Online now: Ranjodh Singh Dhaliwal’s discussion with me and Brooke Belisle about our books Post-Cinematic Bodies and Depth Effects. Check it out!
“The Ends of Perfection: On a Limit Concept in Global Film and Media Theory” — Nicholas Baer at Digital Aesthetics Workshop, April 5, 2024
I am pleased to announce our first event for spring quarter! Please join us in welcoming Nicholas Baer next week, who will present a talk titled “The Ends of Perfection: On a Limit Concept in Global Film and Media Theory” on Friday, April 5, 2:30-4:30pm PT. The event will take place in the Stanford Humanities Center Board Room, where refreshments will be served. Below you will find the abstract and bio. We look forward to seeing you there!
Zoom link for those unable to join in-person: https://tinyurl.com/4ry559an
Abstract:
This talk examines the concept of aesthetic perfection against the backdrop of today’s digital mediascape, where the latest screen technologies promise sharp, pristine images with lossless compression and a lifelike appearance. While, in Hito Steyerl’s account, the circulation of “poor” or “imperfect” images can disrupt hegemonic media logics, I demonstrate that the very ideal of perfection is an engine of semantic instability in the modern age. Intervening in contemporary debates about “rich” and “poor” images, and “high” and “low” definition, my lecture offers a differentiated and historically dynamic understanding of perfection as a limit concept in global film and media theory. I argue that moving images played a crucial role in the redefinition of perfection, as classical conceptions of the term gradually and unevenly gave way to perfectionism, perfectibility, and an aesthetics of imperfection. Integrating Reinhart Koselleck’s method of conceptual history into the study of moving images, my talk reconceives the history of global film and media theory as one of semantic persistence, change, and radical novelty of meaning.
Bio:
Nicholas Baer is Assistant Professor of German at the University of California, Berkeley, with affiliations in Film & Media, Critical Theory, and Jewish Studies. He is author of Historical Turns: Weimar Cinema and the Crisis of Historicism (University of California Press, 2024) and co-editor of three volumes: The Promise of Cinema: German Film Theory, 1907–1933 (University of California Press, 2016), Unwatchable (Rutgers University Press, 2019), and Technics: Media in the Digital Age (Amsterdam University Press, 2024).
This event is generously co-sponsored by the Stanford Europe Center.
Post-Cinema: Print edition now available!
At long last, Post-Cinema: Theorizing 21st-Century Film is now available in a print edition! The 1000-page volume, originally published in open-access formats (HTML and PDF) in 2016, can now be purchased in a four-volume paperback format.
In accordance with the original Creative Commons license (CC BY-NC-ND), the paperbacks are sold at cost; the purchase price covers only the printing. As a result, they are quite affordable (around $8.00 each).
Here are the links to the individual volumes: Volume I, Volume II, Volume III, and Volume IV.
The book as a whole asks: If cinema and television, as the dominant media of the 20th century, shaped and reflected our cultural sensibilities, how do new digital media in the 21st century help to shape and reflect new forms of sensibility? In this collection, editors Shane Denson and Julia Leyda have gathered a range of essays that approach this question by way of a critical engagement with the notion of “post-cinema.” The contributions take as their critical starting-points concepts such as David Bordwell’s “intensified continuity” or Steven Shaviro’s “post-cinematic affect” and “post-continuity.” They expand and build upon the ideas of these and a range of other thinkers, with the goal of coming to terms with an apparently new media ecology that requires us to search for a fresh critical vocabulary. By examining the experiential, technological, political, historical, and ecological aspects of the transition from a cinematic to a post-cinematic media regime, the chapters explore key questions in breaking this new ground, seeking and articulating both continuities and disjunctures between film’s first and second centuries. Questions of aesthetics and form overlap with investigations of changing technological and industrial practices, contemporary formations of capital, and cultural concerns such as identity and social inequalities. The impact of digitization on taken-for-granted conventions is also in play: intermediality, new forms of distribution both licit and illicit, academic and critical reliance on genres and discrete media formats – all of these come under scrutiny as paradigms shift in the post-cinematic era.
Volume I comprises the Introduction and Parts 1 & 2, “Parameters for Post-Cinema” and “Experiences of Post-Cinema”:
Volume II comprises Parts 3 and 4: “Techniques and Technologies of Post-Cinema” and “Politics of Post-Cinema”:
Volume III comprises Parts 5 and 6: “Archaeologies of Post-Cinema” and “Ecologies of Post-Cinema”:
Finally, Volume IV comprises the conversations and roundtables contained in Part 7: “Dialogues on Post-Cinema”:
“Endurance Media: Making, Breaking, and Remaking the Body” — #SCMS24 Panel
On Sunday, March 17 (10:15am-12pm), I’ll be part of the panel “Endurance Media: Making, Breaking, and Remaking the Body,” co-chaired by Neta Alexander and Rachel Plotnick, and also featuring David Parisi.
My paper is titled “Interfacing with Metabolic Media.” In lieu of an abstract, here’s my talk as an animated gif:
“Shadowline” — Akira Mizuta Lippit at Digital Aesthetics Workshop, March 12, 2024
We’re pleased to announce our last event of the winter quarter, slated for next week. Please join us in welcoming Akira Mizuta Lippit, who will present on “Shadowline” on Tuesday, March 12, 5-7pm PT. The event will take place in McMurtry 370, where refreshments will be served. Below you will find the abstract and bio attached, as well as a poster for lightweight circulation. We look forward to seeing you there!
Zoom link for those unable to join in-person: tinyurl.com/bdf4ed4f
Abstract:
This paper looks at the unique visuality of an eclipse, a penumbra in which a dark object is revealed in and sometimes by the darkness that surrounds. When darkness envelops darkness, is vision negated or does a new form visibility emerge from the double negation of the visible? At its early stages of thought, this paper seeks to explore the cosmic event of an eclipse as a uniquely disruptive but revelatory instance of a collapsing visuality.
Bio:
Akira Mizuta Lippit is University Professor of film and literature at the University of Southern California. He is the author of Cinema without Reflection: Jaques Derrida’s Echopoiesis and Narcissism Adrift (2016); Ex-Cinema: From a Theory of Experimental Film and Video (2012); Atomic Light (Shadow Optics) (2005); and Electric Animal: Toward a Rhetoric of Wildlife (2000).
This event is generously co-sponsored by the Stanford Department of Art & Art History.
MTL/Intermediations Presents: Regina Schober, “Female Algorithmic Selfhood, Literary Fiction, and the Digital Pharmakon,” March 6, 2024
The Program in Modern Thought and Literature and Intermediations invite you to attend a lunch-time talk with Professor Regina Schober (American Studies, Heinrich-Heine-University Duesseldorf) on Female Algorithmic Selfhood, Literary Fiction, and the Digital Pharmakon.
This event will be taking place in the Terrace Room in Margaret Jacks Hall (Building 460, 4th Floor, room 426) on March 6th at 11am.
Lunch will be provided. If you are planning to intend, we invite you fill out an RSVP form for logistics and headcount. RSVPs are appreciated but not required. We ask that if you RSVP that you do so by March 1st.
If you have any questions or concerns about this event, please do not hesitate to reach out to Leah Chase at lachase@stanford.edu
Abstract:
While algorithms have increasingly come to shape the ways of writing the self, for example through data tracking and recording, personalized recommendation systems, and online identity curation, literary fiction has simultaneously negotiated such ways of being in and experiencing our algorithmically driven, digital environment. This talk will look at a selection of contemporary US American novels that critically inquire into modes of algorithmic self-writing, as they scrutinize the ways in which digital affect, automated scripts, and the dynamics of the attention economy play into the construction of selfhood. With a particular focus on female digital experiences, this talk reframes posthuman perspectives on human-/technology interactions in emphasizing affective and collective spaces of the “digital pharmakon” (Stiegler 2012). At the same time, these novels explore their own intermedial potential as counter-attentional forms in negotiating the ‘failed knowledges’ of scripting the digital female self.
About the speaker:
Regina Schober is Professor of American Studies at Heinrich-Heine-University Duesseldorf. Her research interests include literary negotiations of networks and algorithmic selfhood, theories of failure, and intermediality. She is author of ‘Spiderweb, Labyrinth, Tightrope Walk: Networks in US-American Literature and Culture’ (De Gruyter, 2023), of ‘Unexpected Chords: Musicopoetic Intermediality in Amy Lowell’s Poetry and Poetics’ (Winter, 2011), editor of ‘Data Fiction: Naturalism, Numbers, Narrative’ (special issue of Studies in American Naturalism, with James Dorson, 2017), ‘The Failed Individual: Amid Exclusion, Resistance, and the Pleasure of Non-Conformity’ (Campus, 2017, with Katharina Motyl) of ‘Laboring Bodies and the Quantified Self’ (Transcript, with Ulfried Reichardt, 2020), and of ‘Network Theory and American Studies’ (Special Issue of Amerikastudien/American Studies, 2015, with Ulfried Reichardt and Heike Schäfer. She is part of the DFG Research Network ‘The Failure of Knowledge/Knowledges of Failure’, the DFG Research Network ‘Model Aesthetics: Between Literary and Economic Knowledge’, and the interdisciplinary BMBF Project ‘AI4All’.
AI in the History of Art and Literature — Gerui Wang and Unjoo Oh, March 11, 2024
On March 11 (4:00-5:30pm, McMurtry Building 370), Gerui Wang and Unjoo Oh will be presenting work related to AI and the history of art and literature:
Gerui Wang, “Infinite Curves in Soungwen Chung’s Art: Towards Human-AI Collaborative Creativity”
This talk explores human-AI collaborations in the works of the contemporary artist Soungwen Chung. Chung designs her own robots for drawing operations. She utilizes computer vision technologies to train robots to observe, learn, and respond to her creative processes. Chung experiments possibilities and creative potential of AI systems when her brain waves are transmitted to the robot arms through an EEG device. The presentation investigates the visual effect of infinite curves in Chung’s art, varying in volume, color, density, tones, and directions. Chung’s works introduce an infinite reproducibility and variation that evokes aesthetics of the ink medium from East Asia. Do Chung’s completed works show legible differences between the marks made by herself and those made by the robot arms? Do “conversations” and collaborations between human creators and AI systems redefine our perceptions of creativity? How do AI systems change our engagement with cultural traditions? This talk invites you to think with these AI-infused artworks.
Gerui Wang is a Lecturer in the Department of History of Art and Visual Culture at the University of California, Santa Cruz, and at Stanford University’s Center for East Asian Studies (Spring 2024). Her research interests span arts, public policy, environment, and emerging technologies. Her book manuscript, Landscape, Governance, and Ecology in China, 1000-1400, demonstrates the overlooked ecological thinking and notions of “sustainability” manifested in flourishing landscape imagery across artistic media. Gerui’s new project examines artificial intelligence and contemporary art in Asia and its diaspora. Gerui holds a PhD in the history of art from the University of Michigan.
Unjoo Oh, “Visual Interfaces for Poetic Data: Early Modern and AI Technologies”
How might the sonnets of William Shakespeare and AI exist—or be made to exist—in symbiosis? This talk explores the mutual insights that Shakespeare’s Sonnets and AI tools (such as LLMs and text-to-image generators) offer to each other. At the intersection of textual criticism and artificial intelligence, it is possible to leverage bibliographical uncertainty and rethink the (re)presentation of Shakespeare’s poetry. Image (re)production can be newly considered in this process as a node for early modern print and generative AI. Most importantly, we can test the capabilities and biases of these models in processing poetic data and begin to construct visual interfaces that reorient literary analysis.
Unjoo Oh is a Ph.D. candidate in English at Stanford University. Her research centers around textual materiality, critical posthumanism, and digital humanities, investigating how (in)organic nonhumans affect notions of intelligence and the remediation of premodern texts. Her work has been published in Comitatus: A Journal of Medieval and Renaissance Studies and the Journal of Classical, Medieval, and Renaissance English Literature. She is also a graduate coordinator of Renaissances at Stanford and an assistant editor of the Stanford Global Shakespeare Encyclopedia.
Call for Applications: HAI Postdoctoral Fellow with concentration in AI, Art, and Aesthetics
I am excited to announce that, with the support of the Stanford Institute for Human-Centered AI, I am hiring a one-year postdoctoral fellow working on issues around AI, art, and aesthetics. Please see the full call for applications here, and spread the word to anyone who might be interested!
“Weaving as Coding: Complexity and Nostalgia” — Hideo Mabuchi at Critical Making Collaborative, March 4, 2024
The Critical Making Collaborative at Stanford proudly presents Hideo Mabuchi, Professor of Applied Physics and Denning Family Director of the Stanford Arts Institute, for a presentation titled “Weaving as Coding: Complexity and Nostalgia.” The presentation will take place on Monday, March 4 (12:30-2:00pm in the McMurtry Building, room 370). All are welcome!
In Hideo’s words:
Weaving as Coding: Complexity and Nostalgia
Textiles are cultural objects that organically support nested layers of coding. In this talk I’ll first illustrate what I mean by this with brief examples borrowed from papers in anthropology and media studies, and then discuss a small textile piece I recently wove on an eight-shaft table loom. My piece employs a traditional block draft (Bronson spot lace) and weft-faced weaving to mimic the appearance of a seven-segment numeral display, as can be found in common LED alarm clocks, and spells out the “calculator word” h-E-L-L-0 as the upside-down view of the digit string 07734. To complete the arc of the story I’ll offer a semantic mash-up of Boymian reflective nostalgia with the information-theoretic concept of algorithmic complexity, and argue on this basis that hand-weaving offers a rich paradigm for critical making that undermines framings of generative AI as a tool that augments human creativity.
As a quantum physicist devoted to the traditional crafts of ceramics and weaving, I live a kind of spiral between abstraction and materiality that keeps me dithering over what it means to know something. I profess this equivocation in my teaching, which increasingly looks to the humanities for help in relativizing rigorous thought and embodied understanding. The project I’ll discuss grew out of class prep for teaching APPPHYS100B “The Questions of Cloth: Weaving, Pattern Complexity, and Structures of Fabrics”, but I’ve only picked up on its critical making aspect as a result of things I learned while co-teaching ARTHIST284/484 “Material Metonymy: Ceramics and Asian America” with Marci Kwon.
Intermediations/MTL Presents: Ruth Mayer, “The ‘Girl’ in Weimar Germany,” February 22
I am very excited to be hosting Ruth Mayer, Professor of American Studies at the Leibniz Universität Hannover, for a series of events at Stanford this quarter. The Program in Modern Thought & Literature nominated her as an International Visitor at the Stanford Humanities Center, where she’ll present her current research in March. First, though, there are two events in MTL:
The Program in Modern Thought and Literature invites you to a special event: On Thursday, February 22, at 4pm in the Terrace Room (4th floor, Margaret Jacks Hall), Professor Ruth Mayer will be giving a talk titled “The ‘Girl’ in Weimar Germany: Illustrated Magazines in Trans-Atlantic Circulation.” The talk will be followed by a reception with food and drink.
Please RSVP here by Tuesday, February 20, so that we have a head-count.
The talk explores the ways in which illustrated magazines of the Weimar period act contribute to a larger gendering of transnational exchange particularly through image-text doubling and shifts. It takes the Weimar society magazine Uhu as a major reference point, investigating how it modeled itself on American lifestyle and ‘smart’ magazines and made use of the iconic figure of the ‘Girl’ to carve out a spatiotemporal continuum between ‘Amerika’ and Europe. While the Girl is a figure of the stage and screen as much as of the modern magazine, it is in the magazine that this figure comes into her own. The Girl incorporates modernity as a multimodal and multifaceted configuration much like the modern magazine itself. The talk argues that the Girl enters the illustrated magazines not only as a subject matter but also as a tool of gendered self-reflection, particularly in the work of female writers, illustrators and photographers.
Prof. Ruth Mayer holds the chair of American Studies, teaching American literature and culture from the 17th century to the present time, with a strong focus on theoretical and formal questions. Her research focuses on aspects of popular culture (particularly seriality and serialization), media history, globalization, science studies, and cultural contact. Her book Serial Fu Manchu: The Chinese Super-Villain and the Spread of Yellow Peril Ideology appeared in 2013 with Temple University Press and in 2019 she co-edited Modernities and Modernization in the United States (Winter). She is currently directing the research projects “Contingency and Contraction: Modernity and Temporality in the United States, 1880-1920″ and “Multiplication: Modernity, Mass Culture, Gender.” The Program in Modern Thought and Literature is currently hosting Prof. Mayer as an International Visitor at the Stanford Humanities Center.
In addition to the talk on 2/22, Prof. Mayer will also be holding a workshop session for grad students on the following day, 2/23, from 11am-2pm in the Terrace Room. Lunch will be served.