Tag: V/AR-DHI

“Aesthetics of Discorrelation” and “Exploring Cinematic Mixed Realities” — Two Events at Duke University, Feb. 20 and Feb. 21, 2020

This coming week I will be at Duke University for two events:

First, on Thursday, February 20 (5pm, exact location to be determined), I will be giving a talk titled “Aesthetics of Discorrelation” (drawing on work from my forthcoming book Discorrelated Images).

Then, on Friday, February 21 (1-3pm in Smith Warehouse, Bay 4), I will be participating in a follow-up event to the NEH Institute for Virtual and Augmented Reality for the Digital Humanities, or V/AR-DHI. I will present work on “Exploring Cinematic Mixed Realities: Deformative Methods for Augmented and Virtual Film and Media Studies” and participate in a roundtable discussion with other members of the Institute.

Virtual and Augmented Reality Digital (and/or Deformative?) Humanities Institute at Duke

I am excited to be participating in the the NEH-funded Virtual and Augmented Reality Digital Humanities Institute — or V/AR-DHI — next month (July 23 – August 3, 2018) at Duke University. I am hoping to adapt “deformative” methods (as described by Mark Sample following a provocation from Lisa Samuels and Jerome McGann) as a means of transformatively interrogating audiovisual media such as film and digital video in the spaces opened up by virtual and augmented reality technologies. In preparation, I have been experimenting with photogrammetric methods to reconstruct the three-dimensional spaces depicted on two-dimensional screens. The results, so far, have been … modest — nothing yet in comparison to artist Claire Hentschker’s excellent Shining360 (2016) or Gregory Chatonsky’s The Kiss (2015). There is something interesting, though, about the dispersal of the character Neo’s body into an amorphous blob and the disappearance of bullet time’s eponymous bullet in this scene from The Matrix, and there’s something incredibly eerie about the hidden image behind the image in this famous scene from Frankenstein, where the monster’s face is first revealed and his head made virtually to protrude from the screen through a series of jump cuts. Certainly, these tests stand in an intriguing (if uncertain) deformative relation to these iconic moments. In any case, I look forward to seeing where (if anywhere) this leads, and to experimenting further at the Institute next month.