Creative Control: Digital Labour, Superimposition, Datafication, and the Image of Uncertainty

Research output: Contribution to journal › Journal article › Research › peer-review

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Creative Control: Digital Labour, Superimposition, Datafication, and the Image of Uncertainty. / Hesselberth, Pepita.

In: Digital Creativity, Vol. 28, No. 4, 2017, p. 332-347.

Research output: Contribution to journal › Journal article › Research › peer-review

Harvard

Hesselberth, P 2017, 'Creative Control: Digital Labour, Superimposition, Datafication, and the Image of Uncertainty', Digital Creativity, vol. 28, no. 4, pp. 332-347. <https://www.tandfonline.com/doi/full/10.1080/14626268.2017.1378686>

APA

Hesselberth, P. (2017). Creative Control: Digital Labour, Superimposition, Datafication, and the Image of Uncertainty. Digital Creativity, 28(4), 332-347. https://www.tandfonline.com/doi/full/10.1080/14626268.2017.1378686

Vancouver

Hesselberth P. Creative Control: Digital Labour, Superimposition, Datafication, and the Image of Uncertainty. Digital Creativity. 2017;28(4):332-347.

Author

Hesselberth, Pepita. / Creative Control: Digital Labour, Superimposition, Datafication, and the Image of Uncertainty. In: Digital Creativity. 2017 ; Vol. 28, No. 4. pp. 332-347.

Bibtex

@article{7263a08dce984cd693a1277dc4e8fc28,
title = "Creative Control: Digital Labour, Superimposition, Datafication, and the Image of Uncertainty",
abstract = "In this paper I will peruse a specific cinematic example of an uncertain-image, i.e. that of the film Creative Control (Dickinson B, dir. 2015. USA: Ghost Robot | Greencard Pictures | Mathematic | Magnolia Pictures | Amazon Studios). My interest in this film lies not, or at least not per se, or not solely, in its representationalism, but rather in its capturing of various kinds of uncertainty, to which I will here attend by situating the film against the backdrop of three different, yet interrelated, problematics related to the ubiquitous presence of digital imaging technologies: i.e., first, the concerns over digital or immaterial labour and the loss of eros; second, the use of contemporary cinematics (and the superimposition effect in particular) to address these and other issues related to living in {\textquoteleft}information-intensive mixed-reality environments;{\textquoteright} and third, the film's own suggestive counter-image, which is that of the characters{\textquoteright} partly defection, and, arguably, that of the image's own withdrawal from the world.",
keywords = "Faculty of Humanities, superimposition, cinematics, uncertain-image, digital labour, withdrawal, digital imaging, creative control, creative destruction, augmented reality, disconnectivity, connectivity, digital sublime, depression",
author = "Pepita Hesselberth",
year = "2017",
language = "English",
volume = "28",
pages = "332--347",
journal = "Digital Creativity",
issn = "1462-6268",
publisher = "Routledge",
number = "4",

}

RIS

TY - JOUR

T1 - Creative Control: Digital Labour, Superimposition, Datafication, and the Image of Uncertainty

AU - Hesselberth, Pepita

PY - 2017

Y1 - 2017

N2 - In this paper I will peruse a specific cinematic example of an uncertain-image, i.e. that of the film Creative Control (Dickinson B, dir. 2015. USA: Ghost Robot | Greencard Pictures | Mathematic | Magnolia Pictures | Amazon Studios). My interest in this film lies not, or at least not per se, or not solely, in its representationalism, but rather in its capturing of various kinds of uncertainty, to which I will here attend by situating the film against the backdrop of three different, yet interrelated, problematics related to the ubiquitous presence of digital imaging technologies: i.e., first, the concerns over digital or immaterial labour and the loss of eros; second, the use of contemporary cinematics (and the superimposition effect in particular) to address these and other issues related to living in ‘information-intensive mixed-reality environments;’ and third, the film's own suggestive counter-image, which is that of the characters’ partly defection, and, arguably, that of the image's own withdrawal from the world.

AB - In this paper I will peruse a specific cinematic example of an uncertain-image, i.e. that of the film Creative Control (Dickinson B, dir. 2015. USA: Ghost Robot | Greencard Pictures | Mathematic | Magnolia Pictures | Amazon Studios). My interest in this film lies not, or at least not per se, or not solely, in its representationalism, but rather in its capturing of various kinds of uncertainty, to which I will here attend by situating the film against the backdrop of three different, yet interrelated, problematics related to the ubiquitous presence of digital imaging technologies: i.e., first, the concerns over digital or immaterial labour and the loss of eros; second, the use of contemporary cinematics (and the superimposition effect in particular) to address these and other issues related to living in ‘information-intensive mixed-reality environments;’ and third, the film's own suggestive counter-image, which is that of the characters’ partly defection, and, arguably, that of the image's own withdrawal from the world.

KW - Faculty of Humanities

KW - superimposition

KW - cinematics

KW - uncertain-image

KW - digital labour

KW - withdrawal

KW - digital imaging

KW - creative control

KW - creative destruction

KW - augmented reality

KW - disconnectivity

KW - connectivity

KW - digital sublime

KW - depression

M3 - Journal article

VL - 28

SP - 332

EP - 347

JO - Digital Creativity

JF - Digital Creativity

SN - 1462-6268

IS - 4

ER -

ID: 184320755