Fast Forward: The Future(s) of the Cinematic Arts, published by Wallflower Press in 2016, explores the permutations of cinema as it responds to the changing world around us. Moving images are no longer confined to the movie theater or home entertainment system; instead, we find them now on cell phones and computers, inside cardboard viewers and high-tech goggles, on giant screens throughout major cities and ensconced in museums, galleries and arts spaces all over the world. The book includes chapters on hybrid works by artists such as David O’Reilly and Marco Brambilla; live cinema projects by artists such as Cloud Eye Control and Janie Geiser; urban screens and work by artists such as Refik Anadol and Doug Aitken; web-based and tablet-based experiences such as those created by Erik Loyer and Jonathan Harris; and VR projects by VRSE and many others. It also explores several new practices, including world building as described by Alex McDowell; transmedia design as it has been defined by Henry Jenkins; and the exploration of the “self as source” in The Technique, as defined by Joan Scheckel. Finally, the book investigates the links between the post-cinematic and the posthuman, asking how shifts in subjectivity and perception bring these two ideas together.

NDCNew Digital Cinema: Reinventing the Moving Image, published by Wallflower Press in 2005, tracks the evolution of contemporary cinema as it intersects with the formerly separate realms of filmmaking, video art, music video, animation, print design and live club events to create an avant-garde for the new millennium. Beginning with the premise that we are witnessing the most extensive reworking of the role of images since the inauguration of cinema, thanks in no small part to the advent of desktop filmmaking tools, the book opens with an investigation of digital cinema and its contribution to innovations in the feature film format, examining animation/live action hybrids, the gritty aesthetic of the Dogme 95 filmmakers, the explosions of frames within frames, and the evolution of the “ambient narrative” film. The book then moves on to examine the creation of new genres and moving image experiences as what we know as cinema expands beyond the confines of the movie theater and television screen into new venues and formats.

27601_lg-1The New Ecology of Things project, an experiment in transmedia publishing, was created in collaboration with faculty from Art Center College of Design. I worked primarily on editing the text, and helped brainstorm ideas for the project’s manifestation across other media platforms. The project in its current form unites four media components – book, dust jacket / poster, Web site, and wap – each of which relates to the others: place the book on the poster to see additional imagery; point your mobile phone camera at barcodes on the poster and watch videos; browse URLs in the book and move to a dialogue online… The NET publication includes several essays, a glossary, forums, interactive works and videos, with writing by Bruce Sterling, Brenda Laurel, Phil van Allen, Anne Burdick and Nik Hafermaas.


I’ll be co-hosting a transmedia design workshop for international artists in January 2018, and teaching a new workshop on creative critical writing, merging critical theory with the lyric essay at the Society for Cinema and Media Studies in March 2018.

Thanks for visiting – this website houses descriptions of my recent work at the intersection of experimental film, video, new media art and emerging forms of teaching, learning, and research practices. I’ve also posted several recent essays and descriptions of projects, some real and some speculative. Please get in touch if you have questions! – Holly


Recent Writing

John Carpenter creates lovely interactive media installations with a design ethos founded on intuitive interaction. He loves genetic code, emergent behaviors, the way memory works, emotional connection and intuition. He’s part artist, part scientist, part designer, part programmer…

Fugitive_Time_Geiser_1Janie Geiser is known for short animations and amazing puppet media performances. In her work, Geiser prowls around the mysterious boundary-land between territories – like the lands of the conscious and the unconscious mind, or life and death, sanity and madness, hope and despair, animate and inanimate, nature and culture….

rgb xyzAnimator David O’Reilly, whose work is based on the fact that the smooth and clear signals of a pristine information age imagined in the past are a myth; the signal is always frazzled by noise, and that noise, with its notes of entropy and disorder, offers a rich terrain for exploration.

Orlovski ChimeraA fabrication of the mind… An unrealizable dream… A creature composed of incongruent parts… These are some of the meanings of “chimera,” and they well suit the newest moving image installation work of the same name by artist Stas Orlovsky, a painter who, over the last few years, has aspired to make his paintings and drawings do a very simple thing: move.

FC CoverFilm Comment features my essay on the work of Rick Linklater and his obsession with time, especially in his new film, Boyhood, on the cover!

Stearns Glitch

Live Cinema Keynote

Live cinema refers to the live, real-time mixing of images and sound for a live audience…

Body Movies

City as Screen / Body as Movie

Let’s start with a photograph: taken by Hiroko Masuke, it is of a billboard that features an ad for the TV miniseries The Andromeda Strain printed in The New York Times a year ago.1 The billboard includes a large, horizontal poster for the film, along with a video display showing clips embedded within the poster. What’s not visible, however, is a small video camera made by the company Quividi that documents passersby as they look at the billboard… Continue Reading →