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This presentation elaborates ideas from my recent book, Discorrelated Images, which explores the transitional spacetime between cinema and post-cinema. More precisely, it probes the transformational temporal and spatial articulations of contemporary moving images and our perceptual, actional, and affective interfaces with them as they migrate from conventional forms of cinema and enter the computational systems that now encompass every aspect of audiovisual mediation. While the generation, composition, distribution, and playback of images increasingly become a matter of algorithms, software, networks, and codecs, our sensory ratios (as McLuhan called them) are being reordered, our perceptual faculties are being reformed in accordance with the new speeds and scales of imaging processes. In a post-cinematic media regime, that is, both the subjects and the objects of perception are radically transformed. Older relations—such as that between a human subject and a photographically fixed object—are dissolving, and new relations are being forged in the microtemporal intervals of algorithmic processing. With the new objects of computational images emerge new subjectivities, new affects, and uncertain potentials for perception and action.
Shane Denson is Associate Professor of Film and Media Studies and, by Courtesy, of German Studies at Stanford University. His research interests span a variety of media and historical periods, including phenomenological and media-philosophical approaches to film, digital media, and serialized popular forms. He is the author of Discorrelated Images (Duke University Press, 2020) and Postnaturalism: Frankenstein, Film, and the Anthropotechnical Interface (Transcript-Verlag, 2014) and co-editor of several collections: Transnational Perspectives on Graphic Narratives (Bloomsbury, 2013), Digital Seriality (special issue of Eludamos: Journal for Computer Game Culture, 2014), and Post-Cinema: Theorizing 21st-Century Film (REFRAME Books, 2016).
For more information about the MAT Seminar Series, go to:
EmissionControl2 is a granular sound synthesizer. The theory of granular synthesis is described in the book Microsound (Curtis Roads, 2001, MIT Press).
The new app was developed by a team consisting of Prof. Curtis Roads acting as project manager, with software developers Jack Kilgore and Rodney Duplessis. Kilgore is a computer science major at UCSB. Duplessis is a PhD student in music composition at UCSB and is also pursuing an MS degree in Media Arts and Technology.
EmissionControl2 is free and open-source software available at: github.com/jackkilgore/EmissionControl2/releases/latest
The project was supported by a Faculty Research Grant from the UCSB Academic Senate.
The William and Meredith Saunderson Prizes for Emerging Artists consist of three awards of five thousand dollars each to support young emerging visual artists whose practice shows potential and is deemed to have the determination and talent to contribute to the legacy of art in Canada.
The lab also received honorable mentions for two papers on interpersonal touch by authors Hachisu, Reardon, Shao, and Suzuki and Dinulescu, Reardon, and Topp.
MYRIOI ("myriad particles") is the third immersive media work in a series of quantum media compositions under the direction of Dr. JoAnn Kuchera-Morin, the Director of the AlloSphere Research Group. It offers a shared experience that allows interaction with the world of the quantum: waveforms, light - the pure essence of form and shape. MYRIOI will share the experience of being immersed and interacting with myriads of particles that create currents becoming waveforms to understand and to experience viscerally the quantum, while sharing and interacting with the narrative. MYRIOI will also be featured in Leonardo, the leading international journal, published by the MIT Press, covering the application of contemporary science and technology to the arts.
The SIGGRAPH Conference is the world’s largest and most influential conference on the theory and practice of computer graphics and interactive techniques, inspiring progress through education, excellence, and interaction.
For more information about the AlloSphere, visit www.allosphere.ucsb.edu
"Cacophonic Choir", an Art Papers and Art Gallery selection, is an interactive sound installation aimed at bringing attention to the first-hand stories of sexual assault survivors. This is achieved through rethinking the relationship between the narrator and the listener; in this case, the survivor and the public, as well as the survivor’s own account of their experience and its public reflection and distortion. In realizing this work, we employed several digital media techniques, including machine learning, physical computing, digital audio signal processing, and digital design and fabrication.
The first project, "Volume of Voids", is inspired by the current Covid-19 pandemic, and is a set of 3D printed artifacts that explore the question "When people maintain a distance from objects and other people, what is the volume of voids between them?"
The second project, "Cangjie", is "an immersive exploration in semantic human-machine reality generated by an intelligent system in real-time through perceiving the real-world via a camera [located in the exhibition space]".
For more information about the IEEE VIS Arts Program 2020, visit visap.net.
Photos: George Legrady. James Bay Cree, Fort George, James Bay, 1973, Quebec, Canada.
The award is for an upcoming publication titled "James Bay Cree Culture & Architecture", a monograph of documentary photographs created in four coastal Cree First Nation villages in sub-arctic James Bay in 1973. The publication is to consist of introductory texts, approximately 180 black and white photographs of everyday scenes in the Cree communities just prior to their legal negotiations over infrastructure autonomy and land rights in response to the construction of the James Bay Hydro-electric project on traditional hunting lands.
Media Arts and Technology (MAT) at UCSB is a transdisciplinary graduate program that fuses emergent media, computer science, engineering, electronic music and digital art research, practice, production, and theory. Created by faculty in both the College of Engineering and the College of Letters and Science, MAT offers an unparalleled opportunity for working at the frontiers of art, science, and technology, where new art forms are born and new expressive media are invented.
In MAT, we seek to define and to create the future of media art and media technology. Our research explores the limits of what is possible in technologically sophisticated art and media, both from an artistic and an engineering viewpoint. Combining art, science, engineering, and theory, MAT graduate studies provide students with a combination of critical and technical tools that prepare them for leadership roles in artistic, engineering, production/direction, educational, and research contexts.
The program offers Master of Science and Ph.D. degrees in Media Arts and Technology. MAT students may focus on an area of emphasis (multimedia engineering, electronic music and sound design, or visual and spatial arts), but all students should strive to transcend traditional disciplinary boundaries and work with other students and faculty in collaborative, multidisciplinary research projects and courses.