Between the cinema and the moving image a difference is emerging that emphasizes temporal formations, that challenges assumptions about the relationship between the photographic and the cinematic - but more as a discourse that interrogates feasible temporalities, ostensible temporalities, probable temporalities, indeterminate temporalities, combinatorial temporalities. This break from the cause and effect limitations of much cinema study acknowledges the kind of temporal layering made possible not just an after-effect of the digital, but of an investigation of the performative, ironic, situational, fugitive, contingent forms in which a link can be made between the image and the its ability to express time itself not merely as an effect (as Doane argues in The Emergence of Cinematic Time), not merely as a framework, but as a full subject.

An illustrated talk using many examples facing the conditions not just of ‘Future Cinema,' but of a range of works that challenge so many assumptions of 'narrative' linked, on the one hand with 'anti-illusion,' and, on the other, as a kind of 'anti-cinema.' These include the works of Julien Maire, Gebhard Sengmüller, Philipp Lachen- mann, Chris Oakley, Mathew Buckingham, Shelly Silver, Joachim Schmidt and many others.

Timothy Druckrey is Director of the Graduate Photographic and Electronic Media program at the Maryland Institute, College of Art. He also works as a curator, writer, and editor living in New York City. He lectures internationally about the social impact of electronic media, the transformation of representation, and communication in interactive and networked environments. He co-organized the international symposium Ideologies of Technology at the Dia Center of the Arts and co-edited the book Culture on the Brink: Ideologies of Technology (Bay Press). He also co-curated the exhibition Iterations: The New Image at the International Center of Photography and edited the book by the same name published by MIT Press. He edited Electronic Culture: Technology and Visual Representation and is Series Editor for Electronic Culture: History, Theory, Practice published by MIT Press. These books now include Ars Electronica: Facing the Future, net_condition: art and global media (with Peter Weibel), Geert Lovink's, Dark Fiber, and Future Cinema: The Cinematic Imaginary After Film (edited by Jeffrey Shaw and Peter Weibel), Stelarc: The Monograph (edited by Marquard Smith), Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means (Siegfried Zielinski). Recent exhibitions he has curated include Bits and Pieces, Critical Conditions and co-curated New Media Beijing (2006). He has been Guest Professor at the University of Applied Art, Vienna (2004) and Richard Koopman Distinguished Chair for the Visual Arts at the University of Hartford (2005).