Book Section
This article investigates and proposes the concept of speculative writing, which is a disruptive sort of dramaturgy mediated by artificial intelligence. What are the kinds of events created by speculative writing? What might its history and genealogy be? What might the duration of an alphanumeric reenactment be? Guided by these questions, the article details its search for speculative writing in unfilmed script history as well as in premediation events. According to these concepts, this essay concludes that speculative writing will enact potential, abstract, and premediated events, which have never become material media.
Keywords: Writing; Speculative Realism; Screenwriting Studies; Media Archaeology; Archive
Rights: © by the author(s). Except for images or otherwise noted, this publication is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Part of Over and Over and Over Again Containing:
The Reactivation of Time / Cristina Baldacci, Clio Nicastro, Arianna Sforzini
From Re- to Pre- and Back Again / Sven Lütticken
The Reenacted Double: Repetition as a Creative Paradox / Arianna Sforzini
‘The Reconstruction of the Past is the Task of Historians and not Agents’: Operative Reenactment in State Security Archives / Kata Krasznahorkai
The Collection of Jane Ryan & William Saunders: Reconstruction as ‘Democratic Gesture’ / Pio Abad
Insistence: The Temporality of the Death Fast and the Political / Özge Serin
‘Interrupting the Present’: Political and Artistic Forms of Reenactments in South Africa / Katja Gentric
Resounding Difficult Histories / Juliana Hodkinson
Archival Diffractions: A Response to Le Nemesiache’s Call / Giulia Damiani
Archival Reenactement and the Role of Fiction: Walid Raad and the Atlas Group Archive / Roberta Agnese
Unintentional Reenactments: Yella by Christian Petzold / Clio Nicastro
Everyday Aesthetics and the Practice of Historical Reenactment: Revisiting Cavell’s Emerson / Ulrike Wagner
Speculative Writing: Unfilmed Scripts and Premediation Events / Pablo Gonçalo
Reenactment in Theatre: Some Reflections on the Philosophical Status of Restaging / Daniela Sacco
Re-search, Re-enactment, Re-design, Re-programmed Art / Serena Cangiano, Davide Fornari, Azalea Seratoni
In the Beginning There Is an End: Approaching Gina Pane, Approaching Discours mou et mat / Malin Arnell
Performance Art in the 1990s and the Generation Gap / Pierre Saurisse
Re-Presenting Art History: An Unfinished Process / Cristina Baldacci
Reconciling Authenticity and Reenactment: An Art Conservation Perspective / Amy Brost
UNFOLD: The Strategic Importance of Reinterpretation for Media Art Mediation and Conservation / Gaby Wijers
Unfold Nan Hoover: On the Importance of Actively Encouraging a Variable Understanding of Artworks for the Sake of their Preservation and Mediation / Vera Sofia Mota, Fransien van der Putt
Living Simulacrum: The Neoplastic Room in Łódź: 1948 / 1960 / 1966 / 1983 / 2006 / 2008 / 2010 / 2011 / 2013 / 2017 / ∞ / Joanna Kiliszek
‘Repetition: Summer Display 1983’ at Van Abbemuseum: Or, What Institutional Curatorial Archives Can Tell Us about the Museum / Michela Alessandrini
‘Political-Timing-Specific’ Performance Art in the Realm of the Museum: The Potential of Reenactment as Practice of Memorialization / Hélia Marçal, Daniela Salazar
‘We Are Gathering Experience’: Restaging the History of Art Education / Alethea Rockwell
Title
Speculative Writing
Subtitle
Unfilmed Scripts and Premediation Events
Author(s)
Pablo Gonçalo
Identifier
https://doi.org/10.37050/ci-21_13
Description
This article investigates and proposes the concept of speculative writing, which is a disruptive sort of dramaturgy mediated by artificial intelligence. What are the kinds of events created by speculative writing? What might its history and genealogy be? What might the duration of an alphanumeric reenactment be? Guided by these questions, the article details its search for speculative writing in unfilmed script history as well as in premediation events. According to these concepts, this essay concludes that speculative writing will enact potential, abstract, and premediated events, which have never become material media.
Is Part Of
Over and Over and Over Again
Place
Berlin
Publisher
ICI Berlin Press
Date
4 January 2022
Subject
Writing
Speculative Realism
Screenwriting Studies
Media Archaeology
Archive
Rights
© by the author(s)
Except for images or otherwise noted, this publication is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
http://creativecommons.org/licenses/by-sa/4.0/
Language
en-GB
page start
121
page end
129
Source
Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory, ed. by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, Cultural Inquiry, 21 (Berlin: ICI Berlin Press, 2022), pp. 121–29

References

  • Carpo, Mario, The Alphabet and the Algorithm (Cambridge, MA: MIT Press, 2011)
  • Cobbett, Richard, for Daedalic Entertainment, Long Journey Home (2017), Microsoft Windows
  • Derrida, Jacques, Archive Fever: A Freudian Impression, trans. by Eric Prenowitz (Chicago: University of Chicago Press, 1996) <https://doi.org/10.2307/465144>
  • Grusin, Richard, ‘Premediation’, Criticism, 46.1 (Winter 2004), pp. 17–39 <https://doi.org/10.1353/crt.2004.0030>
  • Harman, Graham, ‘Seventy-Six Theses on Object-Oriented Philosophy’, in Harman, Bells and Whistles: More Speculative Realism (Winchester: Zero Books, 2013), pp. 60–70
  • Janicot, Christian, ed., Anthologie du cinéma invisible. 100 scénarios pour 100 ans de cinéma (Paris: Jean-Michel Place, 1995)
  • Manovich, Lev, The Language of New Media (Cambridge, MA: MIT Press, 2002)
  • Meillassoux, Quentin, Après la finitude. Essai sur la nécessité de la contingence (Paris: Seuil, 2006)
  • Meillassoux, Quentin, ‘Potentiality and Virtuality’, trans. by Robin Mackay, in The Speculative Turn: Continental Materialism and Realism, ed. by Levi Bryant, Nick Srnicek, and Graham Harman (Melbourne: re.press, 2011), pp. 224–36
  • Pasolini, Pier Paolo, ‘The Screenplay As a “Structure That Wants to Be Another Structure”’, in Pasolini, Heretical Empiricism, ed. by Louise K. Barnett, trans. by Ben Lawton and Louise K. Barnett, 2nd edn (Washington, DC: New Academia Publishing, 2005), pp. 187–96
  • Simondon, Gilbert, Du mode d’existence des objets techniques, 3rd edn (Paris: Aubier, 1989)
  • Wardrip-Fruin, Noah, Expressive Processing: Digital Fiction, Computer Games, and Software Studies (Cambridge, MA: MIT Press, 2011)

Cite as: Pablo Gonçalo, ‘Speculative Writing: Unfilmed Scripts and Premediation Events’, in Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory, ed. by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, Cultural Inquiry, 21 (Berlin: ICI Berlin Press, 2022), pp. 121-29 <https://doi.org/10.37050/ci-21_13>