Chroma Screens –Intra-Actions, Connections and Gesturalities

Chroma screens is a collective name for the blue and green screens that are commonly used in the process of compositing images in cinema, video and graphics. Taking into account the expanded functions of screens in the postmedia condition, screens are not merely ‘container’ of images, rather they emphasize, interconnect and constantly rearticulate relationships in a media assemblage. This paper explores the ‘intra-active gesturality’ of chroma screens, that is, screens as an enactment of material-discursive practices and analyses ways in which they sustain the relations between various parts of the media assemblage. In considering the specific instance of Sondra Perry’s artwork, the paper argues that chroma screens are a performance of colour where the practices of imagemaking and racial discrimination converge.

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Charu Maithani

Conference

Publication date: August 2019

Publication date (Print): August 2019

Pages: 253-257

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[0001]

Article

DOI: 10.14236/ewic/RESOUND19.38

SO-VID: 1ceb0c06-5454-4a14-b07d-dadce2a9fc9c

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology

Conference acronym: RE:SOUND 2019

Conference number: 8

Conference location: Aalborg, Denmark

Conference date: August 20-23, 2019

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Media Art, Science, and Technology

History

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/RESOUND19.38

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

C. R. Acland 2012 The Crack in the Electric Window Cinema Journal 51 2 167 71
G. Agamben 2000 Notes on Gesture Means Without End. Notes on Politics Vincenzo BinettiCesare Casarino University of Minnesota Press Minneapolis
D. Agustinho 2018 Chroma key dreams: Algorithmic visibility, fleshy images and scenes of recognition Philosophy of Photography 9 2 131 155
J. AngwinJ. LarsonS. MattuL. Kirchner 2016 Machine Bias: There’s Software Used Across the Country to Predict Future Criminals. And It’s Biased against Blacks ProPublica May 23 https://www.propublica.org/article/machine-bias-risk-assessments-in-criminal-sentencing 14 September 2019
C. ApprichW. ChunF. CramerH. Steyerl 2018 Pattern Discrimination Meson Press Lüneburg
K. Barad 2007 Meeting the Universe Halfway Duke University Press Durham
R. Brinkmann 1999 The Art and Science of Digital Compositing Morgan Kaufmann San Diego
W. Chun 2009 Race and/as Technology; or How to do Things to Race Camera Obscura 24 1 7 34
K. Crawford 2016 A.I.’s White Guy Problem The New York Times June 25 https ://www .nytimes.co m/2016/06/26/opin ion/sunday/artificial-intelligences-white-guy-problem.html 14 September 2019
R. Coleman 2009 Race as Technology Camera Obscura 24 1 177 206
D. HankersonA.R. MarshallJ BookerH. E. MimouniI. WalkerJ. A. Rode 2016 Does Technology Have Race?. Proceedings of the CHI Conference Extended Abstracts on Human Factors in Computing Systems 473 486
L. Manovich 2001 The Postmedia Aesthetics http://manovich.net/index.php/projects/post-media-aesthetics 14 September 2019
W.J.T. Mitchell 2015 Screening nature (and the nature of the screen) New Review of Film and Television Studies 13 3 231 246
C. Paul 2015 Mediations of Light: Screens as Information Surfaces Sean CubittDaniel Palmer Digital Light Nathaniel Tkacz Open Humanities Press London
D. Quaranta 2013 Beyond New Media Art Link Editions Brescia
L. Roth 2009 Looking at Shirley, the Ultimate Norm: Colour Balance, Image Technologies, and Cognitive Equity Canadian Journal of Communication 34 1 111 136
A. R. Smith 1995 Alpha and the History of Digital Compositing Technical Memo 7
P. Weibel 2006 2012 Post-Media Condition Mute First published in 2006 in AAVV. Postmedia Condition Centro Cultural Conde Duque Madrid

Comments

Comment on this article

[1] C. R. Acland 2012 The Crack in the Electric Window Cinema Journal 51 2 167 71

[2] G. Agamben 2000 Notes on Gesture Means Without End. Notes on Politics Vincenzo BinettiCesare Casarino University of Minnesota Press Minneapolis

[3] D. Agustinho 2018 Chroma key dreams: Algorithmic visibility, fleshy images and scenes of recognition Philosophy of Photography 9 2 131 155

[4] J. AngwinJ. LarsonS. MattuL. Kirchner 2016 Machine Bias: There’s Software Used Across the Country to Predict Future Criminals. And It’s Biased against Blacks ProPublica May 23 https://www.propublica.org/article/machine-bias-risk-assessments-in-criminal-sentencing 14 September 2019

[5] C. ApprichW. ChunF. CramerH. Steyerl 2018 Pattern Discrimination Meson Press Lüneburg

[6] K. Barad 2007 Meeting the Universe Halfway Duke University Press Durham

[7] R. Brinkmann 1999 The Art and Science of Digital Compositing Morgan Kaufmann San Diego

[8] W. Chun 2009 Race and/as Technology; or How to do Things to Race Camera Obscura 24 1 7 34

[9] K. Crawford 2016 A.I.’s White Guy Problem The New York Times June 25 https ://www .nytimes.co m/2016/06/26/opin ion/sunday/artificial-intelligences-white-guy-problem.html 14 September 2019

[10] R. Coleman 2009 Race as Technology Camera Obscura 24 1 177 206

[11] D. HankersonA.R. MarshallJ BookerH. E. MimouniI. WalkerJ. A. Rode 2016 Does Technology Have Race?. Proceedings of the CHI Conference Extended Abstracts on Human Factors in Computing Systems 473 486

[12] L. Manovich 2001 The Postmedia Aesthetics http://manovich.net/index.php/projects/post-media-aesthetics 14 September 2019

[13] W.J.T. Mitchell 2015 Screening nature (and the nature of the screen) New Review of Film and Television Studies 13 3 231 246

[14] C. Paul 2015 Mediations of Light: Screens as Information Surfaces Sean CubittDaniel Palmer Digital Light Nathaniel Tkacz Open Humanities Press London

[15] D. Quaranta 2013 Beyond New Media Art Link Editions Brescia

[16] L. Roth 2009 Looking at Shirley, the Ultimate Norm: Colour Balance, Image Technologies, and Cognitive Equity Canadian Journal of Communication 34 1 111 136

[17] A. R. Smith 1995 Alpha and the History of Digital Compositing Technical Memo 7

[18] P. Weibel 2006 2012 Post-Media Condition Mute First published in 2006 in AAVV. Postmedia Condition Centro Cultural Conde Duque Madrid

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