Please join us in welcoming Katherine Behar, our next guest of the year, who will present “Isn’t Artisanal Intelligence K(NOT) AI?” on Wednesday, February 25, from 5-6:30PM PT. This event will take place in the Board Room at the Humanities Center; refreshments will be served. We hope to see you there.
“Isn’t Artisanal Intelligence K(NOT) AI?” unfolds a new theory of artisanal intelligence. Contextualized in Behar’s artistic practice, which concerns gender, race, class, and labor in digital culture, and specifically her current project, Inside Outsourcing, which takes inspiration from the un-automatability of basket-weaving, this lecture ties together neural networks and tacit knowledge to weigh the valuation of intelligences.
Bio:
Katherine Behar is an interdisciplinary artist who studies contemporary digital culture through feminism and materialism. She is Professor of New Media Arts at Baruch College and The Graduate Center, CUNY.
This event is generously co-sponsored by the Center for Spatial and Textual Analysis and Fiber Optics: Materials & Media, a Stanford Humanities Center Research Workshop.
Join us for an artist panel featuring participants from EXTRA/PHENOMENALITIES, on view at Stanford Art Gallery from January 22-March 13, 2026. Bringing together artists whose work explores the limits of experience, this program offers a special opportunity to hear directly from those behind the exhibition.
Each participating artist will give a brief talk reflecting on their work in the exhibition, followed by a moderated conversation and audience Q&A.
Participating artists include Morehshin Allahyari, Mark Amerika, Will Luers, & Chad Mossholder, Brett Amory, Rebecca Baron + Douglas Goodwin, Jon Bernson, Daniel Brickman, Paul DeMarinis, Karin + Shane Denson, Ebti, Frank Floyd, Gabriel Harrison, DJ Meisner, Joshua Moreno, Carlo Nasisse, Miguel Novelo, Andy Rappaport, William Tremblay, Camille Utterback, and Kristen Wong.
The exhibition is curated by Brett Amory, Karin Denson, and Shane Denson.
Moderator to be announced.
VISITOR INFORMATION: Oshman Hall is located within the McMurtry Building on Stanford campus at 355 Roth Way. Visitor parking is available in designated areas and is free after 4pm on weekdays. Alternatively, take the Caltrain to Palo Alto Transit Center and hop on the free Stanford Marguerite Shuttle. If you need a disability-related accommodation or wheelchair access information, please contact Julianne White at jgwhite@stanford.edu. This event is open to Stanford affiliates and the general public. Admission is free.
EXTRA/PHENOMENALITIES January 22–March 13, 2026 Stanford Art Gallery
OPENING RECEPTION: Thursday, January 22, 5-7pm
What are the limits of experience? This exhibition explores forms of appearance that press against the edges of perception—phenomena that are felt only indirectly, sensed as traces, intensities, or disturbances rather than as stable objects. “Extra/phenomenality” refers to this ambiguous zone of surplus and slippage: where aspects of the world exceed or elude our usual modes of noticing, while still shaping how we see, feel, and understand.
Such excess takes many forms. It can be found in natural processes whose scales outrun human attention; in cultural and spiritual traditions that treat appearance as layered or illusory; in psychological or bodily states that strain the coherence of conscious experience. It also takes shape in today’s technical environments—where images, signals, and decisions circulate through systems that operate faster than we can perceive. New modes of appearance are at stake, but also new zones of non-appearance—gaps, blind spots, and operations that remain perceptually inaccessible. In all of these cases, the limits of experience are stretched and reconfigured.
The artists gathered here engage this terrain of extension and attenuation. Some work with subtle shifts of color, rhythm, or material to draw attention to thresholds where perception begins to blur. Others stage encounters with forms that flicker between visibility and invisibility, inviting viewers to sense what hovers at experience’s margins. Still others explore how contemporary computational systems generate patterns that enter our lives without ever presenting themselves directly.
Taken together, the works invite reflection on how the phenomenal world is never given all at once, but is continually inflected by forces that lie just beyond phenomenality itself. EXTRA/PHENOMENALITIES asks viewers to slow down, to look again, and to inhabit the unstable relation between what appears and what exceeds appearing—an aesthetic space where the subtle, the oblique, and the barely perceptible can take on new significance.
PARTICIPATING ARTISTS: Morehshin Allahyari, Mark Amerika, Will Luers, & Chad Mossholder, Brett Amory, Rebecca Baron + Douglas Goodwin, Jon Bernson, Daniel Brickman, Paul DeMarinis, Karin + Shane Denson, Ebti, Frank Floyd, Gabriel Harrison, DJ Meisner, Joshua Moreno, Carlo Nasisse, Miguel Novelo, Andy Rappaport, William Tremblay, Camille Utterback, and Kristen Wong
CURATED BY: Brett Amory, Karin Denson, and Shane Denson
VISITOR INFORMATION: Stanford Art Gallery is located at 419 Lasuen Mall, off Palm Drive. The gallery is open Monday–Friday, 12–5pm (except on opening day, Jan. 22), and will be closed Presidents’ Day (Monday, Feb. 16). Visitor parking is available in designated areas and payment is managed through ParkMobile (free after 4pm, except by the Oval). Alternatively, take the Caltrain to Palo Alto Transit Center and hop on the free Stanford Marguerite Shuttle. This exhibition is open to Stanford affiliates and the general public. Admission is free.
I’m excited to be giving one of the keynotes at the Media Theory Conference 2025 at the Centre for Culture and Technology in Toronto. On Nov. 8, I’ll give a talk titled “AI as Existential(ist) Risk and Aesthetic Opportunity.” Here is the abstract:
Contemporary debates around artificial intelligence often frame the technology in terms of “existential risk.” Yet such framings rarely pause to consider what existential might mean in the existentialist sense. In this talk I return to Heidegger’s account of the “worldhood of the world” and Sartre’s concept of “hodological space” to argue that the risk posed by AI is not confined to catastrophic scenarios of planetary survival, but lies more immediately in the reconfiguration of subjectivity itself. AI systems bypass conscious perception, modulating aesthesis—the sensory, affective, and preconscious conditions of experience—and in doing so recalibrate the orientations that make ethical deliberation possible in the first place.
Seen from this angle, the hazard of AI is not external to us but infrastructural, shaping our movements, postures, and affective attunements. At the same time, this hazard can be taken up as an opportunity: artworks that use machine learning to stage glitches, detours, or dissonances do not merely represent technological change but provide laboratories for inhabiting it, exposing how bodies and worlds are being rewritten. If AI marks an existentialist risk, it also opens an occasion to engage aesthetically with the reorganization of perception and orientation, and to confront the stakes of ethics where they begin—in the aesthetic, in the felt conditions of living and acting in a changing world.
With apologies for the late announcement, the Digital Aesthetics Workshop is delighted to welcome our first speaker of the 2025-26 academic year! Joseph DeLappe will present on “Making Politics: Commemoration, Resistance, and Play” on Wednesday, October 22, from 5-6:30pm PT. The event will take place in Wallenberg 433A, at the Stanford Center for Spatial and Textual Analysis (CESTA). Dinner will be served.
Below you will find the Joseph DeLappe’s bio and abstract. We look forward to seeing you there!
Abstract:
Can art be a catalyst for change in times of war and conflict? What role can creative acts of counter-memorialization, interventionist practices, play, and participatory art take to change how we perceive and act upon issues of contemporary and historical violence and in the broader politics of memory? Media artist and activist Joseph DeLappe will share documentation from a diversity of creative projects and actions developed over the past several decades that utilize digital and analogue processes to creatively address such questions. A lineage of works, including video games, public actions (online and IRL), participatory making, performance, play, protest and memorialization will illuminate upon his critical and interrogative strategies engaging the intersections of art, technology, and social engagement.
Bio:
Joseph DeLappe, born San Francisco 1963, is an artist, activist and educator, he relocated to Scotland in 2017 after 23 years directing the Digital Media program at the University of Nevada, Reno. Working with electronic and digital media since 1983, projects in online gaming performance, sculpture and electromechanical installation have been shown throughout the world. In 2006 he began the project dead‐in‐iraq, to type consecutively, all names of America’s military casualties from the war in Iraq into the America’s Army first person shooter online recruiting game. More recently he developed the concept behind Killbox (funded in part by a Creative Scotland), an interactive computer game about drone warfare created with the Biome Collective in Scotland. Killbox was nominated for a BAFTA Scotland (British Academy of Film and Television Arts) as “Best Computer Game”. His works have been featured in the New York Times, The Australian Morning Herald, Art in America, The Guardian and the BBC. He has authored several book chapters, including “Me and My Predator(s): Tactical Remembrance and Critical Atonement, Drone Aesthetics: War, Culture, Ecology, Open Humanties Press, 2022 and “Making Politics: Engaged Social Tactics, A conversation between Joseph DeLappe and Laura Leuzzi”, Art as Social Practice: Technologies for Change, Routledge, 2022. DeLappe was awarded a Guggenheim Fellowship in the Fine Arts in 2017.
This event is co-sponsored by the Silicon Valley Archives and the Patrick Suppes Center for History & Philosophy of Science.
We had an awesome opening for Phase 1 of Non/phenomenalities at 120710 Gallery this past Saturday. Looking forward to the Phase 2 opening on August 16!!!
NON/PHENOMENALITIES — a show that I am co-curating with artist Brett Amory at Gallery 120710 in Berkeley — opens July 26 with an amazing lineup of artists.
The title of this exhibition plays on the multiple senses of the “phenomenal.” On the one hand, the phenomenal is equated with spectacle and the spectacular, the exceptional appearance that dazzles its audience, like a pop phenomenon. On the other hand, phenomenality refers to the way anything whatsoever appears to our embodied senses; this less extravagant sense of the word “phenomenon” is at the heart of phenomenology and Kantian philosophy (where it is opposed to the noumenal, which can never appear to sensation).
Both senses of the phenomenal are contested and reconfigured in the contemporary networks of computational media and machine-learning algorithms. For example, AI produces a steady stream of spectacles, each more spectacular than the last, but the underlying operations are immune to human perception. In this interplay, not only the objects of perception but also the very conditions of experience are up for grabs. The phenomenal itself is conditioned by a new realm of nonphenomenality, which poses a special challenge for artists working with these new technologies.
As a way of approaching this new situation, we look to works that stage multiple aesthetic inversions of the phenomenal, ranging from the subtle or understated to the invisible. What comes to the fore when vision encounters computation’s resistance to consciousness, its “discorrelation” from the phenomenology of embodied experience? How can we perceive what artist Trevor Paglen has dubbed the “invisible images” that populate our world? And how can these inversions connect with or be illuminated by other traditions of the non/ phenomenal—for example Buddhist ideas of appearance as illusion, the Lacanian notion of the unperceived Real, or neuroscientific theories of consciousness as a nonsubstantial epiphenomenon?
Looking beyond the spectacles of contemporary technology, Non/phenomenalities asks us to imagine an aesthetics of the subtle, the muted, the “barely perceptible difference,” maybe even the boring.
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.
Please join us for the next Digital Aesthetics Workshop, when we will welcome Yvette Granata for her talk on “Mimetic Virtualities: Rendering the Masses and/or Feminist Media Art?” on February 6, 5-7pm 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 attached, as well as a poster for lightweight circulation. We look forward to seeing you there!
From stolen election narratives to Q-anon cults, the politics of the 21st century are steeped in the mainstreaming of disinformation and the hard-core pursuit of false realities via any media necessary. Simultaneously, the 21st century marks the rise of virtual reality as a mass media. While spatial computing technologies behind virtual reality graphics and head-mounted displays have been in development since the middle of the 20th century, virtual reality as a mass media is a phenomenon of the last decade. Concurrently with the development of VR as a mass media, the tools of virtual production have proliferated – such as motion capture libraries, 3D model and animation platforms, and game engine tools. Does the pursuit of false realities and the proliferation of virtual reality technologies have anything to do with each other? Has virtual reality as a mass medium shaped the aesthetics of the digital masses differently? Looking to the manner in which virtual mimesis operates via rendering methods of the image of crowds, from 2D neural GAN generators to the recent development of neural radiance fields (NERFs) as a form of mass 3D rendering, I analyze the politics and aesthetics of mimetic virtualities as both a process of rendering of the masses and as a process of the distribution of the sensibility of virtualized bodies. Lastly, I present all of the above via feminist media art practice as a critical, creative method.
Bio:
Yvette Granata is a media artist, filmmaker, and digital media scholar. She is Assistant Professor at University of Michigan in the department of Film, Television and Media and the Digital Studies Institute. She creates immersive installations, video art, VR experiences, and interactive environments, and writes about digital culture, media art, and media theory. Her work has been exhibited nationally and internationally at film festivals and art institutions including, Slamdance, CPH:DOX, The Melbourne International Film Festival, The Annecy International Animation Festival, Images Festival, Harvard Carpenter Center for the Arts, The EYE Film Museum, McDonough Museum of Art, and Hallwalls Contemporary Art, among others. Her most recent VR project, I Took a Lethal Dose of Herbs, premiered at CPH:DOX in 2023, won best VR film at the Cannes World Film Awards, and received an Honorable Mention at Prix Ars Electronica in Linz Austria. Yvette has also published in Ctrl-Z: New Media Philosophy, Trace Journal, NECSUS: European Journal of Media Studies, International Journal of Cultural Studies and AI & Society. She lives in Detroit.
I am happy to announce the call for papers for the 5th annual Stanford-Leuphana Academy for Media Studies, which will again take place in Berlin (June 24-28, 2024)!
Stanford-Leuphana Summer Academy on Humanities and Media 2024
Open to advanced PhD candidates
Date: June 24-28, 2024
Location: Stanford Berlin, Haus Cramer, Pacelliallee 18, 14195 Berlin
Application Deadline: January 15, 2023
2024 topic: »Art, Technology, and the Problem of Acceleration«
For the last two hundred years, any number of writers and scholars have claimed that life is speeding up. As early as 1880 Goethe called the emerging industrial era “velociferous.” In today’s information era, such diagnoses flourish from popular punditry to Paul Virilio’s “Dromology,” Hartmut Rosa’s “Social Acceleration” and, of course, the philosophers of “Accelerationism.” An even older line of thought, a line we can trace back to Newton and Galileo, reminds us that in physics, and perhaps in the social world too, acceleration is always linked to forces of resistance, to inertia and redirection. Today such resistance ranges from a booming deceleration and disconnection industry to reactionary critiques of modernity, from institutional inertia and foot-dragging to the persistence of habits, emotions, mindsets, and values.
How can we understand this interplay of acceleration, technology, and inertia? What roles might media, art, and technology play in processes of acceleration and resistance? Can the study of literature or painting or multimedia sculpture, for instance, help us explore the forces driving acceleration? Give us new ways to understand the refusal to accelerate? What roles has aesthetics played in the economic, organizational, and technological changes under way around the world? And can we make new forms, new stories or images or objects, that let us imagine how we might do things differently?
We aim to bring together emerging scholars from a variety of fields to explore these and related questions. We welcome applications from across the humanities, the arts, and the social sciences. We hope to work collectively and to give participants a newly multidisciplinary toolkit with which to analyze acceleration and deceleration, in the past, the present, and the future.
Core Faculty
1. Timon Beyes (Sociology of Organization and Culture, Leuphana)
2. Shane Denson (Film & Media Studies/Modern Thought & Literature, Stanford)
3. Ute Holl (Media Studies, Basel)
4. Sybille Krämer (Philosophy, Leuphana)
5. Claus Pias (History and Epistemology of Media, Leuphana)
Wolfgang Ernst (Media Theory, Humboldt University Berlin)
Application
All applications from advanced doctoral candidates must be submitted electronically in PDF format. Please submit your CV (1-2 pages) along with a 500-word abstract of your topic and a short letter of intent explaining why you would like to attend this Summer Academy.
Please use the following naming convention for your application files: Lastname_CV.pdf,
Please email your applications by January 15, 2024 to stanleu@leuphana.de.
The working language of the Summer Academy will be English. The organizers will cover travel (economy) and accommodation costs for the time of the summer school. No additional fees will be charged.
General information
The Stanford-Leuphana Summer Academy addresses the intersection between individual humanities disciplines and studies of media and technology from a variety of historical, systematic, and methodological perspectives. As we live in a time when new technologies are emerging at an increasingly rapid pace, the Academy seeks to address vital questions about how different media can drive political and social change, but it also inquires into the assumptions and values that produce technological artifacts. Media studies and media theory intersect with various disciplines in the humanities and social sciences that treat the transmission of information, the formation of social networks, and the embodiment of knowledge in technological artifacts. Therefore, the Academy will bring together faculty and students from various branches of the humanities and social sciences to think about how »mediality« permeates these disciplines in distinct ways; we will approach these issues not only from a robustly interdisciplinary vantage but also by way of comparative cultural and historical perspectives. In this way, the Academy will contribute to our understanding of the fundamental ways that forms of media and technological mediation inform disciplinary knowledge across the humanities, as well as the ways that these disciplinary knowledge formations are an essential precondition to any serious thinking about mediality.
