TIM_BK_009 The New Media Art Canon. The Best of New Media Art I

Faculty of Arts
Autumn 2024
Extent and Intensity
0/2/0. 5 credit(s). Type of Completion: zk (examination).
In-person direct teaching
Teacher(s)
Mgr. et Mgr. Adam Franc, Ph.D. (lecturer)
Guaranteed by
doc. Mgr. Jana Horáková, Ph.D.
Department of Musicology – Faculty of Arts
Contact Person: Ing. Alena Albíniová
Supplier department: Department of Musicology – Faculty of Arts
Timetable
Fri 20. 9. 11:00–12:40 N43, Fri 18. 10. 11:00–12:40 N43, Fri 15. 11. 11:00–12:40 N43, Fri 13. 12. 11:00–12:40 N43
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 100 student(s).
Current registration and enrolment status: enrolled: 12/100, only registered: 0/100, only registered with preference (fields directly associated with the programme): 0/100
fields of study / plans the course is directly associated with
Course objectives
The aim of the course is to provide students with examples of new media art history breakthrough works. The new media archeology method reveals the most significant influences of the historical movements on the digital art of the 21st century.
Learning outcomes
Students will be able to:
- Recognize significant artworks of the media art history.
- Interpret the content and meaning of these works in the context of their impact on contemporary art.
- Analyze the strategies of their creation within the characteristics of historical movements.
- Evaluate the impact of different technologies on the development of new media art.
Syllabus
  • Digital media forms and topics:
  • - Telepresence and telematicks
  • Precedents:
  • László Moholy-Nagy: telephone-based art 1922
  • Roy Ascott: Aspects of Gaia 1989 AEC
  • Myron Krueger: Videoplace 1975, Metaplay
  • New Media Art:
  • Paul Sermon: Telematic Dreaming (1993)
  • Masaki Fujihata: Light on the Net, 1996
  • Shu Lea Cheang: Bowling Alley, 1995¬-96
  • Ken Goldberg: Telegarden 1995
  • Raffael Lozano-Hemmer: Vectorial Elevation 1999
  • - Kinetic art, cybernetic sculptures, robotic performance, telerobotics
  • Precedents:
  • Marcel Duchamp: Bicycle wheel 1913, Rotary Plates
  • Naum Gabo: Standing wave 1920
  • L.M.Nagy :Kinetic sculpture moving 1933
  • L.M. Nagy: Light-Space Modulator (1922-30)
  • Nicolas Schöffer: CYSP1 (1956)
  • Nam June Paik: Robot K456 ( 1965)
  • Jean Tinguely: Building "Chaos 1", 1974
  • Jean Tinguely: Hommage to New York 1960
  • Tom Shannon: Squat 1966
  • Edward Ihnatowicz: Senster 1969-1970
  • New Media Art:
  • Louis Philippe Demers a Bill Vorn: No Man´s Land 1996, Interactive Robotic Installation.
  • Louis Philippe Demers a Bill Vorn: Frenchman Lake: 1995, Interactive Robotic Installation.
  • Bill Vorn: Grace State Machines in the Hexagram Black Box, 2007
  • Survival Research Laboratory: A Plan For Social Improvement.
  • Amsterdam, 1988
  • Douglas Davis: Send/Recieve satellite 1977
  • Douglas Davis: The World in 24 hours
  • Kit Galloway a Sherrie Rabinovitz: Satellite arts 1977
  • Eduardo Kac: Teleporting an Unknown State1994
  • Eduardo Kac: Rara Avis 1996
  • Lynn Herschmann: Tillie, the Telerobotic Doll 1995
  • - Performance, happening, social sculpture, collaboratin and participaton, appropriation, social networking.
  • Precedents:
  • Yoko Ono: Cut Piece (1964)
  • John Cage and dancer Merce Cunningham, Black Mountain College: Variations V.
  • Joseph Beuys How to Explain Pictures to a Dead Hare (1965)
  • Chris Burden: Shoot 1971
  • R.Rauschenberg: 9 Evenings: Theatre & Engineering (1966)
  • John Cage Variations VII
  • Alex Hay: Grass Field
  • Deborah Hay: Solo
  • Steve Paxton: Physical Things
  • Robert Rauschenberg Open Score
  • David Tudor Bandoneon! (A Combine)
  • New Media Art:
  • Golan Levin: Telesymphony 2001
  • 0100101110101101.ORG : Reenactment of Chris Burden's Shoot 2007, Second Life Performance
  • - Installation, multimedia installation
  • New Media Art:
  • Nam June Paik: TV Sculpture, Videoflag
  • Jeffrey Shaw: The Legible City 1989
  • Masaki Fujihata: Global Interior project 1996
  • Knowbotic Research: 10_dencies 1997
  • Karlheinz Stockhausen Helicopter string quartet (1995)
  • Charlotte Davies: Osmose 1995
  • Jeffrey Shaw: EVE 1993
  • Jon McCormack: Evolving Sonic Ecosystem EDEN (2004)
  • - Tactical media, activism, and hacktivism, surveillance
  • Precedents:
  • John Heartfield a Hannah Höchová: dada fotomontáž
  • Hans Arp, Kurt Schwitters: koláž
  • Raoul Hausmann, Johannes Baader: asambláž
  • New Media Art:
  • Peter Weibel : Observation of the Observation: Uncertainty, instalation 1973
  • Thomson and Craighead: TRIGGER HAPPY 1998
  • 0100101110101101.ORG: Vaticano.org
  • 0100101110101101.ORG: Darko Maver, 1998 – 1999
  • 0100101110101101.ORG: The Nike Ground 2003
  • Etoy: etoy.share 2000
  • RSG (Radical Software group) : Carnivore 2001
  • ®TMark www.rtmartk.com 1996
  • - Apropriation and open source
  • Precedents:
  • Sherrie Levine: After Walker Evans 1981
  • New Media Art:
  • Alexei Shulgin: 386 DX, 1998
  • Natalie Bookchin: The Intruder 1999
  • Michael Mandiberg: After Sherrie Levine, 2001
  • RSG: prepared PlayStation, 2005
  • Cory Arcangel: Super Mario Clouds (2002)
  • Cory Arcangel: I Shot Andy Warhol (2002)
  • 0100101110101101.ORG: life sharing 2000
  • Radioqualia:free radio linux 2002
Literature
    recommended literature
  • Dieter Daniels - Barbara U. Schmidt. Artists as inventors - inventors as artists. Edited by Ostfildern: Hatje Cantz, 2008. 237 s. ISBN 9783775721530.
  • Rush, Michael. New Media in Art. London: Thames & Hudson, 2005.
  • Frieling, Rudolf, and Dieter Daniels, eds. Media Art Net 1: Survey of Media Art. New York and Vienna: Springer, 2004.
  • Wilson, Stephen. Information Arts: Intersections of Art, Science, and Technology. Cambridge, MA: MIT, 2002.
  • Christiane Paul: Digital Art. Thames & Hudson
  • Shanken, Edward A. Art and Electronic Media. London: Phaidon, 2009.
  • Tribe Mark-Reena, Jana: New Media art, Taschen 2009
Teaching methods
AV screening, team reflection developing the interpretation of presented works, "homewatch".
Assessment methods
Expected final work:
- 1. Practical output: an audiovisual work, which shows students' acquired knowledge.
- 2. Theoretical text (2 standard pages), which contains: a description of the work, the intention, a description, the concept, the strategies and working techniques.
Assignment: Based on the demonstrations of different artistic practices and strategies, create your own audiovisual work – remake of the older work of art. Use current technological options (available video editing software). The aim is to develop student's ability to express ideas not only with theoretical texts, but also with their own audio-visual work. When choosing a strategy, the student can use one of the strategies defined by Nicolas Bourriaud in his publication: Postproduction (2004).
Evaluation:
- Formal coherence with works of historical works of art and quality of production.
- Appropriate explanation of the AV output in the accompanying text.
Náhradní absolvování
In case of a study abroad visit, it is possible to take the course in an alternative form. This involves the ongoing completion of assigned tasks.
Language of instruction
Czech
Study support
https://is.muni.cz/auth/el/phil/podzim2024/TIM_BK_009/index.qwarp
Further comments (probably available only in Czech)
The course is taught annually.
Information on the extent and intensity of the course: 80 hodin výuky/semestr.
The course is also listed under the following terms Autumn 2019, Autumn 2020, Autumn 2021, Autumn 2022, Autumn 2023.
  • Enrolment Statistics (recent)
  • Permalink: https://is.muni.cz/course/phil/autumn2024/TIM_BK_009