The Pinnacle Contact
The new cinema will move backward in time by moving forward. The cinema of the future will not be a static artifact but a living entity, changing with each viewing, shaped by its o
One Film, Two Ways: Presenting, A Very Long Carriage Ride
Presenting ‘A Very Long Carriage Ride,’ heralding a new age of the malleable film. A film is no longer a film, a film is a series of possibilities. One day, films will
Grotesque Pleasures
(From Post-Scarcity Cinema: Essays in AI Film Theory, Volume 2 of the New Machine Cinema) What happens when optimization leads to something humans find repulsive, but the machine d
The Future Audience Will Be Machines
(From Post-Scarcity Cinema: Essays in AI Film Theory, Volume 2 of The New Machine Cinema) Exploring a post-audience future of cinema. In the future, everyone will be a filmmaker, n
The AI Restoration of ‘The Magnificent Ambersons’
(From “Post-Scarcity Cinema: Essays in AI Film Theory” Volume 2 of The New Machine Cinema) Hooroo Jackson presents the ultimate concept for AI cinema restoration, the most famo
Mechanica-Surrealism
From Post-Scarcity Cinema: Essays in AI Film Theory, Volume 2 of the New Machine Cinema) Where Hooroo Jackson uncovers the emergence of a new AI avant-garde he calls, Mechanica-Sur
Post-Aesthetic Cinema
(From “Post-Scarcity Cinema: Essays in AI Film Theory” Volume 2 of The New Machine Cinema) Beyond even the Speed of the Mind, we uncover the neural-cinema emerging in the post-
The Pivot
(From “Post-Scarcity Cinema: Essays in AI Film Theory” Volume 2 of The New Machine Cinema) The inevitable moment approaches when institutional resistance to AI filmmaki
Machine Pleasures
(Or, “The Infinite Performance”, from Post-Scarcity Cinema: Essays in AI Film Theory, Volume 2 of the New Machine Cinema) Drawing parallels with Robert Bresson’s theo
The Automated Film
(An Essay from “The New Machine Cinema: Foundational Essays in AI Film Theory”) The automated film is what everyone thinks they are talking about when they speak against AI. I
