| Code | Completion | Credits | Range | Language Instruction |
|---|---|---|---|---|
| 373PDN1 | ZK | 2 | 4/T |
- Tutor:
- Tomáš POSPISZYL, Eric ROSENZVEIG, Miloš VOJTĚCHOVSKÝ
- Synopsis:
- Prerequisites:
-
Class 1. Martin BLAZICEK early multi-screen & performative cinema / music
machines / color organs
Magica Lantern
Diorama
Della Porta
LJ Daguerre
Bernard Castelo's Harpsichord
Kastner's Pyrophone/Calliope
Pre-cinematic machines: Thaumatrope, Zoetropes, Horner's Wheel, etc...
Color organs
B. Bischop - electric ark organ
Thomas Wilfred's Clavilux
Zdenek Pesanek's Color Piano
Oskar Fischinger's Lumigraph + R1
First cinematic systems compare to alternative systems and its use in
arts: Nipkow diks
Whitney brothers' pendelum system
Bruno Corra/Arnaldo Gina - expanded cinema concept, machine hacking Early
multi-screen by unknown author: In youth, besides... (1925)
Abel Gance's Napoleon
Synaesthesia, in the sense of multiple simultaneous media, interests many
New Media artists. Discuss synaesthetic works created in the first half of
the 20th cent. or earlier.
Class 2. Tomáš POSPISZYL Early Kinetic Art
Futurism and New Media
Laszlo Moholy Nagy and Light-Space Modulator
Marcel Duchamp and his optical works
Zdenek Pesanek and his Edison Transformation Station
Describe the impulses and forces that caused/allowed early kinetic and
light art to become a reality.
Class 3. Milos VOJTECHOVSKY Computer origins & Graphical interface Vanevar
Bush
Norbert Wiener
Alan Turing
Claude Shannon
Douglas Engelbert
Ivan Sutherland
Myron Kruger
Steward Brand
What technologies arise with the development of the personal computer that
permit „New Media Art“ to come into being?
Class 4. Milos VOJTECHOVSKY conceptual art as related to system art and
landart (mini-class):
Frank Stella
Robert Smithson
Vito Acconci
Gordon Matta Clark
Hans Hacke
Jack Burnham
Walter de Maria
Helen & Newton Harrison (The Harrisons)
Michael Archer
Contrast the early 20th century revolution in abstraction with the
revolution that systems art heralds.
Class 5. Eric ROSENZVEIG Videoart 1 the Television
Lucio Fontana
Wolf Vostell
Nam June Paik
Chris Burden
Aldo Tambellini & Otto Piene
Howard Wise Gallery
How did the TV become an object of art creation and how was it employed in
creating art?
Class 6. Eric ROSENZVEIG Videoart 3 Image Processing
Vasulkas & Rutt/Etra
Stephen Beck
Peer Bode
Experimental Television Center
Dan Sandin
Benton Bainbridge
Elaborate on the role of the toolbuilder versus the role of the artist. Is
the technology itself the art?
Class 7. Eric ROSENZVEIG Videoart 2 the Portapak Revolution
Vito Acconci
Bruce Nauman
Dan Graham
Charlemagne Palestine
Terry Fox
Paul & Marlene Kos
Dennis Oppenheim
Video Collectives
The portabable video recorder (portapak) was used by artists and activists
to explore dimensions beyond that allowed by painting and sculpture or
print. Discuss.
Class 8. Eric ROSENZVEIG Videoart 4 Video Installation Pioneers
Les Levine
Peter Campus
Valie Export
Bill Viola
Gary Hill
Beryl Korot
Muntadas
Show why video installation is used by artists instead of presenting their
videoworks in theaters or during screenings.
Class 9. Eric ROSENZVEIG Telematics & Telerobotics
Vannevar Bush (also mentioned in Milos Class 3)
Norbert Wiener (also mentioned in Milos Class 3)
Roy Ascott
Jack Burnham (also mentioned in Milos Class 4)
Myron Kreuger (also mentioned in Milos Class 3)
Electronic Cafe
Ian Baxter & N.E. Thing Co. Ltd.
Eduardo Kac
Norman White
Explain the concept of agency in reference to telematic and telerobotic
art work.
Class 10. Eric ROSENZVEIG VR & Immersion
Battle of Sedan & Panorama
Stan Vanderbeek
Sensorama, widescreen, IMAX, etc.
Timothy Leary
Ivan Sutherland
Jaron Lanier
Dan Sandin (also mentioned in Eric Class 6) & Tom Franti's CAVE
Char Davies
James Turrell
Robert Irwin
Kurt Hentschlager
Jeffrey Shaw
Immersion often requires spectacular technologies. Contrast how certain
artists use 'an economy of means', with those who employ more elaborate
systems to achieve similar goals.
- Study Objectives:
-
Class 1. Martin BLAZICEK early multi-screen & performative cinema / music
machines / color organs
Magica Lantern
Diorama
Della Porta
LJ Daguerre
Bernard Castelo's Harpsichord
Kastner's Pyrophone/Calliope
Pre-cinematic machines: Thaumatrope, Zoetropes, Horner's Wheel, etc...
Color organs
B. Bischop - electric ark organ
Thomas Wilfred's Clavilux
Zdenek Pesanek's Color Piano
Oskar Fischinger's Lumigraph + R1
First cinematic systems compare to alternative systems and its use in
arts: Nipkow diks
Whitney brothers' pendelum system
Bruno Corra/Arnaldo Gina - expanded cinema concept, machine hacking Early
multi-screen by unknown author: In youth, besides... (1925)
Abel Gance's Napoleon
Synaesthesia, in the sense of multiple simultaneous media, interests many
New Media artists. Discuss synaesthetic works created in the first half of
the 20th cent. or earlier.
Class 2. Tomáš POSPISZYL Early Kinetic Art
Futurism and New Media
Laszlo Moholy Nagy and Light-Space Modulator
Marcel Duchamp and his optical works
Zdenek Pesanek and his Edison Transformation Station
Describe the impulses and forces that caused/allowed early kinetic and
light art to become a reality.
Class 3. Milos VOJTECHOVSKY Computer origins & Graphical interface Vanevar
Bush
Norbert Wiener
Alan Turing
Claude Shannon
Douglas Engelbert
Ivan Sutherland
Myron Kruger
Steward Brand
What technologies arise with the development of the personal computer that
permit „New Media Art“ to come into being?
Class 4. Milos VOJTECHOVSKY conceptual art as related to system art and
landart (mini-class):
Frank Stella
Robert Smithson
Vito Acconci
Gordon Matta Clark
Hans Hacke
Jack Burnham
Walter de Maria
Helen & Newton Harrison (The Harrisons)
Michael Archer
Contrast the early 20th century revolution in abstraction with the
revolution that systems art heralds.
Class 5. Eric ROSENZVEIG Videoart 1 the Television
Lucio Fontana
Wolf Vostell
Nam June Paik
Chris Burden
Aldo Tambellini & Otto Piene
Howard Wise Gallery
How did the TV become an object of art creation and how was it employed in
creating art?
Class 6. Eric ROSENZVEIG Videoart 3 Image Processing
Vasulkas & Rutt/Etra
Stephen Beck
Peer Bode
Experimental Television Center
Dan Sandin
Benton Bainbridge
Elaborate on the role of the toolbuilder versus the role of the artist. Is
the technology itself the art?
Class 7. Eric ROSENZVEIG Videoart 2 the Portapak Revolution
Vito Acconci
Bruce Nauman
Dan Graham
Charlemagne Palestine
Terry Fox
Paul & Marlene Kos
Dennis Oppenheim
Video Collectives
The portabable video recorder (portapak) was used by artists and activists
to explore dimensions beyond that allowed by painting and sculpture or
print. Discuss.
Class 8. Eric ROSENZVEIG Videoart 4 Video Installation Pioneers
Les Levine
Peter Campus
Valie Export
Bill Viola
Gary Hill
Beryl Korot
Muntadas
Show why video installation is used by artists instead of presenting their
videoworks in theaters or during screenings.
Class 9. Eric ROSENZVEIG Telematics & Telerobotics
Vannevar Bush (also mentioned in Milos Class 3)
Norbert Wiener (also mentioned in Milos Class 3)
Roy Ascott
Jack Burnham (also mentioned in Milos Class 4)
Myron Kreuger (also mentioned in Milos Class 3)
Electronic Cafe
Ian Baxter & N.E. Thing Co. Ltd.
Eduardo Kac
Norman White
Explain the concept of agency in reference to telematic and telerobotic
art work.
Class 10. Eric ROSENZVEIG VR & Immersion
Battle of Sedan & Panorama
Stan Vanderbeek
Sensorama, widescreen, IMAX, etc.
Timothy Leary
Ivan Sutherland
Jaron Lanier
Dan Sandin (also mentioned in Eric Class 6) & Tom Franti's CAVE
Char Davies
James Turrell
Robert Irwin
Kurt Hentschlager
Jeffrey Shaw
Immersion often requires spectacular technologies. Contrast how certain
artists use 'an economy of means', with those who employ more elaborate
systems to achieve similar goals.
- Outline and Syllabus:
- Study materials:
- Note:
- Further information:
- This course is an elective for all AMU students
- Schedule for winter semester 2009/2010:
-
06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon Tue Fri Thu Fri - Schedule for summer semester 2009/2010:
- The schedule has not yet been prepared
- The subject is a part of the following study plans:
-
- Animovaná tvorba - bakalář (optional subject)
- Dokumentární tvorba - magistr (optional subject)
- Dokumentární tvorba - bakalář (optional subject)
- Animovaná tvorba - magistr (optional subject)
- Scenáristika a dramaturgie - bakalář (faculty subject, optional subject)
- Scenáristika a dramaturgie - magistr (optional subject)
- Režie - bakalář (faculty subject, optional subject)
- Režie - magistr (optional subject)
- Kamera - bakalář (faculty subject, optional subject)
- Kamera - magistr (optional subject)
- Produkce - bakalář (faculty subject, optional subject)
- Produkce - magistr (optional subject)
- Audiovizuální studia - bakalář (qualification subject, faculty subject, optional subject)
- Střihová skladba - bakalář (faculty subject, optional subject)
- Střihová skladba - magistr (optional subject)
- Zvuková tvorba - bakalář (faculty subject, optional subject)
- Zvuková tvorba - magistr (optional subject)
- Fotografie CZ - bakalář (optional subject)
- Fotografie CZ - magistr (optional subject)
- Audiovizuální studia - magistr (qualification subject, optional subject)
- Fotografie CZ - magistr: restaurování (optional subject)