Temaer i avant-garde og samtidskunst
V?r 2016: Videokunst: Teknologi, teori, praksis
NB! Pensumlitteratur kj?pes som kompendium p? Akademika der ikke annet er avmerket.
Historisk og teknisk innf?ring
Meigh-Andrews, Chris. A History of Video Art: The Development of Form and Function. Oxford: Berg, 2006. (Bok som m? kj?pes p? Akademika).
Spielmann, Yvonne. Video: The Reflexive Medium. Translated by Anja Welle and Stan Jones. Cambridge, Mass.: MIT Press, 2008. 1-70 (Bok som m? kj?pes p? Akademika).
Weise, Marcus, and Diana Weynand. How Video Works: From Analog to High Definition. Second edition. Amsterdam: Focal Press, 2007, 1-37.
Wolpin, Stewart. “The Race to Video.” American Heritage of Invention and Technology 10, no. 2 (1994), 53–62.
Generell litteratur
Blom, Ina: ”The Autobiography of Video. Outline for a Revisionist Account of Early Video Art”, Critical Inquiry 39 (Winter 2013), 276-295
Blom, Ina. “Weather Channel”, Artforum, Vol.52 (1), 2013, 378-381
Blom, Ina. “Social Signals: On Aldo Tambellini.” Artforum International 51, no. 15 (2013), 67–68.
Cavell, Stanley. “The Fact of Television.” Daedalus, Vol 111, No. 4, (Fall 1982 ), 75-96
Burnham, Jack, ”Systems Esthetics”, Artforum, September 1968, 30-35
Dienst, Richard. Still Life in Real Time. Durham: Duke University Press, 1994, 3-35.
Ernst, Wolfgang “Media Archaeography: Method & Machine versus History & Narrative of Media”. In Digital Memory and the Archibe, edited by Jussi Parikka. Minneapolis: University of Minnesota Press, 2013, 55-81.
Haraway, Donna. “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century.” In Simians, Cyborgs and Women: The Reinvention of Nature, New York: Routledge, 1991, 149–181.
Joselit, David. Feedback: Television against Democracy. Cambridge, Mass.: MIT Press, 2007. xi-xiii, 3-41 , 85-131
Joseph, Branden W. “Biomusic.” Grey Room 45 (2011), 128–150.
Ketner, Joseph D., “Electromedia”, in Aldo Tambellini Black Zero, New York: Boris Lurie Art Foundation/Chelsea Art Museum (2011), 37-50.
Kiaer, Christina. “Boris Arvatov’s Socialist Objects.” October 81 (Summer, 1997), 105–118.
Krauss, Rosalind. “Video: The Aesthetics of Narcissism.” October, (Spring 1976), 50-64
Lazzarato, Maurizio. “Machines to Crystallize Time.” Theory, Culture & Society 24, no. 6 (2007), 93–122.
Lehmann, Anette Jael. “Videorebels: Actions and Interventions of the German Video-Avant-Garde.” In Contemporary German and Austrian Experimental Film, edited by Randal Halle and Reinhild Steingr?ver, New York: Camden House, 2008, 80-94 (gj?res tilgjengelig i undervisningen).
Lesage, Julia. “Women's Fragmented Consciousness in Feminist Experimental Autobiographical Video.” In Feminism and Documentary, edited by Diane Waldman and Janet Walker, Minneapolis: University of Minnesota Press, 1999, 309–337.
Mansoor, Jaleh. “Fontana’s Atomic Age Abstraction: The Spatial Concepts and the Television Manifesto.” October 124 (2008), 137–156.
Marks, Laura U. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002, 161-176
Mehring, Christine. “Television Art’s Abstract Starts: Europe circa 1944-1969.” October 125 (Summer, 2008), 29–64.
Murray, Timothy. “De-commodification of Artworks. Networked Fantasy of the Open”. In High, Kathy, Sherry Miller Hocking, and Mona Jimenez, eds. The Emergence of Video Processing Tools. Vol. 1, Chicago: The University of Chicago Press, 2014, 225-246.
Neuburger, Susanne “Terrific Exhibit: Time Art alias Music in the Exhibition Genre.” In Nam June Paik, Exposition of Music Electronic Television Revisited, edited by Manuela Ammer and Nam June Paik, Cologne: Walther K?nig, 2009, 31-43.
Ryan, Paul. “Topologies of the Social: Cybernetic Guerilla Warfare Revisited.” Interview by Felicity D. Scott and Mark Wasiuta. Grey Room 44 (2011), 114–133.
Shamberg, Michael. Guerrilla Television. New York: Holt, 1971, 1-28.
Sutton, Gloria. The Experience Machine: Stan VanDerBeek’s Movie-Drome and Expanded Cinema. Cambridge, Mass.: MIT Press, 2015. 1-17 og 96-146.
Uroskie, Andrew V. Between the Black Box and the White Cube: Expanded Cinema and Postwar Art. Chicago: University of Chicago Press, 2014, 1-52.
Viola, Bill. “The European Scene and Other Observations”, Video Art: An Anthology, edited by Ira Schneider and Beryl Korot. New York, Harcourt Brace Jovanovich, 1976, 268-278.
Wagner, Anne M. “Performance, Video, and the Rhetoric of Presence.” October 91 (Winter 2000), 59–80.
Williams, Raymond. Television: Technology and Cultural Form. London: Routledge, 2003, 1-19.
Youngblood, Gene. Expanded Cinema. New York: P. Dutton & Co, 1970. Part Five “Television as a Creative Medium”, 257-344.
Finnes p? internet: http://www.vasulka.org/Kitchen/PDF_ExpandedCinema/book.pdf