Czech

Not applicable.

Filozofická fakulta (FF MU)

After completing the course students will be able to:
- recognize significant artworks from the history of media art;
- 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;
- understand the fundamental difference between analog and digital media.

An interest in new media art. Good knowledge of a history of post-WWII art.

Not applicable.

AV screening. Group discussions aiming to interpret presented works, "Homewatch".

The output of the course consists of:
1. audiovisual work
2. accomanying text which contains: a description of the work, the intention, a description, the concept, the strategies and working techniques.

Evaluation criteria:
- formal references to specific work(s) of new media art;
- appropriate reasoning and expertise in the accompanying text;
- aesthetics of final audiovisual work.

Telepresence and telematics
forerunners:
László Moholy-Nagy: telephone-based art, 1922
Roy Ascott: Aspects of Gaia, 1989 AEC
Myron Krueger: Videoplace, 1975, Metaplay

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

Cinetic art, cybernetic sculptures, robotic performances and telerobotics
forerunners:
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: CYSP, 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

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 State, 1994
Eduardo Kac: Rara Avis, 1996
Lynn Herschmann: Tillie, the Telerobotic Doll, 1995

Performance, happening, social sculpture
forerunners:
Yoko Ono: Cut Piece, 1964
John Cage and dancer Merce Cunningham, Black Mountain College: Variations V.
Joseph Beuys with How to Explain Pictures to a Dead Hare, 1965
Chris Burden: Shoot, 1971
9 Evenings: Theatre & Engineering, 1966

Golan Levin: Telesymphony 2001
0100101110101101.ORG: Reenactment of Chris Burden's Shoot 2007, Second Life Performance

Installation, multimedia installation
forerunners:
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
forerunners:
John Heartfield a Hannah Höchová: dada fotomontáž
Hans Arp, Kurt Schwitters: koláž
Raoul Hausmann, Johannes Baader: asambláž
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
forerunners:
Sherrie Levine: After Walker Evans 1981

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

Not applicable.

The main objective of the course is to broaden a predominantly theoretically developed knowledge base of new media art with direct experience with partcular art works. This experience is then a basis for subsequent analysis and critical reflection.

Compulsory attendance (how many lessons can be missed will be specified in the beginning of the semester).

Not applicable.

Not applicable.

DANIELS, Dieter - SCHMIDT, Barbara U.: Artists as inventors - inventors as artists. Hatje Cantz, 2008. (CS)
FRIELING, Rudolf - DANIELS, Dieter (eds.): Media Art Net 1: Survey of Media Art. Springer, 2004. (CS)
PAUL, Christiane: Digital art. Thames & Hudson, 2003. (CS)
REENA, Jana –TRIBE, Mark: New Media Art. Taschen, 2009. (CS)
RUSH, Michael: New Media in Art. Thames & Hudson, 2005. (CS)
SHANKEN, Edward A.: Art and Electronic Media. Phaidon, 2009. (CS)
WILSON, Stephen: Information Arts: Intersections of Art, Science, and Technology. Cambridge, MA: MIT, 2002. (CS)

Not applicable.