“Unclean Interface: Computation as a Cleanliness Problem” — Rachel Plotnick at Digital Aesthetics Workshop

Announcing the Digital Aesthetics Workshop’s first event of 2020: On February 11th, at 5 PM in the Stanford Humanities Center’s Watt Common Room, we’ll be hosting Rachel Plotnick, who will share some recent research on cleanliness and computation. 

Dr. Plotnick is an Assistant Professor in the Media School at the University of Indiana-Bloomington. Her (fantastic!) first book, Power Button: a History of Pleasure, Panic, and the Politics of Pushing, is just out from MIT Press.

Here is the abstract for her talk:

Unclean Interface: Computation as a Cleanliness Problem

Histories of computing tend to focus on particular elements of computation (such as invention of computers; early PC use; interface design, or viruses), but this study aims to approach computing from a novel, alternative angle – mess. From the earliest advent and use of computers, mess has been a particularly thorny problem that gets defined differently in different contexts, across technologies and spaces, and through a variety of computing practices. Computing is inherently messy: screens, mice, disks and keyboards pick up dirt, dust and crumbs; messy bodies touch and handle computers day in and day out; air is full of unclean particles; and problems of humidity, temperature, and static are routine. At the level of software, too, metaphors of cleanliness and dirtiness persist in terms of “clean” design, “dirty” content or data, desktop icon organization, and fears over contagion and contamination from viruses and spam. By beginning from the vantage point of mess, it becomes possible to crystallize a very different history of computing driven from efforts to contain, control and eliminate dirt, to valorize cleanliness, and to enforce particular protocols, habits, and behaviors. In the messy interface between bodies, environments, software, and hardware one can find persistent concerns about what it means to be “human” and what it means to be “technology.” At the same time, this approach weaves in discussions of care, maintenance, and repair into computing, recognizing that innovation is not the only – or always most salient – way to understand human-technology relations, and that in fact much of everyday interactions with computers take place in acts of protection and cleaning. Innovation may also occur as a result of particular messiness problems, rather than the other way around. Lest we think of mess as a computing problem of the past (given ethereal metaphors of “cloud” computing and increasingly encased computing devices), recent examples of messiness demonstrate the ongoing problem of cleanliness in computing. A few representative cases include: Apple’s continued problems with its butterfly keyboard; concerns over “dirty” databases and how to clean big data; and the booming market for cases, screen protectors, and cleaning devices for tablets, laptops and smartphones.

The Algorithmic Nickelodeon featured in Sight & Sound’s Best Video Essays of 2019

The Algorithmic Nickelodeon from Shane Denson on Vimeo.

 

Several weeks ago, Sight & Sound Magazine’s “Best Video Essays of 2019” came out, featuring 134 videos nominated by 39 contributors — including my “Algorithmic Nickelodeon” piece, picked by Jiří Anger from Charles University in Prague. He writes:

Despite its formal shortcomings, this must be one of the most thought-provoking videographic works I have seen. Denson’s theoretical manifesto imagines a form of audiovisual criticism that would not be merely expressive but transformative, reinventing our notion of subject-object relations. For this to happen, deformations of the image/object and displacements of the analyst/subject must take place simultaneously. Creative thinking joins forces with EEG headsets and editing programmes to create a media-theoretical ‘perpetuum mobile’, designed for constant questioning of what cinema means in the age of algorithms.

I am honored to have my work featured alongside many fascinating videos, many of which were made by friends and colleagues of mine (including especially noteworthy pieces by Chloé Galibert-Laîné, Kathleen Loock, Jason Mittell, Tracy Cox-Stanton, as well as Allison de Fren’s piece “Mad Science/Mad Love and the Female Body in Pieces,” which I commissioned for the Videographic Frankenstein exhibition at Stanford and published last year in Hyperrhiz).

By the way, I agree completely with Anger’s assessments of my video’s “formal shortcomings,” which stand out all the more against the background of all the excellent and polished work featured in the poll. In fact, my video was conceived and produced as a very rough proof-of-concept for a symposium organized by Kathleen Loock in Berlin last year (where I had hoped to do a live demo of the setup but was unable to due to technical limitations in the venue). A more polished video for the project is currently being planned, but in the meantime I’m quite happy with Anger’s assessment of it as “one of the most thought-provoking videographic works”!

CFP: Stanford-Leuphana Summer Academy on Humanities and Media 2020: “Technologies of Bureaucracy: Before and After the Digital Turn”

Stanford-Leuphana Summer Ac… by medieninitiative on Scribd

I am happy to announce the call for papers for the 2nd annual Stanford-Leuphana Summer Academy on Humanities and Media, which will take place June 22-26, 2020 in Berlin!

The topic this year is “Technologies of Bureaucracy: Before and After the Digital Turn!”

Our faculty and guest speakers this year are:

  • Timon Beyes (Sociology of Organisation and Culture, Leuphana)
  • Wendy Chun (New Media, Vancouver)
  • Shane Denson (Film and Media Studies, Stanford)
  • Monika Dommann (History, Zurich)
  • Marisa Galvez (French, Italian, and German Studies, Stanford)
  • Hans Ulrich Gumbrecht (Comparative Literature, Stanford)
  • Robin Holt (Organization Studies, Copenhagen)
  • Karla Oeler (Film and Media Studies, Stanford)
  • Claus Pias (History and Epistemology of Media, Leuphana)
  • Hito Steyerl (Experimental Film and Video, Berlin)
  • Peter Stohschneider (Medieval Studies, Munich) tbc
  • Fred Turner (Communication, Stanford)

As in the previous year, travel and accommodation costs will be covered for graduate students accepted to the Summer Academy, and there will be no additional fees for participation. So please consider applying and spread the word to qualified graduate students!

Amalgamate: An Exhibition of Video Works

I am happy to announce Amalgamate, an exhibition of videos made by students in my course on “The Video Essay” (Fall 2019). Works range from analytical to experimental, with activist impulses and cinephilic sensitivities sprinkled throughout. The show runs from January 10-31, 2020 in the Gunn Foyer, McMurtry Building, at Stanford.