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DTSTART;TZID=America/New_York:20170302T170000
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SUMMARY:Desktop Reveries: Hand\, Software\, and the Space of Japanese Artist Animation
DESCRIPTION:Paul RoquetMIT Global Studies and Languages\, Assistant Professor of Japanese Studies\nIndependent animators often pride themselves on an intimate\, hand-drawn aesthetic. But they increasingly rely on computer software not only to accelerate their workflow\, but to manipulate the look and feel of their drawings. Compositing software enables subtle but decisive shifts in the spaces portrayed\, through manipulations of color\, texture\, line\, and movement. Seeking to unravel the analytical split between the “drawn” and the “digital” in animation and media studies more broadly\, Roquet’s project moves back and forth between two desktops: the hard surface of the drawing table and the pixelated surface of the screen. This talk focuses on how the physical and perceptual affordances of both interfaces appear reimagined in the textures\, movements\, and tactility present in the animations themselves. Through a phenomenology of the contemporary desktop\, Roquet seeks to ground the contemporary audiovisual imagination in the materiality of the tools and techniques at hand. \nPaul Roquet is Assistant Professor of Japanese Studies in the Global Studies and Languages Section at MIT. He is the author of Ambient Media: Japanese Atmospheres of Self (Minnesota 2016) as well as numerous essays on Japanese audiovisual and literary aesthetics.
URL:https://cms.mit.edu/event/hand-software-space-japanese-artist-animation/
LOCATION:MIT Building 56\, Room 114\, Access via 21 Ames Street\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Colloquium
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2017/01/Paul-Roquet.jpg
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DTSTART;TZID=America/New_York:20170316T170000
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CREATED:20170210T192826Z
LAST-MODIFIED:20170302T205713Z
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SUMMARY:From Stereopticon to Telephone: The Selling of the President in the Gilded Age
DESCRIPTION:Charles Musser\, Professor of Film and Media Studies at Yale University.\nContrary to our received notions on the newness of new media\, the presidential campaigns of the late nineteenth century witnessed an explosion of media forms as advisers and technicians exploited a variety of forms promote their candidates and platforms\, including the stereopticon (a modernized magic lantern)\, the phonograph\, and the telephone. In the process\, they set in motion not only a new way of imagining how to market national campaigns and candidates; they also helped to usher in novel forms of mass spectatorship. Analogies to presidential campaigns in the 21st century are inevitable—and will not be avoided. The presentation comes out of Charlie Musser’s new book\, Politicking and Emergent Media: US Presidential Elections of the 1890s (University of California Press). \nCharles Musser is professor of Film & Media Studies\, American Studies and Theater Studies at Yale University. He is the author of numerous books\, including the now-classic The Emergence of Cinema: The American Screen to 1907. His most recent documentary is Errol Morris: A Lightning Sketch (2014).
URL:https://cms.mit.edu/event/from-stereopticon-to-telephone-the-selling-of-the-president-in-the-gilded-age/
LOCATION:MIT Building 56\, Room 114\, Access via 21 Ames Street\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Colloquium
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2017/02/Charles-Musser.jpg
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DTSTART;TZID=America/New_York:20170323T170000
DTEND;TZID=America/New_York:20170323T170000
DTSTAMP:20260430T113347
CREATED:20170214T153042Z
LAST-MODIFIED:20170323T144926Z
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SUMMARY:The Networked Sensory Landscape Meets the Future of Documentary
DESCRIPTION:Glorianna Davenport\, co-founder and current visiting scientist at the MIT Media Lab\nAt its heart\, documentary cinema has always been an experimental medium. Its evolution has been driven on the one hand by the creativity and interests of the media maker and on the other by technological invention and the evolution of particular sensing\, imaging and display technologies. \nSome insight into the experimental trajectory of the documentary approach can be found in definitions and naming conventions that emerged. Where as John Grierson’s famous definition\, the “creative treatment of actuality”\, speaks to the object\, Richard Leacock’s\, “the feeling of being there”\, emphasizes the audience’ experience\, which strongly parallels the filmmaker’s in the task of making. The difference lies not only in the sensibility of the maker but also in the technological breakthrough that allowed Leacock to marry the motion image to synchronous sound\, thus vastly expanding the horizon of what stories could be told. \nFor the past two decades\, the story experience was expanded as media makers incorporated computational “interactive” interfaces into their work\, inviting the audience to re-order the presentation on the fly as they explored an archive of short segments.  In this phase\, however\, the documentary impulse continued to be defined by the primary sensors of the past: motion images and (synchronous) sound. \nToday\, the arrival of expanded sensing technologies is reshaping the documentary opportunity. In a new work-in-progress\, DoppelMarsh\, developed in the Responsive Environment Group at the Media Lab\, data from a dense network of diverse environmental sensors are mapped to deliver “a sense of being there” in a re-synthesized\, ever-changing landscape. \nGlorianna Davenport is a co-founder of the Media Lab where she directed the Interactive Cinema Group (1987-2004) and the Media Fabrics Group (2004-2008).  In 2008\, she turned her attention to transitioning a 600 acre cranberry farm in Plymouth Massachusetts into restored wetlands and conservation property. In 2011 she founded Living Observatory\, a collaborative of research partners including the Responsive Environments Group at the Media Lab to develop a long-term study of this property and create experiences that invite the public to witness ecological change across this landscape in transition. Davenport is a visiting scientist at the MIT Media Lab.
URL:https://cms.mit.edu/event/glorianna-davenport-networked-sensory-landscape-future-documentary/
LOCATION:MIT Building 56\, Room 114\, Access via 21 Ames Street\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Colloquium
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2017/02/Gloriana-Davenport.jpg
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