Syllabus/achievement requirements
INTRODUCTION TO ART, TEHCNOLOGY and MEDIA
CURRICULUM
Books to buy (all other texts in compendium or online, see UB on internet, Link)
- WJT Mitchell and Mark Hansen: Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010. All other texts are in the compendium or available online.
- Friedrich Kittler, Gramophone, Film, Typewriter, Stanford: Stanford University Press, 1999
Reading list (obligatory)
Inke Arns, ”Interaction, Participation, Networking” (22 pp.)
Full text with images and video examples published at Media Art Net http://www.mediaartnet.org/themes/overview_of_media_art/communication/
Jacques Attali, ”Listening”, in Noise. The Political Economy of Music, Minneapolis:
University of Minnesota Press, 2002. (3-20)
Roland Barthes, ”Extracts from Camera Lucida”, in Liz Wells (ed.) The Photography Reader, London: Routledge, 2002. (19-30)
Geoffrey Batchen, “Electricity made Visible”, in Wendy Hui Kyong Chun & Thomas Keenan, New Media Old Media. A History and Theory Reader. London: Routledge, 2006, 27-44
Walter Benjamin,”The Work of Art in the Age of Mechanical Reproduction”, published in full at www.marxists.org. (12 pp.)
Blom, Ina “The Autobiography of Video. Outline for a Revisionist Account of Early Video Art. Critical Inquiry 39 (Winter 2013), 276-295
Osip Brik, ”What the Eye Does Not See”, in Liz Wells (ed.) The Photography Reader, London: Routledge, 2002. (90-91)
Bill Brown, “Materiality”, in Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010, 50-63 (Book)
Jonathan Crary, “The Camera Obscura and its Subject”, in Crary, Techniques of the Observer, Cambridge: MIT Press, 1992, 25-66
Mary Ann Doane, ”Temporality, Storage, Legibility”, in The Emergence of Cinematic Time. Modernity, Contingency and the Archive. Harvard: Harvard University Press, 2002. 33-69
John Durham Peters, “Chapter 1: Understanding Media”, in The Marvelous Clouds. Towards a Philosophy of Elemental Media, Chicago: The University of Chicago Press, 2015, 13-52
Wolfgang Ernst, “Media Archaeography: Method & Machine versus History & Narrative of Media”. In Media Archaeology: Approaches, Applications, and Implications, edited by Erkki Huhtamo and Jussi Parikka, 239–255. Berkeley: University of California Press, 2011
Villem Flusser: “The Photograph as Post-Industrial Object: An Essay on the Ontological Standing of Photographs”, Leonardo vol. 19, No. 4, 1986, 329-332
Alexander Galloway, “Networks”, in WJT Mitchell and Mark Hansen: Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010, 280-296 (Book)
Oliver Grau: “Historic Spaces of Illusion” and “Intermedia Stages of Virtual Reality in the 20th Century” in Grau, Virtual Art. Cambridge: MIT Press, 2003, 24-65 and 140 –173
Mark Hansen, “New Media”, WJT Mitchell and Mark Hansen: Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010, 172-186, (Book)
Mark Hansen, “Between Body an Image” and “Framing the Digital Image: Jeffrey Shaw and the Embodied Aesthetics of New Media”, in Hansen, New Philosophy for New Media, Cambridge: MIT Press, 2004, 21-46 and 47-92
Miriam Hansen, ”Why Media Aesthetics”. Critical Inquiry, Vol 30, No.2, Winter 2004. Chicago: The University of Chicago Press (391-395)
Caroline Jones, “Senses”, in Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010. 80-98 (Book)
David Joselit, “No Exit. Video and the Readymade”, October 119 (Winter 2007), 37-45
Douglas Kahn, ”Significant Noises”, in Noise Water Meat. A History of Sound in the Arts, Cambridge: MIT Press, 2001. (20-68)
William Kaizen, “Open Circuits”, in Against Immediacy. Video Art and Media Populism, Darthmouth College Press, 2016, 10-24
Friedrich Kittler, Gramophone, Film, Typewriter, Stanford: Stanford University Press, 1999, (1-115) (Book)
Rosalind Krauss,”The Photographic Conditions of Surrealism, in The Originality of the Avant-Garde and Other Modernist Myths, Cambridge: MIT Press, 1999. (87-118)
Thomas Y. Levin, “Tones from out of Nowhere. Rudolf Pfenninger and the Archeology of Synthetic Sound”, in Wendy Hui Kyong Chun & Thomas Keenan, New Media Old Media. A History and Theory Reader. London: Routledge, 2006, 45-81
Lev Manovich, “What is New Media” in Manovich The Language of New Media, Cambridge: MIT Press, 2001, 18-61
Lev Manovich, “The Forms”, in Manovich The Language of New Media, Cambridge: MIT Press, 2001, 212-243
Marshall McLuhan, "The Medium is the Message", "Housing: New Look and New Outlook " and "Television: The Timid Giant", in Understanding Media,
Cambridge: MIT Press, 1994, 1-20, 123-130 and 308-337
Mehring, Christine. “Television Art’s Abstract Starts: Europe circa 1944-1969.” October 125 (Summer, 2008), 29–64.
WJT Mitchell and Mark B. N. Hansen, “Time and Space” in Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010, 102-112 (Book)
Lazslo Moholy-Nagy, ”A New Instrument of Vision”, in Liz Wells (ed.) The Photography Reader, London: Routledge, 2002. (92-96)
Martin Norden: ”Avant-Garde Cinema of the 1920's: Connections to Futurism, Precisionism and Suprematism”. Leonardo Journal of Art, Science and Technology, Vol. 17, No. 2, 1984. Cambridge: MIT Press, 108-112
Arvind Rajagopal, “Imperceptible Perceptions in Our Technological Modernity”, in Wendy Hui Kyong Chun & Thomas Keenan, New Media Old Media. A History and Theory Reader. London: Routledge, 2006, 277-286
Christine Ross, “The Temporalities of Video: Extendedness Revisited.” Art Journal 65, no. 3 (2006), 82–99.
Pierre Schaeffer, “Acousmatics”, in Christoph Cox and Daniel Warner, Audio Culture. Readings in Modern Music, New York: Continuum, 2004, 76-81
Sven Spieker, “Matters of Provenance” and “Archive, Database, Photography”, in The Big Archive. Art from Bureaucracy, Cambridge: MIT Press, 2008, 17-34, 131-172
Malcolm Turvey: “Can the Camera See? Mimesis in Man with a Movie Camera". October 89 (Summer 1999), 35-58
Andrew Uroskie, “Introduction: From Medium to Site”, in Uroskie, Between the Black Box and the White Cube. Expanded Cinema and Postwar Art. Chicago: University of Chicago Press, 2014, 1-16
Jonathan Walley: ”The material of Film and the Idea of Cinema: Contrasting Practices in Sixties and Seventies Avant-Garde Film”. October 103, Winter 2003, Cambridge: MIT Press. 15-30
Anne M. Wagner “Performance, Video, and the Rhetoric of Presence.” October 91 (winter, 2000), 59–80.
Bernadette Wegenstein: “Body”, in Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010, 19-34 (Book)
Mark Wigley, “Network Fever” in Wendy Hui Kyong Chun & Thomas Keenan, New Media Old Media. A History and Theory Reader. London: Routledge, 2006, 375-397
Jennifer Wild, “Seeing Through Cinema, in Wild, The Parision Avant-Garde in the Age of Cinema, 1900-1923, Oakland: University of California Press, 2015, 23-61
1092 pages
Recommended additional reading
Eugene Thacker, “Biomedia”, in WJT Mitchell and Mark Hansen: Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010, 117-131 (Book)
Alexander Galloway, “Part III: Protocol Futures. Hacking. Tactial Media. Internet Art”, in Galloway, Protocol. How Control Exists after Decentralization, Cambridge: MIT Press, 2004, 145-239
Wolfgang Ernst, Dis-Continuities. Does the Archive Become Metaphorical in Multi-Media Space, in Ernst, Digital Memory and the Archive, Minneapolis: University of Minnesota Press, 2013, 113-146