TIM_BK_010 The New Media Art Canon. The Best of New Media Art II

Faculty of Arts
Autumn 2020
Extent and Intensity
0/2/0. 5 credit(s). Type of Completion: zk (examination).
Teacher(s)
Mgr. et Mgr. Adam Franc (lecturer)
doc. Mgr. Jana Horáková, Ph.D. (lecturer)
Mgr. Monika Szűcsová (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
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: 0/100, 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
  • Forms and Topics of New Media Art:
  • - Videoart
  • Precedents:
  • Man with Moviecamera (Dziga Vertov - Denis Arkadjevič Kaufman, 1929)
  • Hans Richter: RHYTHMUS 21 (1921-24)
  • Man Ray: LE RETOUR À LA RAISON (1923)
  • Fernand Léger LE BALLET MÉCANIQUE (1924)
  • FLUXUS FILMS : Nam June Paik, Dick Higgins, George Maciunas, Chieko Shiomi, Yoko Ono, Vostell, Albert
  • New Media Art:
  • Nam June Paik - Videofilm Concert (1965)
  • Nam June Paik: TV Buddha 1974
  • Wolf Vostell: Sun in your head, '9 No – Dé-coll/ages (1963)
  • Steina Vasulka Switch! Monitor! Drift! (1976)
  • Woody Vasulka: Art of Memory 1987
  • Steve Reich+Beryl Korot: Three tales (1998-2002)
  • - Generative art, computre art, algorithmic art
  • Cybernetic Serendipity (1968)
  • Charles Csuri: Hummingbird 1967
  • John Whitney: Permutations
  • Frieder Nake, 'Hommage à Paul Klee 13/9/65 Nr.2', 1965.
  • Michael Noll: Computer Composition with Lines (1964)
  • Michael Noll: Computer Generated Ballet
  • Frieder Nake : Polygon Drawings
  • Ben Grosser: Computers Watching Movies 2013
  • Erwin Driessens a Maria Verstappen: E-volver 2006
  • - Software art, interactive art, internet art, net art, ASCII, nomad networks, databasis, data visualisations, mobile and locative media, virtual worlds, VR a AR, hypertext
  • Scott Draves: Bomb (1995 – 1997)
  • Douglas Davis: THE WORLD'S FIRST COLLABORATIVE SENTENCE, 1994
  • Olia Lialina: MBCBFTW 1996
  • Mark Amerika: GRAMMATRON 1995
  • Joan Heemskerk a Dirk Paesman JODI.org 1995
  • I/O/D WebStalker 1997
  • Ben Benjamin: Superbad
  • Mark Napier :Digital Landfill 1998
  • Miltos Manetas: SuperMario Sleeping, 1998
  • Agnes Hegedüs: Memory Theater VR 1997
  • Vuk Cosic Ascii Art : ACSII History of Moving Images
  • Golan Levin: Audiovisual Environment Suite 1998
  • HEATH BUNTING: A Visitor's Guide to London Heath Bunting, 1995
  • Christa Sommerer-Laurent Mignonneau:Trans Plant (1995-6)
  • 0100101110101101.ORG: Hybrids: Online Net Art collages 1998 – 1999
  • - Sound art, electronic music, glitch music
  • Precedenty:
  • Luigi Russolo: Risveglio di una cittá
  • LUIGI RUSSOLO: Manifest Umenia hluku 1913
  • John Cage: 4:33 for piano (1952)
  • John Cage: Imaginary Landscape No. 1.
  • John Cage: Imaginary Landscape No. 4 ,12 radios (1951)
  • Edgard Varèse - Le Corbusier - Iannis Xenakis: Poème électronique (Expo, 1958)
  • I.Xennakis: Xenakis: La Légende d'Eer (1977-78)
  • New Media Art:
  • Pan Sonic: Vakio 1993
  • OVAL: Wohnton 1993
  • Karsten Nikolai
  • - AL, AI, biotechnology art
  • Will Wright: SimCity (1989), SimEarth (1990), Spore (2008)
  • Karl Sims: Galapágos 1997, Genetic images 1993
  • Jane Prophet a Gordon Selley: TechnoSphere (1995)
  • Christa Sommerer a Laurent Mignonneau: A-VOLVE 1994, Life Spacies 1996
  • Thomas Ray: Tierra 1998
  • Jeffrey Ventrella: Darwin Pond :Artificial Life Simulation 1996
  • Natalie Jeremijenko: oneTrees 2000
  • Ken Rinaldo: Autopoiesis 2000
  • Stelarc: Exoskeleton 1999, Ping Body 1996
  • Stelarc: The Man with Three Ears
  • Stelarc: Third ear
  • Eduardo Kac: Time Capsule 1996
  • Eduardo Kac: GFP BUNNY 2000
  • Oron Catts a Ionat Zurr Semi-Living Worry Dolls 2000
  • Stelarc: Extra Ear - The Tissue Culture & Art Project.
  • Joe Davis: Bacterial Radio, Microvenus
  • Anna Dumitriu
  • Polona Tratnik (SLO): Hair in vitro (2010)
  • Verena Kaminiarz (CA/DE) Ich Vergleiche Mich Zu Dir
  • Julia Reodica (US) / hymNext (2004-2008)
  • - New media art in Czech Republic
  • Emil František Burian + Miroslav Kouřil: Theatergraph
  • Alfréd Radok a Josef Svoboda: Laterna Magika
  • Zdeněk Pešánek: Edisonova transformační stanice
  • Zdeněk Sýkora
  • Alexander Hackenschmied
  • Radúz Činčera Kinoautomat- Človek a jeho dom
  • Woody Vasulka: www.vasulka.org
  • Michael Bielický: Exodus 1995
  • Frank Malina: Kinetic Optagon 1971
  • Ivor Diosi: Castanedize! : Dingir (1999)
  • Markéta Baňková New York City Map,1999
Literature
    required literature
  • Tribe Mark-Reena, Jana: New Media art, Taschen 2009
  • Rush, Michael. New Media in Art. London: Thames & Hudson, 2005.
  • Shanken, Edward A. Art and Electronic Media. London: Phaidon, 2009.
  • Wilson, Stephen. Information Arts: Intersections of Art, Science, and Technology. Cambridge, MA: MIT, 2002.
  • Christiane Paul: Digital Art. Thames & Hudson
  • Frieling, Rudolf, and Dieter Daniels, eds. Media Art Net 1: Survey of Media Art. New York and Vienna: Springer, 2004.
  • Dieter Daniels - Barbara U. Schmidt. Artists as inventors - inventors as artists. Edited by Ostfildern: Hatje Cantz, 2008. 237 s. ISBN 9783775721530.
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 (1 standard page), 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.
Language of instruction
Czech
Further comments (probably available only in Czech)
The course is taught annually.
The course is taught: in blocks.
Information on the extent and intensity of the course: 80 hodin výuky/semestr.
Information on course enrolment limitations: Seminář si zapisují studenti, kteří již absolvovali nebo si souběžně zapsali předměty: Umění nových médií: umění a technika I, II a Estetické teorie multimédií I, II.
The course is also listed under the following terms Spring 2020, Spring 2021.
  • Enrolment Statistics (recent)
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