Talks & Events: Switzerland/Germany, December 2018

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This coming week, I will be heading out to Europe for a series of talks and events in Switzerland and Germany, where I will be presenting work related to my forthcoming book Discorrelated Images as well as videographic scholarship (including the recent Videographic Frankenstein exhibition).

Here is a list of talks/events:

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Desktop Horror at Merz Akademie, Stuttgart — Dec.18, 2018

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On December 18, 2018, I will be giving a public lecture titled “Desktop Horror” at the Merz Akademie in Stuttgart, as part of the Welcome to the Real World lecture series organized by Kevin B. Lee. I’m very excited to share this work, and hope to see friends in Germany!

Desktop Horror

Shane Denson

The shift from a cinematic to a post-cinematic media regime has occasioned a great deal of anxiety for theorists and spectators alike, and the horror genre has been adept at channeling this unease for its own purposes, as is evidenced in movies that revolve around the proliferation of digital devices and networks as new media for ghosts, demons, and other forms of evil. In this presentation, I focus on “desktop horror” in particular and argue that the fears elicited in post-cinematic horror are deeply rooted in the upheaval that viewers experience in the face of a thoroughly computational lifeworld.

Life to Those Pixels: Imag(in)ing Future Bodies of Film and Media — Dec. 14 at University of Zurich

Screen Shot 2018-11-12 at 9.02.12 AMOn December 14, 2018, I will be giving a talk titled “Life to Those Pixels: Imag(in)ing Future Bodies of Film and Media” at the University of Zurich, as part of the Imag(in)ing Future Bodies series hosted by the Doctoral Program of the English Department and organized by Morgane Ghilardi and Hannah Schoch. The lecture will be followed by a workshop in which we will discuss related work on post-cinema and discorrelated images.

For more information, see the program website here, or register for the event here.

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Nov. 9, Georgetown University: Post-Cinema, Artificial Creation, and the Concept of Animation

Denson Poster-2aOn Friday, November 9, I will be giving a talk titled “Post-Cinema, Artificial Creation, and the Concept of Animation: From Frankenstein to Ex Machina” at Georgetown University’s Film and Media Studies Program.

This is work stemming from my current book project, Discorrelated Images, which I am excited to present. Thanks to Caetlin Benson-Allott and Sky Sitney for inviting me to speak! For further information about the event, please contact Caetlin Benson-Allott.

Images of Discorrelation at ASAP/10 in New Orleans

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Next week, Oct. 17-20, 2018, the Association for the Study of the Arts of the Present (ASAP) will be holding its annual conference in New Orleans. There I will be on a panel, called “Images Otherwise,” with some excellent co-panelists: Andrew Johnston (NC State), Brooke Belisle (SUNY Stony Brook), and Jacob Gaboury (UC Berkeley). I will be presenting work related to my forthcoming book, Discorrelated Images.

Here is my abstract:

Images of Discorrelation

Shane Denson, Stanford University

This presentation deals with the ongoing transition from a cinematic to a post-cinematic media regime. Situated at the cusp between film studies and digital media studies, “images of discorrelation” names a variety of contemporary visual phenomena (glitches, artifacts, motion-smoothing, etc.) and seeks to articulate a theory of the perceptual, actional, and above all affective impacts of the thoroughgoing computationalization of moving-image media. The concept of “discorrelation” concerns the severing of phenomenological relations between viewing subjects and image-objects; it results from the failure, on the part of contemporary cameras and other imaging devices, to situate spectators in a coherently articulated viewing position. Furthermore, discorrelation is an effect of the microtemporal processing of computational images, which impacts viewers’ own embodied processing of time at a subperceptual level, prior to the articulation of subject-object relations. This generative dimension implicates computational imaging systems, including their use in mainstream movies and other media, in a fundamental transformation of human-technological relations.