On Wednesday, December 8, 2021 (12:00 – 1:00pm Pacific time), I will be in conversation with Jacob Gaboury about his excellent new book Image Objects: An Archaeology of Computer Graphics for UC Berkeley’s Townsend Center for the Humanities.
The event will be livestreamed on YouTube and is therefore open for all to view.
More info can be found on the Townsend Center website.
The Digital Aesthetics Workshop is extremely excited to announce a collaborative panel with UC Davis’ Technocultural Futures Research Cluster.
‘Rendered Worlds: New Regimes of Imaging‘ will take place on Friday, October 23 at 10am PDT. Co-organized by teams from Stanford University and University of California Davis, this event brings together a transatlantic group of scholars to discuss the social, historical, technical, and aesthetic entanglements of our computational images.
Talking about their latest work will be Deborah Levitt (The New School), Ranjodh Singh Dhaliwal (UC Davis and Universität Siegen), Bernard Dionysius Geoghegan (King’s College London), and Shane Denson (Stanford). Hank Gerba (Stanford) and Jacob Hagelberg (UC Davis) will co-moderate the round-table. Please register at tinyurl.com/renderedworlds for your zoom link!
We hope to see you there! If you have any questions, please direct them to Ranjodh Singh Dhaliwal (rjdhaliwal at ucdavis dot edu).
Sponsored by the Stanford Humanities Center. Made possible by support from Linda Randall Meier, the Mellon Foundation, and the National Endowment for the Humanities.
Next week, Oct. 17-20, 2018, the Association for the Study of the Arts of the Present (ASAP) will be holding its annual conference in New Orleans. There I will be on a panel, called “Images Otherwise,” with some excellent co-panelists: Andrew Johnston (NC State), Brooke Belisle (SUNY Stony Brook), and Jacob Gaboury (UC Berkeley). I will be presenting work related to my forthcoming book, Discorrelated Images.
Here is my abstract:
Images of Discorrelation
Shane Denson, Stanford University
This presentation deals with the ongoing transition from a cinematic to a post-cinematic media regime. Situated at the cusp between film studies and digital media studies, “images of discorrelation” names a variety of contemporary visual phenomena (glitches, artifacts, motion-smoothing, etc.) and seeks to articulate a theory of the perceptual, actional, and above all affective impacts of the thoroughgoing computationalization of moving-image media. The concept of “discorrelation” concerns the severing of phenomenological relations between viewing subjects and image-objects; it results from the failure, on the part of contemporary cameras and other imaging devices, to situate spectators in a coherently articulated viewing position. Furthermore, discorrelation is an effect of the microtemporal processing of computational images, which impacts viewers’ own embodied processing of time at a subperceptual level, prior to the articulation of subject-object relations. This generative dimension implicates computational imaging systems, including their use in mainstream movies and other media, in a fundamental transformation of human-technological relations.