“The Right to Speed-Watch (or, When Netflix Discovered its Blind Users)” — Neta Alexander at Digital Aesthetics Workshop, April 18, 2023

Please join us for our next Digital Aesthetics Workshop event with Neta Alexander, who will deliver “The Right to Speed-Watch (or, When Netflix Discovered its Blind Users).” The meeting will take place April 18th from 5-7pm in the Stanford Humanities Center Board Room, as usual. Below find a description of the talk, a bio for Neta, and a poster for lightweight distribution. Looking forward to seeing you there!

Zoom registration for those unable to attend in person: https://tinyurl.com/2yc6eshy

Description:
Speed-watching, an understudied-yet-ubiquitous spectatorial mode, is often described by users as a productivity tool that can help them become digital “super-users.” This talk situates this emerging mode of spectatorship within longer histories of media consumption, connecting it to both efficiency and disability activism. Using Netflix as a case study, I focus on the recent public debate surrounding its failed attempt to add a playback speed feature to its streaming platform. World-renowned filmmakers pushed Netflix to shelve this idea when it was first introduced in 2018, claiming their films were not intended to be watched twice as fast. Yet, citing “requests from deaf and blind subscribers,” Netflix decided to add this feature to its interface in August 2020, when millions were sheltering-in-place due to the pandemic. This presentation asks what led to this decision, and what can the marketing discourse surrounding it teach us about how corporations monetize “accessibility.” Theorizing the difference between “time-shifting” and “time-hacking”, I argue that speed-watching is a mode of survival enabling different users to advance a wide range of goals: media literacy, the thrill of speed, and avoiding a mortifying fear of boredom.

Bio:
Neta Alexander is an Assistant Professor of Film and Media at Colgate University, NY and an Assistant Editor of the Journal of Cinema and Media Studies (JCMS). Her articles have appeared in Journal of Visual Culture, Cinema Journal, Cinergie, Film Quarterly, Media Fields Journal, and Flow Journal, among other publications. Her first book, Failure (co-authored with Arjun Appadurai; Polity, 2020) studies how Silicon Valley and Wall Street monetize failure and forgetfulness.

CFP: 2023 Stanford-Leuphana Academy for Media Studies — “Media and Cultural Change”

I am happy to announce the call for papers for the 4th annual Stanford-Leuphana Academy for Media Studies, which will again take place in Berlin (June 25-30, 2023)! 

The topic this year is “Media and Cultural Change”

Our core faculty this year are:

  • Timon Beyes (Sociology of Organisation and Culture, Leuphana)
  • Shane Denson (Film and Media Studies, Stanford)
  • Marisa Galvez (French, Italian, and German Studies, Stanford)
  • Karla Oeler (Film and Media Studies, Stanford)
  • Claus Pias (History and Epistemology of Media, Leuphana)
  • Fred Turner (Communication, Stanford)
  • Sybille Krämer (Philosophy, Leuphana)
  • Ruth Mayer (American Studies, Hannover)
  • Bernhard Siegert (History and Epistemology of Cultural Techniques, Weimar)

Special Guests:

  • Simon Denny (University of Fine Arts Hamburg)
  • Wolfgang Ernst (Media Studies, Humboldt University Berlin) — to be confirmed

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

CFP: 2022 Stanford-Leuphana Summer Academy on “Scale”

CFP Stanford-Leuphana Summe… by medieninitiative

Update: Deadline extended until March 15! (If you are unable to download or access the PDF above, please use this alternate link.)

I am happy to announce the call for papers for the 3rd annual Stanford-Leuphana Summer Academy on Humanities and Media, which — pandemic permitting — will again take place in Berlin (June 20-24, 2022)! 

The topic this year is “Scale”

Our core faculty this year are:

  • Timon Beyes (Sociology of Organisation and Culture, Leuphana)
  • Shane Denson (Film and Media Studies, Stanford)
  • Marisa Galvez (French, Italian, and German Studies, Stanford)
  • Melissa Gregg (Cultural Studies, Senior Principal Engineer, Intel)
  • Karla Oeler (Film and Media Studies, Stanford)
  • Claus Pias (History and Epistemology of Media, Leuphana)
  • Fred Turner (Communication, Stanford)
  • Mike Ananny (Communication and Journalism, USC)

Guest speaker: Kate Crawford (NYU)

As in previous years, 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!

Pandemic Media — full PDF now available

The full PDF of Pandemic Media, an open-access collection edited by Philipp Dominik Keidl, Laliv Melamed, Vinzenz Hediger, and Antonio Somaini, is now available for download (here).

The volume contains 37 short chapters on various aspects of media and mediated experience under conditions of the pandemic, divided into 5 sections: Time/Temporality, Space/Scale, Technologies/Materialities, Education/Instruction, and Activism/Sociability.

The last section includes my essay on Zoom and related screen-based forms of interaction: “‘Thus isolation is a project.’ Notes toward a Phenomenology of Screen-Mediated Life.” There are lots of other things to discover in this book, though, so check it out!

“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.

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!

Out Now: Serial Figures and the Evolution of Media in NECSUS

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The latest issue of NECSUS: European Journal of Media Studies has just come out. As always, it is freely accessible as an open-access publication, and it is chock full of articles, reviews, audiovisual essays, and a special section on “Mapping.”

Among the feature articles is an article I co-authored with Ruth Mayer on “Border Crossings: Serial Figures and the Evolution of Media” — a text that outlines some of the topics we covered in our research project within the DFG Research Unit on “Popular Seriality” from 2010 – 2013. This is a slightly revised translation of a text that first appeared in German in Frank Kelleter’s edited collection Populäre Serialität: Narration – Evolution – Distinktion. Zum seriellen Erzählen seit dem 19. Jahrhundert. We are happy to see this text made available in English, and especially happy that it found a home at NECSUS, which is the perfect venue for this transatlantic and interdisciplinary kind of media studies work.

Check out the whole issue here!

Out Now: Media Fields 13 — Mediating the Anthropocene

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The new issue of Media Fields, devoted to the topic of “Mediating the Anthropocene,” is out now. Included among the many exciting contributions is my article “Post-Cinema After Extinction.” Check out the whole issue here.

New Review of Post-Cinema in Zeitschrift für Medienwissenschaft 18 (2018)

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There is a new review of several works on all things post-cinematic, including Post-Cinema: Theorizing 21st-Century Film (which I co-edited with Julia Leyda), alongside Francesco Casetti’s The Lumière Galaxy; Malte Hagener, Vinzenz Hediger, and Alena Strohmaier’s edited collection The State of Post-Cinema; Vinzenz Hediger and Miriam de Rosa’s special issue Post-What? Post-When?; and Astrid Deuber-Mankowsky’s Queeres Post-Cinema.

The review, in German, is titled “Werden/Weiter/Denken: Rekapitulation eines Post-Cinema Diskurses” (roughly: Becoming/Further/Thinking — suggesting a thinking in flux and a thinking beyond — Recapitulation of a Post-Cinema Discourse). The text, by Elisa Linseisen from the Ruhr-Universität Bochum, appears in Zeitschrift für Medienwissenschaft 18 (2018). The full text is available as an open-access PDF.