Tag Archives: research

Poetics of Networked Video

Abstract for an essay that is underway:

Much writing on online video uses a media and cinema studies tradition that relies upon a tripartite separation of critical theoretical frameworks that considers either audiences, institutions, or the texts themselves. In the specific case of critical writing on online video these three broad models have remained largely untroubled, epistemologically, as they have been used to examine online video. As a consequence much scholarly attention in regard to online video has looked to the ways in which it challenges, disrupts, or reconfirms what has already been said about cinema and TV more broadly.

This is unfortunate, as these traditional approaches risk missing the specificity of digital video including its engagment with the formal properties of the World Wide Web. Networked digital video has a material thickness and obdurate recalcitrance that is neutered when the digital is treated as immaterial and virtual, or merely as an avatar of earlier media.
This essay will develop a series of propositions for a poetics of networked video. It will begin with Deleuze’s concept of the ‘minor’ as something that makes a major language ‘stutter’. Networked video will then be seen as a stuttering media in itself that, in turn, also makes traditional institutional forms of cinema and TV stutter. This stuttering of network video will be literally and figuratively described, much as Latour’s actor–network theory advocates, to critically articulate the things that networked digital video can do.

This descriptive method evades the acculturation of online video to existing theoretical frameworks. It wil not account for what happens through the lens of audiences, institutions or the texts in themselves. Such description allows us to approach digital networked video in the manner advocated by recent scholarship in speculative realism (for instance Ian Bogost’s work) and materialist media studies (Jussi Parikka) and will eschew the correlationist impulse to elevate story and narrative as an explanatory deity.

The terms of a poetics of minor video are that networked video no longer has ownership of the screen, as has been the historical case with film and TV. The screen is now personal, owned and controlled by its user, and subject to local and minor affective action. Hardware, software, and an economy of codecs and protocols aligns to network characteristics of an algorithmic making, while glitch, compression artefacts, interruption and pause are features (and not bugs) of a network specific practice that, as in lo–fi music, offers its own aesthetic autonomy. In relation to TV and cinema’s traditional literal occupation of time, digital video offers new paradigms for cinematic duration and, finally, cinema’s immanent granularity — it’s ability to be cut and rejoined through editing — shifts from a historical subservience to narrative toward other, machinic, associative, poetic, and relational ends.

Stuttering Video

From an abstract I am currently working on:

This essay will develop a series of improvisational propositions for a preliminary poetics of online video. It begins from Deleuze’s concept of the ‘minor’. The minor will be understood as something that makes a major language ‘stutter’, and so is both a stuttering media in itself, and in turn makes traditional institutional forms of cinema and TV also stutter. Considered as minor, stuttering online video is not only digital but can be claimed as a network specific media form and practice. This stuttering will be literally and figuratively considered and is evident when we describe, much like Latour’s actor–network theory advocates, the existing things that networks and videos can do.

Such description evades the acculturation of online video to existing theoretical frameworks that seek to account for what happens through the lens of audiences, institutions or the texts in themselves. This description also allows us to approach digital networked video in the manner advocated by recent scholarship in speculative realism (for instance Ian Bogost’s work) and materialist media studies (Jussi Parikka is exemplary here) as it eschews the correlationist impulse that elevates story and narrative to an equivalence with light in a vacuum for physics.

Want to Work on Interactive Documentary?

Want to work on interactive documentary?

RMIT University is currently inviting applications for PhD scholarships.

I’m encouraging applicants with first class Honours or equivalent qualifications, who are interested in undertaking thesis or project based research into interactive documentary, to consider applying.

I am particularly interested in students who would like to:
investigate and/or make new experimental narrative forms for interactive documentary
research interactive nonfiction using media archaeology and new materialist methodologies
undertake theoretical analyses of interactive documentary, including existing work, contemporary theoretical approaches and concerns, and future possibilities.

You would be a member of the nonfictionLab within the School,of Media and Communication. The nonfictionLab is an interdisciplinary research centre for creative and critical practice that investigates approaches to nonfiction, its forms and its frames.

Applications close 31 October 2014.
Application details: 
http://www.rmit.edu.au/research/applying-for-postgraduate-research

Promiscuous Relations (thinking about relational media)

Extract from today’s presentation I gave. The talk will be online in next day or so:

This granularity, and tagging as the facets of things, creates a promiscuity of internal connections. This promiscuity is compounded by Flickr’s porousness to the outside, where anyone can add their stuff, and so ever new facets and relations necessarily arise.

This is a relational promiscuity that, to repeat, begins to shift from an artefact centred model — the photo — toward its role as relay and intermediary amongst a variety of social, communicative, and technical networks. This is not what we generally value when we talk about digitising existing physical collections. Hence, in Flickr, and certainly the Circus Oz archive, there isn’t really an archival ‘object’ as all its media becomes a relay and material for the series that they will always find themselves assembled by.

This is also a relational ecology, though I think ecology risks being suggestive of something holistic and bounded. While there may be individual images that really matter, it is much more about the relations that happen between my terms and those images, and between those images and their manual and computed collections. Their silence as things in relation to what collections and relations they may find themselves within is the strength of a platform like Flickr and the Oz archive, and why its objects remain always porous and available to new relations.