New Media History 2

Display Schedule

Code Completion Credits Range Language Instruction Semester
373DNM2 exam 3 4 lecture hours (45 min) of instruction per week, 33 to 48 hours of self-study English summer

Subject guarantor


Name of lecturer(s)



An exploration of the history of new media through a non-canonical approach to examining the artists, technologists / tool builders, and theorists who comprise this broad field. A parallel history of associated technologies assists the student in understanding related artworks and the technologies of communication in current use today. The social, political and economic implications of technological decision making while creating and presenting New Media work is examined.

The course is conducted in the form of lectures with projection and analysis of works.

New media indicates a category of artistic production, often including or focussed on moving image, its projection on more than one canvas, works with sound, physical and virtual environments. Approaches and concepts combine resources from media archeology, expanded cinema, computer programming, music production, computer and internet histories, performing arts and mass broadcast media and especially primary sources – the writings of the protaganist’s themselves. An excuse to look at the margins of art making using moving image and beyond in the 20th and early 21st century with its antecedents from the 18th century forward. New Media works can be processual, interactive, kinetic and combine multiple media.

For a list of potential topics see below.

Learning outcomes

Students gain skills in understanding the history and theory of New Media which can be applied in creating their own works.

Prerequisites and other requirements

the condition of enrollment is completion of the course History of New Media 1

New Media 1 IS NOT REQUIRED for non CAS or CAS Mg students


Primary resources are available here:

a partial list of readings:

GRAU, Oliver. Virtual Art: From Illusion to Immersion. Cambridge: Leonardo, MIT Press, 2002. 430 s., ISBN 978-0262572231.

GRAU, Oliver. Media Art Histories. Cambridge: Leonardo, MIT Press, 2010. 488 s., ISBN 9780262514989.

CRAWFORD, Kate. Atlas of AI: Power, Politics, and the Planetary Costs of Artificial Intelligence. Yale University Press, 2021. 336 s., ISBN 978-0300209570

KELLY, Caleb, editor. Sound. London: Whitechapel Gallery and Cambridge: The MIT Press, 2011. 121 s., ISBN 978-0-262-51568-9

LANDOW, George. Hypertext 3.0 Critical Theory and New Media. Johns Hopkins University Press; 3rd edition, 2006. 456 s., ISBN 978-0801882579

COX, Christof and WARNER, Daniel, editors. Audio Culture Readings in Modern Music, revised edition. London: Bloomsbury Publishing, 2017. 664 s., ISBN 9781501318375

BISHOP, Claire, editor. Participation. London: Whitechapel Gallery and Cambridge: The MIT Press, 2006. 240 s., ISBN 9780262524643

BODENHAMER, David and CORRIGAN, John and HARRIS, Trevor, editors. Deep Maps and Spatial Narratives. Indiana University Press, 2015. 254 s., ISBN 9780253015600

WOOD, Denis, Rethinking the Power of Maps. Routledge, 2010. 335 s., ISBN 9781593853662

KLUVER, Billy. A Day with Picasso. Cambridge: The MIT Press, 1999. 110 s., ISBN 9780262611473

WARDRIP-FRUIN, Noah, MONTFORT, Nick eds. The New Media Reader. Cambridge: MIT Press, 2004. 840 s., ISBN: 9780262232272.

TUFTE, Edward. The Visual Display of Quantitative Information. Cheshire, CT.: Graphics Press, 2001. 200 s. ISBN 978-1930824133

ASCOTT, Roy, SHANKEN, Edward A. eds. Telematic Embrace, Visionary Theories of Art, Technology, and Consciousness. Los Angeles: University of California Press, 2007. 439 s. ISBN 978-0520222946

ROSENZVEIG, Eric. Conflations: playListNetWork, NARRA and open narrative structures; software development as art practice. Prague: NAMU, 2019.

YOUNGBLOOD, Gene. Expanded Cinema. Boston: E. P. Dutton, 1970. 432 pages. ISBN 978-0525472636

RUSSELL, Ben. Headmap Manifesto. 1990.

ROKEBY, David. selected texts 1990’s

BURNHAM, Jack. Systems Aesthetics, Artforum, September 1968.

New Media History


Prix Ars Electronic Archive

Evaluation methods and criteria

Credits are granted on the basis of: min. 70% participation, active participation in discussions.

Brief class presentation and final exam.


Seminars can include:

Interactivity and Participation (1960-1970 a 1980-2000)

Telepresence/Telematics/TeleRobotics (1965-87)

Sound Art and Installation (1950-present)

Conceptual Art and new technologies (1960’s-1970’s

Earth Art (1964-present)

Networks and Systems Thinking (1960’s-2000)

Tactical Media (1990-present)

Machinima and gamespaces (2000-do současnosti)

Locative Media, GIS and Mapping (1990’s-present)

Artificial Intelligence (AI) (2000-present)

OSINT (2010-present)

Database cinema (1967-present)

Immersion - Virtual & Augmented Reality (1960’s-present)

Data Visualization 1910’s-present

Bioart (1990’s-present)

Further information

This course is an elective for all AMU students

Schedule for winter semester 2023/2024:

The schedule has not yet been prepared

Schedule for summer semester 2023/2024:

room 207
Room No. 2

(Lažanský palác)
(lecture parallel1)
Date Day Time Tutor Location Notes No. of paralel
Wed 14:50–18:05 Eric ROSENZVEIG Room No. 2
Lažanský palác
lecture parallel1

The subject is a part of the following study plans