01. Media and Technology Studies
My interests and influences range from film theory and critical cultural theory to “new” media studies and the philosophy of technology. I am interested in critical conceptualizations of the technologies and the media content that we dream up, design, and produce as well as the way that these objects reveal vivid imaginations and theorizations regarding ourselves. I am primarily interested in focusing on the entanglement of the historical and rhetorical interactions with technology where recurring imaginaries influence various understandings of mediation.
02. Media Archaeology
The history of communication includes a range of neglected and marginalized ideas and machines. Beyond being interested in the traditional histories of print, film, and digital communication technologies, I am very interested in the associated problems of developing histories regarding obscure and obsolete communication practices and technologies. This involves a concern for media archaeology as a possible methodology for mapping out new terrain for digital media culture. This leads me to the study of “dead media” or “haunted media” where the tortuous relations between history and memory produce media that are reinvented and discarded, preserved and forgotten.
03. Space and Mobility Studies
I am interested in the tangled political, social, and economic relations that are generated or exacerbated by the tensions between materiality and immateriality with communication and technology. These interests lead me to consider the ways that media technologies frame the way that people perceive, conceive, and live in material space. This is usually driven by the rhetoric of scholars, engineers, politicians, artists, and users who often assume that the materiality of our world is being overcome by modes of immaterial information that are brought on by contemporary digital technologies. This leads to interests in orientation and navigation technologies, locative media, and the geospatial web.
04. The Vague
My work explores how our everyday use of media, including the cinema, is oriented towards techniques that are employed to interpret ineffable or vague characteristics or objects that are positioned beyond human perception. These ineffable encounters include moments that are either too great to be articulated, too sacred to be uttered, or amply unknown or indefinable. Much of my work involves an outline of the "vague" as an affective category that is comparable to Gabriel Marcel’s defense of the “mysterious” where being or reality should not be deciphered as a problem to be solved as opposed to something to “attest to” (Marcel 1965).
05. Experimental and Documentary Production
I am interested in figuring out how the history, theory, and practice of experimental media production allow me to rewire my critical inquiry into broad forms of critical making. I view critical making as a synthesis of critical inquiry and technological practice that offers a foundation for the production of engaged critiques that extend links between culture and technology. As a critical maker, my work involves a critical analysis of media technologies and space using a range of time-based media practices through the theoretical frameworks that I've outlined above.