Raymond Uzwyshyn, Ph.D. (Media Studies, NYU) — twenty-five years inside communities that make, keep, write, and think about moving images: from coordinating the William K. Everson Film Archives in liaison with MoMA and Lincoln Center, through screenwriting developed on the Austin Film Festival circuit, to a daily working practice in today's AI video, image, and sound pipelines — and a published, hype-resistant point of view on what this transition means for Hollywood.
Working hands-on across the current generation of video, image, and sound models — Runway, Veo, Sora, Pika, Midjourney, Stable Diffusion, Suno, NotebookLM — for research, teaching, and experiment.
A full survey and demonstration of the 2026 AI video landscape — model by model, capability by capability — delivered for the UCR Orbach Library AI Literacy Series. Slides with embedded examples and step-by-step production methodology.
Generated and edited short-form video: research-article-to-film adaptations, anime and graphic-novel treatments of technical concepts, art-history sequences, and avant-garde image experiments. Continuously updated.
An experimental instrument translating live financial-derivative data into aural analogues — sonification as an alternative to the dashboard. Built iteratively across nine versions.
An interactive streaming-video documentary archive built two decades before generative tools — proof this practice long predates the current wave. University of Miami / FIU / St. Thomas collaboration.
Selected generated sequences screen here. For the full running collection — research-to-film adaptations, style experiments, and title-sequence studies — see the video collection.
A sustained image practice with an articulated theoretical ground — where a dissertation on Soviet montage and years around Warhol-era avant-garde meet the diffusion model.
Artist statement and rationale for the image work — what generative systems change about authorship, style, and the photographic index, and what they don't.
AI art portfolio and statement prepared at the request of the Brill Family Foundation — the practice's fullest single presentation.
Exhibition-model poster work visualizing large language models through Burroughs's "language is a virus" — image-making as AI literacy.
Daily practice shared inside two large practitioner groups — film trailers, movie-poster studies, book and graphic-novel illustration, style experiments, art preservation.
A 2025–26 essay series on what generative video actually means for the industry — paradigms, employment, bottom lines — published in real time as the technology moved. Selected titles:
The full running collection: 100+ essays on AI and the creative industries, model evaluation, media theory, and human–AI collaboration.
Film criticism proper, for PopMatters — Sontag's camp and Baudrillard's hyperreal read through Almodóvar's dreamscape. The psychoanalytic and media-theoretical toolkit the AI essays now apply to generative video.
Education Technology Insights, CXO feature — from information scarcity to abundant intelligence.
De Gruyter / IFLA Publication Series, Berlin — open access. Edited volume on machine learning and AI across the world's knowledge institutions.
Original scripts developed on the Austin Film Festival screenwriting circuit — story built the industry's way, page by page, long before writing about the industry.
The meteoric rise and fall of Jean-Michel Basquiat through the early-'80s New York art world — Warhol, Gagosian, the East Village, the machinery that turns an artist into a commodity. Written from firsthand proximity to that world during the NYU years.
Episode-by-episode five-act analysis of a full streaming season — how prestige television actually builds an arc across ten scripts. Craft study from the writer's side of the page.
Ghostwriter for the Scott Michel Literary Agency (fiction, non-fiction, plays, screenplays); film/video producer on documentary work through Anthology Film Archives, the Montreal Film Festival, and NYU's Tisch School of the Arts. Video Documentary Production Award (Video Pool, 1992).
Scripts hosted and evaluated on the industry's screenplay platform, from the Austin Film Festival competition years.
Distinguishing hype from genuine value requires testing the tools yourself. A multi-year benchmarking program across frontier video, reasoning, and agentic models is the discipline behind the essays.
Where current models are genuinely strong, where they quietly fail, and why capability is jagged rather than uniform — with the original comparative reports.
Live methodology session for UC San Francisco: step-by-step, honest about failure modes, built for practitioners rather than press releases.
National project briefing (video), Coalition for Networked Information — how an institution actually builds fluency across its creative and technical units, not just awareness.
The through-line: this practice began inside the film community, not adjacent to it.
Administered the world's largest privately held commercial film archive at NYU's Annenberg Media Center; exhibitions and research projects in liaison with the Museum of Modern Art Film Library, Lincoln Center Research Library, New York Public Library, and Anthology Film Archives.
Dissertation on Alexander Dovzhenko under Annette Michelson; Jay Leyda Dissertation Award. The theoretical ground — montage, medium specificity, the avant-garde — that the AI-era writing now draws on.
The dissertation work continues to circulate: quoted by Jonathan Rosenbaum in his MUBI Notebook essay on Dovzhenko, engaged at length in Gilberto Perez's Film Quarterly study of Zvenigora and Arsenal, and referenced across the film-history web.