Discorrelated Images — Digital Aesthetics Workshop, April 3

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On Tuesday, April 3, 2018 (4:00-6:00pm), I will be giving a talk titled “Discorrelated Images” in the context of the Digital Aesthetics Workshop at the Stanford Humanities Center. The talk draws on my current book project of the same title and will address primarily temporal and affective relations and transformations occasioned by digital images.

Participants are encouraged (but not required) to read my chapter “Crazy Cameras, Discorrelated Images, and the Post-Perceptual Mediation of Post-Cinematic Affect” prior to the event.

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Rethinking Temporalities in Cinema and Digital Media, SLSA 2017

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At this year’s SLSA conference, “Out of Time,” hosted by Arizona State University, I will be chairing a panel titled “Rethinking Temporalities in Cinema and Digital Media” (Saturday, November 11, 2017; 4:00-5:30pm). My own talk is titled “Pre-Sponsive Gestures: Post-Cinema Out of Time.” Here is the complete list of panelists and topics:

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Digital Seriality

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Just in time for the holidays, a new issue of the open-access journal Eludamos: Journal for Computer Game Culture is now online. Among the articles in this issue is a piece that I co-authored with Andreas Jahn-Sudmann, called “Digital Seriality: On the Serial Aesthetics and Practice of Digital Games.” In this article we put forward some of the central ideas of our joint research project and provide illustrations of serial aesthetics and practices in games and game cultures. Here is the abstract for the paper:

In this paper we are concerned to outline a set of perspectives, methods, and theories with which to approach the seriality of digital games and game cultures – i.e. the aesthetic forms and cultural practices of game-related serialization, which we see unfolding against (and, in fact, as a privileged mediator of) the broader background of medial and socio-cultural transformations taking place in the wake of popular media culture’s digitalization. Seriality, we contend, is a central and multifaceted but largely neglected dimension of popular computer and video games. Seriality is a factor not only in explicitly marked game series (with their sequels, prequels, remakes, and other types of continuation), but also within games themselves (e.g. in their formal-structural constitution as an iterative series of “levels” or “worlds”) as well as on the level of transmedial relations between games and other media (e.g. expansive serializations of narrative worlds across the media of comics, film, television, and games, etc.). Particularly with respect to processes of temporal “collapse” or “synchronization” that, in the current age of digitization and media convergence, are challenging the temporal dimensions and developmental logics of pre-digital seriality (e.g. because once successively appearing series installments are increasingly available now for immediate, repeated, and non-linear consumption), computer games are eminently suited for an exemplary investigation of a specifically digital type of seriality.

In the following, we look at serialization processes in digital games and game series and seek to understand how they relate to digital-era transformations of temporally-serially structured experiences and identifications on the part of historically situated actors. These transformations range from the microtemporal scale of individual players’ encounters with algorithmic computation processes (the speed of which escapes direct human perception and is measurable only by technological means) all the way up to the macrotemporal (more properly “historical”) level of collective brokerings of political, cultural, and social identities in the digital age. To account for this multi-layered complexity, we argue for a decidedly interdisciplinary approach, combining media-aesthetic and media-philosophical perspectives with the resources of discourse analysis and cultural history. We approach the seriality of digital games both in terms of textual and aesthetic forms as well as in the broader context of serialized game cultures and popular culture at large.

Please take a look and spread the word about the new issue of Eludamos. We would be more than happy to hear your feedback about our article, so feel free to leave a comment here. Enjoy!

(“Pixel Gnomes” image created by Shane Denson, based on hand-painted Mario & Luigi-style garden gnomes made by Karin Denson.)

Images that Metabolize Time (Post-Cinematic Perspectives)

Pioneering video artist Nam June Paik has been quoted as saying that video “imitates not nature but time.” Somewhat more elaborately, in his reflections on “input-time” and “output-time,” he writes: “Video art imitates nature, not in its appearance or mass, but in its intimate ‘time-structure’ … which is the process of AGING (a certain kind of irreversibility).” And elsewhere again, Paik explains his view thus: “So called ‘feedback’, video artist’s favorite word, is nothing but the scientific term for ‘aging’ … that is : enrichment in time-component or a compounded time. Like any other art, video-art also imitates the nature… but in her time-component. Ex. : in NTSC color, color is determined by time-component : that is : phase-delayline in 3.58 mega-hertz.”

Paik’s views on video’s novel relation to temporality inspired philosopher Maurizio Lazzarato to take up the question of time’s modulation in the machines of post-Fordist capitalism in his book Videofilosofia: La percezione del tempo nel post-fordisme (the first chapter of which has appeared in English in Theory, Culture & Society). And Lazzarato’s reflections (along with those of Steven Shaviro and Mark B. N. Hansen, among others) have been central to my own attempts to come to terms with the significance and experiential parameters of our shift to a properly “post-cinematic” media regime.

This past weekend (November 22-23, 2013), I had the opportunity to present my work on the topic at the excellent “Post-Cinematic Perspectives” conference organized by Lisa Åkervall and Chris Tedjasukmana from the Freie Universität Berlin. Steven Shaviro’s talk on Spring Breakers was a particular highlight for me, but I also enjoyed being exposed to thoughts on a number of topics and artworks quite outside my areas of expertise — especially a number of talks on very recent video-art pieces with which I was not previously familiar but am now inspired to seek out.

Through some serendipitous cosmic event — some alignment of the stars giving rise to an unhoped-for coincidence of spatiotemporal coordinates, intellectual and practical concerns, and the respective times of work and leisure — I also found myself confronted with Nam June Paik’s wonderful Triangle: Video-Buddha and Video-Thinker (1976/1991), currently on display in the exhibit “Body Pressure: Sculpture since the 1960s” at Hamburger Bahnhof – Museum für Gegenwart (25 May 2013 – 12 January 2014). Placing a sculpture of Buddha and a small reproduction of Rodin’s Le Penseur under the constant, real-time surveillance of two video cameras connected to four monitors — two of which face each other in a closed-circuit loop of video production and machinic reception — Paik’s Triangle provided the perfect opportunity not only to think more about the “metabolic images” that (following Paik, Lazzarato, Shaviro, and Hansen) I had been theorizing at the conference, but to put these thoughts into practice in an experimental configuration.

Of course, the fact that (following the advent of the smartphone) virtually everyone today walks around with a high-definition digital video camera in their pocket has no small bearing on the significance and historicity of Paik’s work. Thus, my wife and I decided to expand Triangle‘s loop of time-metabolizing images by adding a further layer of video processing: each of us filmed different points of the sculpture’s own input/output and integrated our own video devices into the loop. The results, seen here, were synced and combined with split-screen and transparency settings (along with reverse-motion in the top video and the introduction of compression artifacts in the bottom one). In this way, we tried to expand and reflect (materially, not cognitively) on the impact of computational imaging technologies for a work like Triangle — on their radical expansion of variables (“and/ors”) which Paik described thus:

Paik-Triangle-Buddha-Thinker

In the talk I gave over the weekend, “Nonhuman Perspectives and Discorrelated Images in Post-Cinema” (abstract here), I argued (drawing on Lazzarato’s very Paikian arguments about video):

Computational rendering processes generate unanticipated and unanticipatable images, in effect rendering post-cinematic cameras themselves strangely vibrant, uncanny. There is a dilation of affect involved, which introduces a temporal gap of hesitation or delay between perception (or recording) and action (or playback), and it amounts to a modeling or enactment of the indetermination of bodily affect through which time is generated, and by which (in Bergson’s system) life is defined. A negative view sees only the severing of the images’ indexical relations to world, hence turning all digital image production and screening into animation. But in the end, the ubiquity of “animation” that is introduced through digital rendering processes should perhaps be taken literally, as the artificial creation of (something like) life, itself equivalent with the gap of affectivity, or the production of duration through the delay of causal-mechanical stimulus-response circuits; the interruption of photographic indexicality through digital processing is thus the introduction of duration = affect = life. Discorrelated images, in this respect, are autonomous, quasi-living images in Bergson’s sense, having transcended and gained a degree of autonomy from the mechanicity that previously kept them subservient to human perception. Apparently “crazy,” because discorrelated from the molar perspectives of phenomenal subjects and objects, cameras now mediate post-perceptual flows and confront us everywhere with their own affective indeterminacy.

Another way to put this is to say that post-cinematic cameras and images are metabolic processes or agencies, and their insertion into the environment alters the interactive pathways that define our own material, biological, and ecological forms of being, largely bypassing our cognitive processing to impinge upon us at the level of our own metabolic processing of duration. Metabolism is a process that is neither in my subjective control nor even confined to my body (as object) but which articulates organism and environment together from the perspective of a pre-individuated agency. Metabolism is affect without feeling or emotion – affect as the transformative power of “passion” that, as Brian Massumi reminds us, Spinoza identifies as that unknown power of embodiment that is neither wholly active nor wholly passive. Metabolic processes are the zero degree of transformative agency, at once intimately familiar and terrifyingly alien, conjoining inside/outside, me/not-me, life/death, old/novel, as the basic power of transitionality – marking not only biological processes but also global changes that encompass life and its environment. By insinuating themselves into the molecular flows of affect, prior to the possibility of perception and action, metabolic images have a direct impact on “the way we tick” — i.e. on the material production and modulation of time and temporal experience.

In many ways, the original assemblage of Paik’s Triangle already demonstrated what I call the metabolic work of microtemporal image processing. Today, however, it provides further opportunities for experimentation with the spatial and temporal parameters of our existence in conjunction with the many cameras and screens that connect us with our contemporary environment. Expanding the variables of the work’s “and/or” configurations, our cameras can hook into Paik’s assemblage, enter into its feedback loops, but also transport those loops into larger contexts of metabolic processing and transport. Images circulate within and beyond, effectively confounding distinctions between object and process, thing and environment. By engaging with the work and aiming our cameras at it in this way, we too are hooked into the system, and our own embodied perception is displaced as it is integrated into the molar and molecular configurations that situate and underpin conscious experience. In this way, Paik’s work continues today to probe the technical modulations of time and affective life in the era of convergence, computation, and our properly post-cinematic environment.

Abstracts for Mark Hansen’s Talks

Here are the abstracts for Mark Hansen’s talks next week:

Feed-Forward, or the “Future” of 21st Century Media (Monday, July 2, 6pm, room 615)

21st century media designates media following its shift from a past-directed recording platform to a data-driven anticipation of the future.  In my talk,  I shall focus on the experiential challenges posed by this shift, shall sketch a post-phenomenological account of sensation, and shall explore the privilege of sound as a medium for slowing down microtemporal sensibility.

The End of Pharmacology?: Historicizing 21st Century Media (Tuesday, July 3, 10am, room 615)

Pharmacology designates the double operation of media which simultaneously threaten human modes of experience and provide remedies for their threat.  In my talk, I shall explore the history of media pharmacology from writing onwards and shall focus on the “perversion” of pharmacology in the contemporary media environment.  Taking Facebook as my prime example, I shall ask what happens when the operationality of a media platform – the gathering of data traces of user activity – is wholly divorced from its function as entertainment/content.