post-cinema, is provocatively titled “Post-What? Post-When?,” and it includes my own contribution, titled “Speculation, Transition, and the Passing of Post-Cinema” alongside pieces by Malcolm Turvey & Ted Nannicelli, Sabrina Negri, Rachel Schaff, Saige Walton, and Monica Dall’Asta. The contributions are framed by a “Conversation on the ‘Posts’ of Post-Media and Post-Cinema” by Miriam de Rosa & Vinzenz Hediger.
General description of the special issue:
If we live in a post-media and post-cinema condition, how much longer will it last, and how will it end? Picking up on the recent debate about post-media and post-cinema, this special issue of Cinéma & Cie addresses the question of temporality and periodization in media history and asks what exactly the ‘post’ in post-cinema means. The contributions approach this question from a variety of perspectives and discuss a number of key issues, from the question of medium ontology to that of medium specificity, from the development of digital and hybrid cinematic forms to the problems and pitfalls of preservation. Exploring new analytical and theoretical frameworks that account for the moving image in the multiplicity of its configurations, the contributions open up new avenues of research and provide a sense of what may lie beyond our current post-media and post-cinema condition.
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