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Hi All,</div>
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Please be reminded that the presentations will take place on <b>Friday, May 23rd, at Allen Auditorium</b> in Allen Library. The morning session will run from
<b>10:00 AM to 12:30 PM</b>, and the afternoon session from <b>3:30 PM to 5:00 PM</b>.</div>
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Feel free to forward this to interested parties, thank you. See you at the event!</div>
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Cheers,</div>
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Mavis Siu</div>
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Title: <b>A System of Plexiglas Objects: The End of Form and Stylization of Immediacy</b> </div>
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Abstract: In the late 1950s and into the 1960s, Plexiglas (the Rohm and Haas company’s trademarked name for acrylic glass) emerged as a dominant material in multiple new art and design movements due to its affordances of transparency and thermo-formability.
At the same time, the Eastman Kodak Company began selling amateur-grade cameras with acrylic glass lenses. However, by this point, Plexiglas already had several decades under its belt as a military-industrial material, serving as the medium through which bombardiers
looked down onto cities in aerial warfare since the late 1930s. This presentation seeks to track Plexiglas’s development from military-industrial material to aesthetic medium, triangulate the ideologies latent in this change, and finally ask: Was Plexiglas
ever not aesthetic?<br>
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Bio: Tara Murray is an MA student in Cinema and Media Studies at the University of Washington. Her primary research interest is material and technological histories with special attention to the discourses that mediate them. </div>
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Title: <b>Rethinking the Materialist Turn: (Re)Introducing an Ecological Infrastructure of Sensory Experience, Interpretation, and Power in Technological Images</b></div>
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<b><img id="image_1" style="max-width: 837px;" size="2755381" contenttype="image/png" data-outlook-trace="F:5|T:5" src="cid:a3514e2a-4698-4dff-ae20-b37e0d5cef54"></b></div>
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Abstract: This thesis rethinks the materialist turn in cinema and media studies by reintroducing sensory experience and interpretation into the analysis of technological images and media infrastructures. While recent scholarship—drawing from Actor-Network Theory
and cultural techniques—has emphasized nonhuman operations, such approaches risk erasing the creative and subjective role of human agency. In response, I propose an ecological framework that foregrounds the co-constitutive entanglement of embodiment, interpretation,
and materiality. Through case studies of Charles Sanders Peirce’s astronomical diagrams and the observational practices at Shanghai’s Sheshan Observatory, I demonstrate how embodiment and interpretation are embedded within, not external to, media operation.
Building on the work of Martin Heidegger, C. S. Peirce, Jussi Parikka, Weihong Bao, Mark Hansen, Flusser, and Simondon, this project maps the dynamic interplay of bodily experience, representation, and infrastructure across temporal, cultural, and political
conditions.</div>
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Bio: Weihong Zheng is a second-year graduate student in Cinema and Media Studies. Her research develops theoretical frameworks that integrate hermeneutics, sensory experience, and media infrastructure. She is particularly interested in placing modern and contemporary
Western and Asian approaches to technological image production in parallel, with a focus on regional archives and underexamined sites of scientific and media experimentation.<br>
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Title: <b>Falling Matters: The Aesthetics and Politics of Space Debris</b></div>
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<b><img id="image_2" style="max-width: 100%;" size="273818" contenttype="image/jpeg" data-outlook-trace="F:5|T:5" src="cid:a407dd15-f2dc-488c-a50f-af11f35c1c46"><br>
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Abstract: When a spacecraft lifts off, rocket debris falls. Space debris is about the visibility of power: while orbiting satellites remain unseen, the spectacle of falling debris circulates across media platforms. Debris is also about the transformation of
material: from military hardware to grassroots housewares, and even to art production. Finally, it renews the story of modern ruins and space junk. My presentation will trace a brief history of space debris falling and retrieval. I examine the political and
aesthetic qualities of space debris through case studies of news reports, documentary films, and artworks.</div>
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Bio: Jingrui Yan is a PhD student in Cinema and Media Studies at the University of Washington, Seattle.</div>
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Title: <b>Paper Networks in the Sky: Early Aviation Maps in United States and the Technology of Travel</b></div>
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Abstract: This presentation examines early consumer-oriented aviation maps, roughly 1920s - 1950s, in the United States. Produced during a time when commercial flight introduced a revolutionary technology of travel, these maps presented a novel transportation
infrastructure to the public, altering perceptions of distance and time by connecting distant nodes and collapsing intermediate geography. Throughout the decades, aviation maps evolved in visual and technical styles to foster a desire for airborne mobility,
integrating the infrastructure into public life alongside established travel ways. A topological view of travel emerged by visually simplifying travel into an efficient network. Drawing on a group of U.S. early aviation map archives, this presentation aims
to show how changes in the technology of travel influenced the “politics of speed” (Virilio), and how maps, as a visual medium, facilitated and amplified this process.</div>
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Bio: Rin Huang (they/she) is a current Cinema and Media Studies graduate student at University of Washington with a graduate certificate in Science, Technology, and Society Studies (STS). Their research interests lie in the overlapping zone of STS, media studies,
and critical infrastructure studies, and their recent research projects include airports and computational images, emergency alert system and satellites, and railway stations as liminal spaces. </div>
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Title: <b>DIY Justice</b></div>
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<b><img id="image_4" style="max-width: 100%;" size="3961054" contenttype="image/png" data-outlook-trace="F:5|T:5" src="cid:993754f3-88db-49be-aa58-13154dfc54c1"></b></div>
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Abstract: What can we learn from the Hollywood’s portrayal of the nail-gun as weapon? Is it simply a gimmick? A novel way to enact on-screen violence? Or is it emblematic of an emergent paranoid “regime of truth” regarding the intersection of domesticity and
violent crime? In this presentation I will briefly explore how the nail-gun suggests ways of thinking about neoliberal vigilantism by looking at some recent U.S. film and television productions.</div>
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<u>NB: This presentation will feature clips from films that include violence, gore, and coarse language.</u></div>
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Bio: Stephen Groening is an Associate Professor of Cinema and Media Studies at the University of Washington Seattle. His most recent publications include “Virtuous Viewing” (<i>Film Criticism</i>) and “An Anti-War Film in the Subjunctive Mood” (<i>Mechademia,
</i>forthcoming). </div>
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