NB! Se nederst ang. seminarplan
| Dato | Undervises av | Sted | Tema | Kommentarer / ressurser |
| 23.08.2012 | Ina Blom | Georg Morgenstjernes hus, Seminarrom 152 | Introduction: The relation between Art, Media and Technology | WJT Mitchell and Mark Hansen: Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010. (3-217, 280-297)Marshall McLuhan, Understanding Media. The Extensions of Man, Cambridge: MIT Press, 2002. (3-76)Walter Benjamin, ”The Work of Art in the Age of Mechanical Reproduction”, published in full at www.marxists.org. (12 pp.) |
| 06.09.2011 | Ina Blom | Georg Morgenstjernes hus, Seminarrom 152 | Medium and Materiality | Friedrich Kittler, Gramophone, Film, Typewriter, Stanford: Stanford University Press, 1999, (1-115)K. Ludwig Pfeiffer: ”The Materiality of Communication”, in Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer, Materialities of Communication, Stanford: Stanford University Press, 1994. (1-14)Jonathan Crary, Techniques of the Observer, Cambridge: MIT Press, 1992. (148 pp.) |
| 13.09.2011 | Ina Blom | Georg Morgenstjernes hus, Seminarrom 152 | Sound/Noise | Friedrich Kittler, Gramophone, Film, Typewriter, Stanford: Stanford University Press, 1999, (1-115Douglas Kahn, ”Significant Noises”, in Noise Water Meat. A History of Sound in the Arts, Cambridge: MIT Press, 2001. (20-68) Jacques Attali, ”Listening”, in Noise. The Political Economy of Music, Minneapolis: University of Minnesota Press, 2002. (3-20) |
| 20.09.2011 | Ina Blom | Georg Morgenstjernes hus, Seminarrom 152 | Photography | Roland Barthes, ”Extracts from Camera Lucida”, in Liz Wells (ed.) The Photography Reader, London: Routledge, 2002. (19-30)Osip Brik, ”What the Eye Does Not See”, in Liz Wells (ed.) The Photography Reader, London: Routledge, 2002. (90-91)Lazslo Moholy-Nagy, ”A New Instrument of Vision”, in Liz Wells (ed.) The Photography Reader, London: Routledge, 2002. (92-96)Rosalind Krauss, ”The Photographic Conditions of Surrealism, in The Originality of the Avant-Garde and Other Modernist Myths, Cambridge: MIT Press, 1999. (87-118) |
| 27.09.2011 | Ina Blom | Georg Morgenstjernes hus, Seminarrom 152 | Cinema/Film | Mary Ann Doane, ”Temporality, Storage, Legibility”, in The Emergence of Cinematic Time. Modernity, Contingency and the Archive. Harvard: Harvard University Press, 2002. (33-69)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)Malcolm Turvey: The Avant-Garde and the "New Spirit": The Case of "Ballet Mécanique". October 102, Fall 2002, Cambridge: MIT Press. (35-58)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) |
| 04.10.2011 | Ina Blom | Georg Morgenstjernes hus, Seminarrom 152 | Video/Television | David Antin, ”Video. The Distinctive Features of the Medium”, in John G. Hanhardt (ed) Video Culture. A Critical Investigation, New York: Visual Studies Workshop Press, 1986. (147-166) Marita Sturken, ”Paradox in the Evolution of an Art Form. Great Expectations and the Making of a History”, in Doug Hall and Sally Jo Fifer, Illuminating Video. An Essential Guide to Video Art, Aperture, 2005. (101-125)Margaret Morse, ”Video Installation Art: The Body, The Image and the Space-in-Between” in Doug Hall and Sally Jo Fifer, Illuminating Video. An Essential Guide to Video Art, Aperture, 2005. (153-168)John Hanhardt, ”Dé-collage/Collage: Notes Toward A Reexamination of the Origins of Video Art”, in Doug Hall and Sally Jo Fifer (eds), Illuminating Video. An Essential Guide to Video Art, Aperture, 2005. (71-81) |
| 11.10.2011 | Ina Blom | Georg Morgenstjernes hus, Seminarrom 152 | Immersion versus Illusion | Lev Manovich, The Language of New Media, Cambridge: MIT Press, 2001. (18-61, 212-243)Marshall McLuhan, Understanding Media. The Extensions of Man, Cambridge: MIT Press, 2002. (3-76)Oliver Grau: Virtual Art. Cambridge: MIT Press, 2003. (24-65, 140-173) |
| 18.10.2011 | Ina Blom | Georg Morgenstjernes hus, Seminarrom 152 | Archives, Networks and Databases | Mary Ann Doane, ”Temporality, Storage, Legibility”, in The Emergence of Cinematic Time. Modernity, Contingency and the Archive. Harvard: Harvard University Press, 2002. (33-69)Hal Foster, ”An Archival Impulse”. October 110, Fall 2004, Cambridge: MIT Press. (3-22) Lev Manovich, The Language of New Media, Cambridge: MIT Press, 2001. (18-61, 212-243)WJT Mitchell and Mark Hansen: Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010. (Alexander Galloway on Networks, 280-297)Inke Arns, ”Interaction, Participation, Networking” (22 p.) Full text with images and video examples published at Media Art Net http://www.mediaartnet.org/themes/overviewofmedia_art/communication/ |
| 25.10.2011 | Ina Blom | Georg Morgenstjernes hus, Seminarrom 152 | What is Media Aesthetics | WJT Mitchell and Mark Hansen: Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010. (Mark Hansen on New Media, 172-186, Eugene Thacker on Biomedia, 117-131)Miriam Hansen, ”Why Media Aesthetics”. Critical Inquiry, Vol 30, No.2, Winter 2004. Chicago: The University of Chicago Press (391-395) |
SEMINAR PLAN KUN 2230/4230 Art, Media, Technology Fall 2011
The participants will make a resume of one of the texts on the list below – for oral presentation. The presentation should be no longer than 10 minutes. Assignments will be distributed on the first day of the course.The presentations are discussed in class. If there are more participants than available texts, some participants will be assigned the task of being opponents/first respondents to the presentations.A resume should be structured as follows:1) Start out by presenting the key point or perspective of the article or book you have been reading.2) Then give an overview of the key arguments leading up to this point or perspective.| Dato | Undervises av | Sted | Tema | Kommentarer / ressurser |
| 23.08.2011 | Introduction, general discussion and practical details. | |||
| 06.09.2011 | The relation between Art, Media and Technology | Marshall McLuhan, Understanding Media. The Extensions of Man, Cambridge: MIT Press, 2002. (3-76)Walter Benjamin, ”The Work of Art in the Age of Mechanical Reproduction”, published in full at www.marxists.org. (12 pp.) | ||
| 13.09.2011 | Medium and Materiality | Friedrich Kittler, Gramophone, Film, Typewriter, Stanford: Stanford University Press, 1999, (1-115)Jonathan Crary, Techniques of the Observer, Cambridge: MIT Press, 1992. (148 pp.) | ||
| 20.09.2011 | Sound/Noise | Douglas Kahn, ”Significant Noises”, in Noise Water Meat. A History of Sound in the Arts, Cambridge: MIT Press, 2001. (20-68) Jacques Attali, ”Listening”, in Noise. The Political Economy of Music, Minneapolis: University of Minnesota Press, 2002. (3-20) | ||
| 27.09.2011 | Photography | Roland Barthes, ”Extracts from Camera Lucida”, in Liz Wells (ed.) The Photography Reader, London: Routledge, 2002. (19-30)Rosalind Krauss, ”The Photographic Conditions of Surrealism, in The Originality of the Avant-Garde and Other Modernist Myths, Cambridge: MIT Press, 1999. (87-118) | ||
| 04.10.2011 | Cinema/Film | Mary Ann Doane, ”Temporality, Storage, Legibility”, in The Emergence of Cinematic Time. Modernity, Contingency and the Archive. Harvard: Harvard University Press, 2002. (33-69)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) | ||
| 11.10.2011 | Video/Television | David Antin, ”Video. The Distinctive Features of the Medium”, in John G. Hanhardt (ed) Video Culture. A Critical Investigation, New York: Visual Studies Workshop Press, 1986. (147-166) Margaret Morse, ”Video Installation Art: The Body, The Image and the Space-in-Between” in Doug Hall and Sally Jo Fifer, Illuminating Video. An Essential Guide to Video Art, Aperture, 2005. (153-168) | ||
| 18.10.2011 | Immersion versus Illusion | Lev Manovich, The Language of New Media, Cambridge: MIT Press, 2001. (18-61, 212-243)Oliver Grau: Virtual Art. Cambridge: MIT Press, 2003. (24-65, 140-173) | ||
| 25.10.2011 | Archives, Networks and Databases | Hal Foster, ”An Archival Impulse”. October 110, Fall 2004, Cambridge: MIT Press. (3-22) WJT Mitchell and Mark Hansen: Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010. (Alexander Galloway on Networks, 280-297) |