Books by Steven Shaviro

In Digital Music Videos, Steven Shaviro surveys a wide range of music videos, highlighting some of their most striking innovations. In sampling and reworking a century's worth of movies and other pop culture artifacts, these videos create a whole new digital world for the music industry that offers a plethora of visions and sounds never before encountered.

What is consciousness? What is it like to feel pain, or to see the color red? Do robots and computers really think? For that matter, do plants and amoebas think? If we ever meet intelligent aliens, will we be able to understand what they say to us? Philosophers and scientists are still unable to answer questions like these. Perhaps science fiction can help. In Discognition, Steven Shaviro looks at science fiction novels and stories that explore the extreme possibilities of human and alien sentience.

Post-Cinematic Affect is about what it feels like to live in the affluent West in the early 21st century. Specifically, it explores the structure of feeling that is emerging today in tandem with new digital technologies, together with economic globalization and the financialization of more and more human activities. The 20th century was the age of film and television; these dominant media shaped and reflected our cultural sensibilities. In the 21st century, new digital media help to shape and reflect new forms of sensibility. Movies (moving image and sound works) continue to be made, but they have adopted new formal strategies, they are viewed under massively changed conditions, and they address their spectators in different ways than was the case in the 20th century. The book traces these changes, focusing on four recent moving-image works: Nick Hooker's music video for Grace Jones' song Corporate Cannibal; Olivier Assayas' movie Boarding Gate, starring Asia Argento; Richard Kelly's movie Southland Tales, featuring Justin Timberlake, Dwayne Johnson, and other pop culture celebrities; and Mark Neveldine and Brian Taylor's Gamer.

Engages new currents in critical interpretations of contemporary film practice.