School of Culture and Communication - Research Publications
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ItemProcessing( 2017)
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ItemEcocinema Theory and Practice 2(Routledge, 2022)This second volume builds on the initial groundwork laid by Ecocinema Theory and Practice by examining the ways in which ecocritical cinema studies have matured and proliferated over the last decade, opening whole new areas of study and research. Featuring fourteen new essays organized into three sections around the themes of cinematic materialities, discourses, and communities, the volume explores a variety of topics within ecocinema studies from examining specific national and indigenous film contexts to discussing ecojustice, environmental production studies, film festivals, and political ecology. The breadth of the contributions exemplifies how ecocinema scholars worldwide have sought to overcome the historical legacy of binary thinking and intellectual norms and are working to champion new ecocritical, intersectional, decolonial, queer, feminist, Indigenous, vitalist, and other emergent theories and cinematic practices. The collection also demonstrates the unique ways that cinema studies scholarship is actively addressing environmental injustice and the climate crisis. This book is an invaluable resource for students and scholars of ecocritical film and media studies, production studies, cultural studies, and environmental studies
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ItemAfter the Future: Inhabiting Apathy in New Media Arts(MIMESIS EDIZIONI, 2022)“Media arts” is a phrase that has circulated for a century now, dealing with electromechanical media (radio, film, rotary press, photography) and more recently with electronic media (video, electronic music, digital arts). With benefit of hindsight it became doctrine that all forms of art were media (Greenberg’s and McLuhan’s different historical versions of medium specificity); that all media were digital (Kittler) and – in what may well be the hegemonic idea of the 21st century – that all human activity, even all ecological activity, has always been fundamentally communicative; that we have been able to conceive of an aesthetic without medium. No matter that the substitute – the concept, especially in anti-retinal art – is in many respects a discrete medium embedded in the entrails of late 20th century theories of language. This article first proposes this diagnosis, then sets out to decipher why the contradictions of art and technology, and more broadly of science and the social, have brought us to this conjuncture, and what kind of opportunity it presents for the (re)making of both arts and media.
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ItemNo Preview AvailableIntroduction. Art in the Age of Ubiquitous Media(MIMESIS EDIZIONI, 2022)Discussions around art and technology may seem rather predictable nowadays. Technology is everywhere; it surrounds our bodies, guides our behaviours, provides suggestions, helps us and often even replaces us. Technology frightens us and fascinates us; it sometimes seems to be close and, at other times, appears remote. Precisely due to its pervasiveness in our lives, it seems to be everywhere, even in the world of contemporary art. In any exhibition, biennial or art festival, there is something “technological”. Videos, sound installations, robotic or mechanical kinetics, the use of the Internet or geo-localisation, augmented, virtual and mixed reality, artificial intelligence can also be found in the artistic production of people who, at first sight and until a few years ago, we would not have included under the label of new media art.
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Item‘Foreword: Otherwise than Conscious’ in Marie-Luise Angerer, Nonconscious: On the Affective Synching of Mind and Machine. Translated by Nicholas Grindell(meson press, 2022)With Nonconscious, Marie-Luise Angerer, a leading figure in the international vanguard of thinkers working with affect, brings us a detailed map of the terrain traversed by affect theory since Whitehead, offering critiques and insights at every turn before presenting the vista perceivable from the heights of its convergence of feminist epistemology, science and technology studies, vitalist and actor-network ontologies, psychology and neuroscience.
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ItemTurning disaster into crisis(SAGE PUBLICATIONS INC, 2022-03-07)This article suggests that the conditions driving the still-unresolved global financial crisis that began in 2007 depend on a generalised condition of capitalist coloniality that profits from disasters. It proposes that the task of cultural studies is to convert these disasters into crises: critical and therefore history-making opportunities.
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ItemPandemic: Invisibility and silence(ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2022-04-07)Can the COVID pandemic be understood in any other than ecocritical and decolonial terms? It has brought nothing new except perhaps a certain fatalism in politics, borrowed from eco-catastrophism. Apocalyptic visions of migration, the Anthropocene, pestilence, and neo-populism exacerbate longer-term trends. Religious fanatics with machine guns take whips to outsiders whose gender or skin colour they despise at the behest of billionaire warlords from the Texas border to Kabul. But COVID-19 coincides with some intriguing cultural novelties, most of all a plague of visibility traced here through Ana Lily Amirpour’s film A Girl Walks Home Alone at Night, paired with a simultaneous mode of disappearance associated with the video image. Hegemonic transitions, the rise of financialization, and extractive postcolonization tie pandemic to fading (and therefore vengeful) American individualism and the rising (and therefore aggressive) Chinese command economy. The virus is occasion for profit: only a new and ecologically scaled cosmopolitanism can save us.
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ItemAmbient Images(The Nordic Society for Aesthetics, 2021)
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ItemNASA’s Voyager Fly-by Animations’(Routledge, 2019-02-14)Analysis of the animations produced by James Blinn and Alvy Ray Smith for the Voyager missions, including consideration of the Golden Dscs, as examples of 'psthumous' media, designed for consumption y alien species after the demise of our own.
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ItemVirilio et la pensée totale(Etérotopia, 2021)