Digital Video

The recent remarkable success of generative AI models to create text and images has already started altering our perspective of intelligence and the “uniqueness” of humanity in this world. Simultaneously, arguments on why AI will never exceed human intelligence are ever-present as seen in Landgrebe and Smith (2022). To address whether machines may rule the world after all, this paper zooms in on one of the aspects of intelligence Landgrebe and Smith (2022) neglected to consider: creativity. Using Rhodes four Ps (...) of creativity as a starting point, this paper evaluates the creative ability in visual generative AI models with respect to the state of the art in creativity theory. The most part of the reflective evaluation is performed through a case study in generating illustrations of dogs using the generative AI tool Midjourney. (shrink)

In this position paper, we have used Alan Cooper’s persona technique to illustrate the utility of audio- and video-based AAL technologies. Therefore, two primary examples of potential audio- and video-based AAL users, Anna and Irakli, serve as reference points for describing salient ethical, legal and social challenges related to use of AAL. These challenges are presented on three levels: individual, societal, and regulatory. For each challenge, a set of policy recommendations is suggested.

An analysis of some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela via the latter’s reading of the late U.S. philosopher Stanley Cavell, especially Cavell’s 1982 essay “The Fact of Television.” This essay focuses on the aesthetic possibilities of the very constitution of the electronic image, based in Cavell’s understanding of television’s dependence on notions of “switching,” as opposed to “succession,” as well as how those notions play a role in Varela’s understanding of what it is (...) to critique communications media while retaining their communal potential. Audiovisual work by Varela discussed in this essay include Línea 3 (2010-11) and Materia oscura (Dark Matter, 2016). (shrink)

This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his claim (...) about cinema and modernism, where film at least provides us a symbol of relief from concerns about medium specificity. In the second part of the essay I argue that something close to Cavell's and Fried's thoughts (about using the figure of theater to remind us of cinema's specificity, but also of cinema in its character as a symbol of relief from medium-specific concerns) takes on a certain urgency in questions about what cinema is in the digital age, manifested in representations of theater in the digitally photographed "Shakespeariadas" series by the contemporary Argentine filmmaker Matías Piñeiro. (shrink)

Since the advent of media archeology, a deep-seated bifurcation has found one end of the field arguing for the interventionist and appropriative weaponization of media whereas the other side has championed a “total war” with technology itself, insisting that new media’s military-industrial roots inherently color its drivability. Here, I implore a moment within the cultural history of net.art and post-internet art to examine how contemporaneous queries about control after militarism and decentralization, as prognosticated by Paul Virilio and Gilles Deleuze, are (...) part of a more deeply entrenched discourse on neural nets, predictive processing algorithms and machine learning, which the current media theory and post-cinema literature has yet to rigorously respond to. Simultaneously parsing philosophical and media sociology corollaries to ground this overview, I push for more attention towards psychopower, autosurveillance and algorithmic governmentality while distancing critique from the standard Foucauldian discourse of biopower. (shrink)

“It was a peculiarly beautiful book. its smooth creamy paper, a little yellowed by age, was of a kind that had not been manufactured for at least forty years past. . . . Even with nothing written in it, it was a compromising possession. The thing that he was about to do was to open a diary. This was not illegal (nothing was illegal, since there were no longer any laws), but if detected it was reasonably certain that it would (...) be punished by death, or at least by twenty-five years in a forced-labour camp.” The Party fears blank paper. On every street corner, you can find newspapers printed With propaganda but blank paper, now that’s nearly impossible to find. For nearly half a century no more notebooks were produced, no blank papers allowed to touch the hands of the masses. This restriction seems odd. Why is blank paper dangerous? What is treacherous about a nice leather-bound book With creamy pages? The very act of Writing on a blank paper is thoughtcrime and Winston knows it. The intriguing question for us is: What’s at stake in the potential of a blank page? There is political potential in a blank page, it could contain a subversive message that could be passed on to others, yet blank paper to Write on is much Weaker than owning a manual printing press hidden in a basement. If Winston Wanted to instigate rebellion against the Party, he Would not handwrite manifestos, he should print them somehow. There’s something else going on with Writing your thoughts in a notebook, and that is related to Newspeak. (shrink)

Resumo: Com o objetivo de compreender os processos de identificação do sujeito em alguns funcionamentos discursivos dos vlogs, no YouTube, este trabalho analisa o modo como o contraponto entre a eficácia imaginária e o jogo significante na história produz o reconhecimento de lugares e poderes do dizer no desconhecimento constitutivo de sua relação com o Interdiscurso, nas condições de produção específicas do digital. Os recortes delimitados são: as designações equívocas de vlogueiro, youtuber e criador; a produção da autoria na imbricação (...) de diferentes materialidades, a composição autoral que lhe é própria; e a discursividade que sustenta os enunciados “Eu sou eu mesmo” e “Broadcast yourself”. A análise do material aponta para compreensões que dizem respeito da relação da forma-sujeito do Capital com a discursividade dos objetos paradoxais em sua formulação e circulação digital. Abstract: Aiming to understand subject identification processes in some Youtube vlogs' discursive functioning, this work analyses how the counterpoint between the imaginary impact and the significant role in history produces the acknowledgement of places and powers of saying in the constitutive unawareness of its relation to the Interdiscourse, taking the particular production conditions of digitality. The cutout of this research is: the equivocal designations vlogueiro, youtuber and criador; the authorship production in the encounter of different materialities, the authorial composition which is proper to them; and the discursivity that supports the following utterances: "Eu sou eu mesmo" ["I am myself"] and "Broadcast yourself". The analysis indicates comprehensions that concern Capital subject-form's relation to the discursivity of paradoxical objects in digital formulation and circulation. (shrink)

If media studies are to become established as a genuine science, then it needs to be determined what the subject matter of this science is to be. I propose a specification of this subject matter as consisting in: 1. the new sorts of digital entities that have been added to social reality through the invention of the digital computer, and 2. the new sorts of interactions involving human beings which such entities make possible. I support this proposal by examining examples (...) of some of the ways in which the digital products of emerging media differ from entities of other sorts. I then draw consequences from this examination to demonstrate how these products mark out a new realm within the larger domain of social ontology. (shrink)

We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...) satirical movie such as Dr. Strangelove does not morally educate in the same way as a realistic series such as The Wire. We argue that this is also true of pornography: inegalitarian depictions of sex are not invariably responsible for consumers' adoption of inegalitarian attitudes toward sex in reality. Given that pornographic works of different genres may harm in different ways, different feminist criticisms are appropriate for different genres of pornography. (shrink)

As is usually the case with what I work on, I read some stuff I liked. I 1 read an article on comics by Greg Hayman and Henry Pratt and some work on 2 videogames,GrantTavinor’sreallyexcellentworkonthattopic. Ifoundthematerial interesting and I thought I had something to say about it. That’s what usually motivates me and that’s what did in these cases. With comics, my interest in the medium played a big role. I was a child collector of Marvel. I got turned on (...) to independent and alternative comics about ten years ago by a good friend who’s a successful comics artist and that played a role in my writing about comics. (shrink)