PENSUMLISTE/ READING LIST
KUN 2230/4230
ART TECHNOLOGY MEDIA
WJT Mitchell and Mark Hansen: Critical Terms for Media Studies, Chicago, 2010. University of Chicago Press. (3-217, 280-297).
Jonathan Crary: Techniques of the Observer, 1992. Cambridge: MIT Press. (148 pp.).
Friedrich Kittler: Gramophone, Film, Typewriter, Stanford 1999. Stanford University Press. (1-115).
Lev Manovich: The Language of New Media, Cambridge 2001. MIT Press. (18-61, 212-243).
Marshall McLuhan: Understanding Media. The Extensions of Man, Cambridge, 2002. (3-76).
Oliver Grau: Virtual Art, Cambridge 2003. MIT Press. (24-65, 140-173).
Compendium for sale at Akademika
K. Ludwig Pfeiffer: "The Materialities of Communication" in Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer: ”The Materiality of Communication”, Stanford, 1994. Stanford University Press. (1-14).
Douglas Kahn: "Significant Noises" in Noise Water Meat. A History of Sound in the Arts, Cambridge, 2001. MIT Press. (20-68).
Jacques Attali: "”Listening” " in Noise. The Political Economy of Music, Minneapolis, 2002. University of Minnesota Press. (3-20).
David Antin: "Video. The Distinctive Features of the Medium" in John G. Hanhardt (ed): Video Culture. A Critical Investigation, New York, 1986. Visual Studies Workshop Press. (147-166).
Marita Sturken: "Paradox in the Evolution of an Art Form. Great Expectations and the Making of a History" in Doug Hall and Sally Jo Fifer: Illuminating Video. An Essential Guide to Video Art, Aperture, 2005. (101-125).
Margaret Morse: "Video Installation Art: The Body, The Image and the Space-in-Between" in Doug Hall and Sally Jo Fifer: Illuminating Video. An Essential Guide to Video Art , Aperture, 2005. (153-168).
John Hanhardt: "Dé-collage/Collage: Notes Toward A Reexamination of the Origins of Video Art" in Doug Hall and Sally Jo Fifer (eds),: Illuminating Video. An Essential Guide to Video Art, Aperture, 2005. (71-81).
Mary Ann Doane,: "Temporality, Storage, Legibility" in The Emergence of Cinematic Time. Modernity, Contingency and the Archive, Harvard: 2002. Harvard University Press. (33-69).
Roland Barthes: "Extracts from Camera Lucida" in Liz Wells (ed.): The Photography Reader, London: 2002. Routledge. (19-30).
Osip Brik: "What the Eye Does Not See" in Liz Wells (ed.): The Photography Reader, London: 2002.. Routledge. (90-91).
Lazslo Moholy-Nagy: "A New Instrument of Vision" in Liz Wells (ed.): The Photography Reader, London: 2002. Routledge. (92-96).
Rosalind Krauss: "The Photographic Conditions of Surrealism" in The Originality of the Avant-Garde and Other Modernist Myths: Cambridge:1999, MIT Press. (87-118).
Pdf-files for download in Classfronter:
Walter Benjamin: The Work of Art in the Age of Mechanical Reproduction, (12 pp.) published in full at. http://www.marxists.org.
Jonathan Walley: "The material of Film and the Idea of Cinema: Contrasting Practices in Sixties and Seventies Avant-Garde Film" in October 103, Cambridge, Winter 2003. MIT Press. (15-30).
Malcolm Turvey: "The Avant-Garde and the "New Spirit": The Case of "Ballet Mécanique" in October 102, Cambridge, Fall 2002. MIT Press. (35-58).
Martin Norden: "Avant-Garde Cinema of the 1920's: Connections to Futurism, Precisionism and Suprematism" in Leonardo Journal of Art, Science and Technology, Vol.17, No. 2, Cambridge, 1984. MIT Press. (108-112).
Hal Foster: "An Archival Impulse" in October 110, Cambridge, Fall 2004. MIT Press. (3-22).
Miriam Hansen: "Why Media Aesthetics" in Critical Inquiry, Vol 30, No.2, Chicago Winter 2004. The University of Chicago Press. (391-395).
On web
Inke Arns: Interaction, Participation, Networking, (22 p.) Full text with images and video examples published at Media Art Net. http://www.mediaartnet.org/themes/overview_of_media_art/communication/.