Future Cinema

Course Site for Future Cinema 1 (and sometimes Future Cinema 2: Applied Theory) at York University, Canada

Murray talks about “information culture’s privileging of
the future at the expense, say, of what Deleuze calls cinema’s passing presents”. I wasn’t sure how to interpret this, so my question is more for clarification. Does he see the information technology’s ability to reach both into the past and future as something that keeps us from understanding [...]

Questions about the Digital Baroque…

A key difference between human (i.e. personal) memory and the “memory” of an archival mediatic object is that personal memory is fully furnished with context, whereas mediatic memory is almost always denuded of its original context (e.g. this). What are the various possibilities and dangers of this ahistorical and, arguably, superficial mediatic memory?
Does the Baroque [...]

Films shot in 1st-person POV…

A couple of trailers for your perusal:

The Lady in the Lake (1947)
Hardore Henry (2016)

Would you rather…

This is a fun question, but I think somewhat pertinent, and might open some personal thoughts on your views about VR.
In the article “8 classic films to learn from now that virtual reality is real,” most of the films have a sense of ‘dystopianness’. And yet, they might nevertheless be fun to live in!
So, [...]

2167 virtual reality works

imagineNATIVE Film & Media Arts Festival
imagineNATIVE, in partnership with TIFF, Pinnguaq and the Initiative for Indigenous Futures (IIF), present 2167, an innovative virtual reality and immersive media project. Five Indigenous filmmakers and artists have been commissioned to create five VR works in 2017, with each artist asked to set [...]

Question for class, Oct. 25

In his writing on cinema in the age of the digital baroque, Murray sees digital aesthetics as promising an “enhanced zone of interactivity through which the users’ entry into the circuit of artistic presentation simulates or projects their own associations, fantasies, and memories in consort with the artwork” (98). Is this result of inhabiting “the [...]

Chris Marker’s “Immemory” CD-ROM

Get it while it’s hot! The file is .NRG format, for the old Windows-based burning application Nero. There are various ways, though, to convert it to more current formats, including .ISO—just do a quick online search and you’ll find a solution!

Digital Baorque Part III and IV / Summary & Questions

Behind the complexity that is the digital baroque, and past Murray’s use of historical, cultural, and philosophical jargon, Digital Baroque is an explanation and examination of new media arts, temporal folds, and the past, present and future potential of cinema. Murray writes “The digital Baroque will be discussed as enfolding the user in the energetic [...]

From the Guardian: “Empathy – the latest gadget Silicon Valley wants to sell you”

An interesting, critical take on the current push to frame VR as the “ultimate empathy machine” (Cf. Chris Milk).
“Tech needs the myth of the empathy machine for two related reasons: to enhance VR’s reputation, and to expand its audience.”

Questions for discussion: Digital Baroque

1.) Does the constant production and consumption of the digital age enhance culture or detract from it?
2.) How can Murray’s concept of the digital baroque enlighten future cinema production such as virtual reality?
3.) How does digital, which is binary by nature, have folds?

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