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Author:   Daniel Chávez Heras (Lecturer in Digital Culture and Creative Computing, King’s College London)
Publisher:   Edinburgh University Press
Imprint:   Edinburgh University Press
ISBN:  

9781399514729

ISBN 10:   1399514725
Pages:   224
Publication Date:   30 January 2026
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Forthcoming
Availability:   Not yet available, will be POD  
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Table of Contents

List of Illustrations Acknowledgements Introduction Part One: Data-Images: Philosophy of Photography and Technologies of Vision Chapter 1. Between Archive and Dataset Chapter 2. Inductive Vision Chapter 3. Machine Learning and the Philosophy of Photography Part Two: Pixels in Motion: The Calculation of Cinematic Time Chapter 4. Statistical Distance and Emotional Closeness in Film Style Chapter 5. Computational Analysis of Continuity Editing Chapter 6. Duration, Motion, and Pixels Part Three: AI and Criticism: Aesthetics, Formats, and Interactions Chapter 7. Algorithmic Films as Data Analysis Chapter 8. Aesthetic Judgements and Meaningful Dissensus Chapter 9. AI as Media Conclusion: Machines Made of Images References Index

Reviews

Cinema and machine vision rescaled the world, from cell to pixel, detail to data. Daniel Chavez Heras shows us the parallel and diverging ways they have become worldmaking. A wonderful and necessary book that starts the story of AI where it should be started: in much earlier technical imaging practices of cinema. -- Professor Jussi Parikka, Aarhus University, author of Operational Images

Cinema and machine vision rescaled the world, from cell to pixel, detail to data. Daniel Chavez Heras shows us the parallel and diverging ways they have become worldmaking. A wonderful and necessary book that starts the story of AI where it should be started: in much earlier technical imaging practices of cinema.--Professor Jussi Parikka, Aarhus University, author of Operational Images

Author Information

Daniel Chávez Heras is a Lecturer in Digital Culture and Creative Computing at King’s College London. He specialises on the computational production and analysis of visual culture combining critical frameworks in the history and theories of cinema, television, and photography, with advanced technical practice in creative and scientific computing, including applied machine learning technologies.Daniel has worked extensively in interdisciplinary design and creative industries, in Mexico and in the UK, with cultural institutions such as The British Council, and the BBC. He is a member of the Creative AI Lab, in partnership with the Serpentine Gallery, and part of the Computational Humanities Research Group at King’s College London.

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