What Tech Calls Thinking — Adrian Daub at Digital Aesthetics Workshop, May 11

Poster by Hank Gerba

On Tuesday, May 11th (5-7 pm Pacific), Adrian Daub will be discussing his recent book, What Tech Calls Thinking: An Inquiry into the Intellectual Bedrock of Silicon Valley, at the Digital Aesthetics Workshop. Registration at tinyurl.com/DAWDaub

About the event: Adrian Daub’s What Tech Calls Thinking is a lively dismantling of the ideas that form the intellectual bedrock of Silicon Valley. Equally important to Silicon Valley’s world-altering innovation are the language and ideas it uses to explain and justify itself. And often, those fancy new ideas are simply old motifs playing dress-up in a hoodie. From the myth of dropping out to the war cry of “disruption,” Daub locates the Valley’s supposedly original, radical thinking in the ideas of Heidegger and Ayn Rand, the New Age Esalen Foundation in Big Sur, and American traditions from the tent revival to predestination. Written with verve and imagination, What Tech Calls Thinking is an intellectual refutation of Silicon Valley’s ethos, pulling back the curtain on the self-aggrandizing myths the Valley tells about itself.

Adrian Daub is a professor of comparative literature and German studies at Stanford University, and the director of the Michelle R. Clayman Institute for Gender Studies. His research focuses on the intersection of literature, music, and philosophy in the nineteenth century.

Sponsored by the Stanford Humanities Center. Made possible by support from Linda Randall Meier, the Mellon Foundation, and the National Endowment for the Humanities.

Video: Sensations of History and Discorrelated Images: James Hodge and Shane Denson in Conversation

Above, the complete video from the conversation on April 2, 2021 between James Hodge and myself about our new books, Sensations of History and Discorrelated Images. Co-sponsored by the Center for Global Culture and Communication at Northwestern University and the Linda Randall Meier Research Workshop on Digital Aesthetics at Stanford University.

Possibilities of Post-Cinema: Review of Discorrelated Images in Film International

There’s a new review of Discorrelated Images in Film International. Reviewer T. R. Merchant-Knudsen (who goes by @CriticTMK on Twitter) remarks that pandemic year 2020 was paradoxically the perfect year for the book to appear, as it aims to illuminate the unprecedented role of digital screens in the reorganization of our lives, and judges the book overall “a fantastic meditation on post-cinema that begs the reader to consider both the horrors and possibilities afforded with technological advancements.”

Check out the full review here, and pick up the book for 50% off during Duke University Press’s Spring Sale (now through May 7) with code SPRING21 if you order directly from the publisher. (Outside North and South America, you can use the same code at international distributor Combined Academic Publishers.)

A Company of Authors — Saturday, April 24

This Saturday, April 24, I will be participating in Stanford Continuing Studies and the Stanford Humanities Center’s annual event showcasing new books by Stanford authors, A Company of Authors. I will be presenting my book Discorrelated Images alongside Marci Kwon and Usha Iyer, both of whom are colleagues in the Department of Art & Art History, who will be presenting their recent books Enchantments: Joseph Cornell and American Modernism (Kwon) and Dancing Women: Choreographing Corporeal Histories of Hindi Cinema (Iyer).

The panel, which consists of very short book presentations and a brief Q&A, is at 1pm Pacific time via Zoom. Registration for the event is here: https://continuingstudies.stanford.edu/company-of-authors-spring-2021

Documenting the Post-Cinematic Real — Fórum Internacional Cinemática III, April 13-15, 2021

The Fórum Internacional Cinemática III, organized by Giselle Gubernikoff, Edson Luiz Oliveira, and Daniel Perseguim of the Universidade de São Paulo, is taking place online from April 13-15, 2021. Dedicated this year to forms of documentary and “the real,” the conference will feature three plenary talks by Steven Shaviro (April 13), me (April 14), and Selmin Kara (April 15).

My talk, titled “Documenting the Post-Cinematic Real,” draws on a line of questioning about computational media and realism that I explore in the latter half of chapter 5 in Discorrelated Images:

“In its classical formulation, cinematic realism is based in the photographic ontology of film, or in the photograph’s indexical relation to the world, which allegedly grants to film its unique purchase on reality; upon this relation also hinged, for many realist filmmakers and theorists, the political promise of realism. Digital media, meanwhile, are widely credited with disrupting indexicality and instituting an alternative ontology of the image, but does that mean that realism as a potentially political power of connection with the world is dead? If we consider the extent to which reality itself is shaped and mediated through digital media today, the question begins to seem strange. As I will demonstrate with reference to a variety of moving-image texts dealing with drone warfare, online terrorism recruitment, and computationally mediated affects, post-cinematic media might in fact be credited with a newly intensified political relevance through their institution of a new, post-cinematic realism. As a result, the question of “documenting the post-cinematic real,” which any contemporary theory of documentary must raise, will necessarily take us beyond the documentary as it is traditionally understood; it will take us into spaces of the computer desktop, of online and offline subjectivities and collectives, and of post-indexical technologies and environments. How can these spaces, which resist traditional coordinates of cinematic realism, be documented?”

Here are the links to view the plenary talks:

Steve Shaviro, “The Ontology of Post-cinematic Images, and Examples from Music Videos,” April 13 (5pm Brazil, 4pm Eastern, 1pm Pacific) — https://youtu.be/7t6GEB6a-tI

Shane Denson, “Documenting the Post-Cinematic Real,” April 14 (5pm Brazil, 4pm Eastern, 1pm Pacific) — https://www.youtube.com/watch?v=zNAvmFST83A

Selmin Kara, “Documentary Films in the Age of the Anthropocene,” April 15 (5pm Brazil, 4pm Eastern, 1pm Pacific) — https://youtu.be/-79SNzWtulY

The Great Watercooler in the Cloud — Melissa Gregg at Digital Aesthetics Workshop, April 6

The Digital Aesthetics Workshop is happy to announce a long-awaited, COVID-postponed event with Melissa Gregg next week on Tuesday, April 6th 5-7 pm Pacific,”The Great Watercooler in the Cloud: Distributed work, collegial presence and mindful labor post-COVID.”

Please see below for details and register at tinyurl.com/DAW2021.

“The Great Watercooler in the Cloud: Distributed work, collegial presence and mindful labor post-COVID”

The immediate shift to so-called “remote work” in the pandemic created an extraordinary instance of corporate reckoning: hierarchies seemingly so solid and impenetrable evaporated within weeks as workers rapidly adjusted to doing their job in slippers. Previously commonsense notions of the day’s rhythms – the obligatory performance of a 9 to 5 persona – faced critical contaminants in the form of children, spouses and pets. Meanwhile the surprisingly social elements of office life became apparent in their obvious absence. Zoom fatigue replaced team-building drinks as the dominant affective mode. As the work world prepares for a return to something other than normal, this talk draws on multiple studies of technology users in lockdown and previous research on productivity to understand the condition of professional intimacy post-COVID. In doing so, it reflects on the psychological, physical and environmental burdens embedded in the idea of “work from anywhere.”   

Melissa Gregg is Intel’s chief social scientist and thought leader for user experience (UX). With a PhD in gender and cultural studies, she is an international expert on the future of work and a specialist in applied ethnography. Her over 60 peer-reviewed publications and books have anticipated key shifts in the experience of connected work and home life, from Work’s Intimacy (Polity 2011) to Counterproductive (Duke 2018), The Affect Theory Reader (Duke 2010) to the new collection, Media and Management (Meson Press 2021).

Following an academic career in Australia, Melissa led Intel’s first university investment in social computing before building user research to a position of strategic impact in the PC business. Her team now guides the roadmap for product development and architecture across consumer and commercial segments, including the EVO brand. As Chief Technologist for Sustainability in the Client Computing Group, Melissa inspires technologists, colleagues, consumers and customers to accelerate the transition to carbon neutral computing. This requires a fundamental reckoning with business as usual for the PC industry, to ensure the finite resources providing connectivity today can continue in to the future.

Sponsored by the Stanford Humanities Center. Made possible by support from Linda Randall Meier, the Mellon Foundation, and the National Endowment for the Humanities.

Sensations of History and Discorrelated Images — James J. Hodge and Shane Denson at Digital Aesthetics Workshop, Stanford / Center for Global Culture and Communication, Northwestern

A presentation and dialogue on two recent books in digital aesthetics: Sensations of History: Animation and New Media Art by James J. Hodge (Northwestern University) and Discorrelated Images by Shane Denson (Stanford University).

On Zoom, Friday, April 2, 2021, at 2 p.m. CST/ 12 p.m. PST
REGISTRATION REQUIRED

To Register: https://northwestern.zoom.us/meeting/register/tJcoc-mqpj8oGtzYRsInHSx38NRAQfAYTQin

Organized by Center for Global Culture and Communication (CGCC), Department of Communication Studies, Northwestern University, Linda Randall Meier Research Workshop on Digital Aesthetics at Stanford University, Stanford Humanities Center

Rendering: Times, Powers, Perceptions — #SCMS21 Panel L24 (Friday 3pm Central)

This Friday, March 19, 2021 (3pm Central, 1pm Pacific), I will be presenting alongside Deborah Levitt, Joel McKim, and Vivian Sobchack in panel L24: “Rendering: Times, Powers, Perceptions.” Sponsored by the Film Philosophy SIG!

Books in Conversation: Discussing Discorrelated Images with Caetlin Benson-Allott

Over at ASAP/J, the open-access platform of ASAP/Journal, a conversation with Caetlin Benson-Allott and myself on the topic of Discorrelated Images has just gone online. We talk about archives, coups, Zoom, and Janelle Monáe, among other things. Check it out here!

CFP: “Touch Me (Not)” — 2021 Berkeley/Stanford Graduate Symposium

Please help spread the word about this call for papers for the 2021 Berkeley/Stanford Symposium, organized by graduate students in each university’s respective art history programs, to be held (virtually) in conjunction with SFMOMA. Open to all graduate students. Queries and applications to berkeley.stanford.symposium.2021@gmail.com