|D|MA 101 Media Arts—an Introduction Fall 08|
Time: F 2-4;50
Media Arts – an Introduction is a survey of the major artistic developments and theoretical debates influencing the production of media art. Lectures and readings will trace the many ways in which artists have incorporated new technology and media including —but not limited to— animation, photography, film, video, sound, digital computers, and networked modes of communication in art from the late 19th century to the present. Material is presented within a broader cultural and historical framework that emphasizes media arts’ connections with popular culture and contemporary art. Course goals include clarifying and distinguishing the term “media arts” from other related concepts, like “digital arts”, or “technological arts” and examining the changing nature of media arts’ exhibition context. Topics under consideration will include the uses of media art in public spaces, telematic art, art and artificial life, media performance and interactive installation art. Ultimately, the course aims to provide the conceptual and methodological tools needed to parse this diverse and growing field while honing the critical thinking skills necessary for art and design practices purporting to merge art, media and technology.
Meeting 1 (Sep 26) Course Overview, Avant-Garde and the Moving Image
Key terms: Media, cultural form, experimental, audience / screening works: Entr’Acte (Clair and Picabia), Anémic Cinéma (Duchamp), Zygosis (Documentary on John Heartfield), and the rare documentary Art For Tomorrow (1969).
Meeting 2 (Oct 3) Confronting Media with Media Key terms: Heartfield, Found Footage, Situationism
Required Reading: Course Reader: Douglas Kahn: John Heartfield: Art and Mass Media. New York: Tanam Press, 1985 (excerpt, pp. 104-126); Craig Adcock: “Marcel Duchamp’s ‘Instantanés: Photography and the Event Structure of the Ready-Mades”, Event Arts & Art Events, ed. Stephen C. Foster, Ann Arbor and London: UMI Research Press, 1988, 239-266
Required Reading: Course Reader: Gustav Metzger: “Autodestructive Art”, from Metzger: Damaged Nature, autodestructive art, Nottingham: coracle@workfortheeyetodo, 1996, 25-58.
Online: Joanne Richardson: “The Language of Tactical Media”, online http://subsol.c3.hu/subsol_2/contributors2/richardsontext2.html;
Required Reading: Course Reader: John Cage: “The Future of Music: Credo”, from Cage: Silence, Wesleyan University Press, 1973, 3-6; Richard Kostelanetz: John Cage (ex)plain(ed). New York: Schirmer Books, 1996 (excerpt, 58-78) ; Jack Burnham: "Art and Technology: The Panacea That Failed", Video Culture: A Critical Investigation. Ed. John Hanhardt, New York: Peregrine Smith Books, 1986.
Online: Luigo Russolo: “The Art of Noises” (1913), http://www.ubu.com/papers/russolo.html
Required Reading: Online: Gloria Sutton, “Stan VanDerBeek’s Movie-Drome: Networking the Subject” in Future Cinema: TheCinematic Imaginary After Film, Jeffrey Shaw, Peter Weibel, eds., Cambridge, Mass.: MIT Press, 2003: 136-143. see course website Edward Shanken, “Art in the Information Age: Technology and Conceptual Art,” Leonardo, Vol. 35, No. 4, pp. 433-438, 2002 http://www.leonardo.info/isast/articles/shanken.pdf Gene Youngblood, “Intermedia,” in Expanded Cinema, New York: Dutton, 1970. http://www.vasulka.org/Kitchen/PDF_ExpandedCinema/part6.pdf
Meeting 6 (Oct 31) “Reach Out I’ll Be There”: from Telematics to Net Art
Keywords: Malevich, Klein, Ascott, Galloway & Rabinowitz, Van Gogh TV, Radical Software, Second Life
Meeting 7 (Nov 7 ) Lure of Artificial Life; Participatory to Interactive Art
Key terms: Cybernetic art, robotic art, art and A-Life, Shaw, Krueger, Rokeby, Iwai, Levin, Hoberman
Meeting 8 (Nov 14 ) GUEST LECTURE by Media Artist
details and required readings to be announced
Meeting 9 (Nov 21) Bridging the Physical and the Virtual
Keywords: Vanderbeek, Lozano-Hemmer, Fujihata, Sukumaran
November 28 Thanksgiving Holiday, no Lecture
Meeting 10 (Dec 5) Breaking (or Opening?) Up of the ‘Media Arts’ Paradigm?
Keywords: Software Art, Device Art, Media collectives, Rhizome.org, post-production
To supplement the types of time-based material viewable in lecture there will be two mandatory screening sessions outside of lecture. Date, time and location to be announcedDESMA DEPARTMENTAL LECTURE SERIES
September 30: Kenya Hara
Critical Response Reports You will be required to write critical response reports throughout the course chronicling the issues/artists/artworks raised in lecture and all related readings. Entries should be written out in paragraph form (no bullet points) and at least 400 words each. One entry per lecture. It is best to integrate your comments about the lectures and the readings together in your entry. These reports are not your lecture notes, nor should they mechanically repeat the authors, or what transpires in lecture. Instead, the entries should reflect your reactions, opinions and comments on the material and ideas presented in the lectures, screenings and the readings.Reports for meetings 1-5 are due at the beginning of lecture on Oct. 31
Reports for the 2 required screenings due at the beginning of lecture on Nov. 21
Reports for meetings 6-10 are due at the beginning of lecture on Dec 5.,
Reports for the 3 required DESMA Lectures in the EDA are due on Dec 5.
You will create a multifaceted proposal to produce a public media art work. The specific requirements and details will be handed out in lecture on Oct. 10. The final assignment is due in lecture on Dec. 5 along with the final reports.
15% Critical response report #1 - lectures 1-5
More than two absences without the instructor’s permission will lower the final grade by one step per absence (-). Active participation in the class meetings may raise the final degree by a step (+).
The following books are recommended as additional readings and should be consulted when preparing your final project. When possible, they will be on reserve at the Arts Library.