IMN100 New Media Art Obsessions I

Faculty of Arts
Autumn 2020
Extent and Intensity
1/1/0. 6 credit(s). Type of Completion: zk (examination).
Teacher(s)
doc. Mgr. Jana Horáková, Ph.D. (lecturer)
Guaranteed by
doc. Mgr. Jana Horáková, Ph.D.
Department of Musicology – Faculty of Arts
Contact Person: Bc. Jitka Leflíková
Supplier department: Department of Musicology – Faculty of Arts
Timetable
Thu 16:00–17:40 N42
Prerequisites
- The course is designed for students of the follow-up MA program TIM.
- Knowledge of new media art on the level of the Bachelor's degree is assumed.
- An ability to read scholarly texts in English is required.
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 150 student(s).
Current registration and enrolment status: enrolled: 0/150, only registered: 0/150, only registered with preference (fields directly associated with the programme): 0/150
fields of study / plans the course is directly associated with
Course objectives
The aim of the course is to acquaint students with dominant themes, recurring topics, and interpretative frameworks of new media art.
Learning outcomes
After completion of the course, student will be able to:
- discuss dominant themes and recurring topics of the new media art;
- describe primarily strategies of artistic usage of new media;
- designate differences between primarily interpretative frameworks of new media art.
Syllabus
  • Themes and topics of new media art:
  • - Bachelor Machine: Tur(n)ing Universal Machine.
  • - The Large Glass: hardware vs. software.
  • - Computer: discrete, computable and incomputable.
  • - Closer: human-machine interface.
  • - Desire to enter the picture: Virtual Art.
  • - Cybernetic Art: performances of closed and open circuit.
  • - Beyond screen: performance of desiring machines.
  • - Media and memory: aura of remembering.
  • - Media and reproduction: copies and colonies of images.
Literature
    required literature
  • HORÁKOVÁ, Jana. The Universal Turing Machine on the Dissecting Table. Teorie vědy: věda, technika, společnost, Praha: AV ČR, Filosofický ústav, 2013, Vol 35, No 2, s. 251-270. ISSN 1210-0250.
  • HORÁKOVÁ, Jana. Umělecké dílo v době své digitální reprodukovatelnosti. Elportál, Brno: Masarykova univerzita, 2010. ISSN 1802-128X. https://is.muni.cz/do/rect/el/estud/ff/ps10/dilo/web/index.html
  • DIXON, Steven: Digital Performance. A History of New Media in Theater, Dance, Performance Art, and Installation. MIT Press, 2006.
  • WHITELAW, MItchell. Metacreation. Art and Artificial Life. MIT Press, 2006.
  • KOZEL, Susan: Closer. Performance, Technologies, Phenomenology. MIT Press, 2007.
  • HORÁKOVÁ, Jana. Staging Robots: Cyborg Culture as a Context of Robots` Emancipation. In Cybernetics and System Research. Vídeň: Austrian Society of Cybernetics Studies, University of Vienna, 2006. s. 312-317, 6 s. ISBN 3852061725.
  • Matthew FULLER, “Freaks of Number”, In> COX, G. – KRYSA, J. (eds.). Engineering Culture: ‘The Author as (Digital) Producer’. New York: Autonomedia (DATA browser 02) 2005. Available on-line: < http://www.spc.org/fuller/texts/freaks-of-number/ > [cit. 12.
  • SACK, Warren. “Memory.” In. FULLER, M. (ed.) Software studies, a lexicon, Cambridge - London: The MIT Press 2008, p. 184 – 193.
  • CHUN, Wendy Hui Kyong. Programmed visions: software and memory. Cambridge, Mass.: MIT Press 2011.
  • HORÁKOVÁ, Jana a Louis-Philippe DEMERS. Anthorpocentrism and the Stating of Robots. In DAW07, Digital Art Weeks: The Meeting Point between Art and Technology at ETH Zurich. 1. vyd. Zurich, Switzerland: Adams,R.; Gibson, S.; Arisona, SM, 2007. s. 434-450,
  • HORÁKOVÁ, Jana. The Gestures That Software Culture Is Made Of. MAP - Media / Archive / Performance, Leipzig: Hochschule für Musik und Theater “Felix Mendelssohn Bartholdy”, 2016, roč. 2016, č. 7, s. 1-18. ISSN 2191-0901.
  • HANSEN, Mark, B. N.: New Philosophy for New Media. MIT Press, 2004.
  • GRAU, Oliver. Virtual art : from illusion to immersion. Cambridge, Massachusetts : London : MIT Press, c2003.
  • DANIELS, Dieter. Duchamp: Interface: Turing: A Hypothetical Encounter between the Bachelor Machine and the Universal Machine. In: GRAU, O. (ed.) Media Art Histories. Cambridge – London: The MIT Press 2007, p. 103 – 136.
  • TURKLE, Sherry. The Second Self: Computers and the Human Spirit. New York: Simon and Schuster 1984.
  • Jean CLAIR - Harald SZEEMANN (eds.). Le macchine celibi / The Bachelor Machines. Catalogue La Biennale di Venezia, Venice: Alfieri Edizioni d’Arte 1975. Avalilable on-line: < http://www.scribd.com/doc/46775310/The-Bachelor-Machines >
Teaching methods
Lectures, readings, discussions, presentations by students.
Assessment methods
Active participation in lectures, participation at presentations by professionals.
Written test (10 questions, at least 50% of the correct answers), research papers submission, and selected topic presentation in front of class.
Language of instruction
Czech
Further Comments
Study Materials
The course is taught annually.
The course is also listed under the following terms Autumn 2012, Autumn 2013, Autumn 2014, Autumn 2015, Autumn 2016, Autumn 2017, Autumn 2018, Autumn 2019, Autumn 2021.
  • Enrolment Statistics (Autumn 2020, recent)
  • Permalink: https://is.muni.cz/course/phil/autumn2020/IMN100