Meeting Time and Place: PORTER 245 Wed 10AM-1PM
Office Hours, Phone, Email:
Office: Porter College, Room 212
Phone: 459-2408
Office Hours: 1:30-3:30PM (or by appt.)
Email: semurray@ucsc.edu
All readings are listed below by week, and can be found in your course reader.
Course readers are available at: The Literary Guillotine, 204 Locust St.Santa Cruz, CA 95060, Phone: (831) 457-1195
Please note that the readings are due on the day that they are listed.
Syllabus Overview and Expectations.
We can talk about:Steve Dietz, “Ten Dreams of Technology” in Leonardo, Vol. 35, No. 5, Tenth Anniversary New York Digital Salon (2002), pp. 509- 513+515-522.
Please purchase your course reader at Literary Guillotine and begin reading for next week.
Please set up a page on the DANM wiki where your responses will be posted. You can post your notes, links of interest, and other items to share with the class.
Walter Benjamin, “The Work of Art in The Age of Mechanical Reproduction” in Illuminations, edited by Hannah Arendt (NY: Shocken, 1968), 217-242. Originally “Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit” (1936)
Espen Aarseth, “We All Want to Change the World: The Ideology of Innovation in Digital Media” in Gunnar Liestol et. al, Digital Media Revisited (Cambridge, MA: MIT Press, 2003), 415-439.
Michel Foucault, “Panopticism” from Discipline and Punish (NY: Vintage Books, 1995), 195-228. Originally published in French in 1977.
Victor Burgin, “Jenni’s Room: Exhibitionism and Solitude” ” in CTRL SPACE: Rhetorics of Surveillance from Bentham to Big Brother (Karlsruhe: ZKM, 2002), 228-235.
Slavoj Zizek, “Big Brother, or, The Triumph of the Gaze Over the Eye” in CTRL SPACE: Rhetorics of Surveillance from Bentham to Big Brother (Karlsruhe: ZKM, 2002), 224-7.
Nicolas Bourriaud, Relational Aesthetics (Les Presses du Reél, 1998), 7-24.
Brian Holmes, “The Revenge of the Concept: Artistic Exchanges, Networked Resistance” in Art and Social Exchange: A Critical Reader (London: Tate Publishing, 2007), 350-368.
Geert Lovink and David Garcia, “ABC of Tactical Media by Geert Lovink and David Garcia,” nettime.org, May 1997.
Rita Raley, “Border Hacks: Electronic Civil Disobedience and the Politics of Immigration” in Tactical Media (Princeton University Press, 2009), 31-64.
Optional reading enclosed: Introduction and excerpt from Grant Kester’s Conversation Pieces: Community and Communication in Modern Art (University of California Press, 2004)
Shery Turkle, “Tethering” in Sensorium: Embodied Experience, Technology, and Contemporary Art, Caroline A. Jones (ed.). Cambridge, MA: List Visual Art Center and MIT Press, 2006.
Sherry Turkle, “Always-on/Always-on-you: The Tethered Self” in Handbook of Mobile Communication Studies, James E. Katz (ed.). Cambridge, MA: MIT Press, 2008.
Susan Elizabeth Ryan, “What is Wearable Technology Art?” Intelligent Agent, 2006
N. Katherine Hayles, “The Condition of Virtuality” from Peter Lunenfeld, ed., The Digital Dialectic: New Essays on New Media (Cambridge, MA: MIT Press, 1999), 69-94.
Brian Massumi, Parables for the Virtual (Durham and London: Duke U. Press, 2002), 1-21.
Tom Boelstorff, Coming of Age in Second Life: An Anthropologist Explores the Virtually Human (Princeton U. Press, 2008) excerpt.
Donna Haraway, “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century” in Socialist Review, 80 (1985): 65-107
Sarah Kember, Cyberfeminism and Artificial Life (London and NY: Routledge, 2003), 53-82.
Mojca Puncer, “Artistic Research on Life Forms” in LEONARDO, Vol. 41, No. 5, pp. 468–477, 2008.
Henri Bergson, Matter and Memory, trans. N.M. Paul and W.S. Palmer (NY: Zone Books, 1991). Translated from the 5th Edition published in French in 1908. Excerpt of 3 pgs.
Mark B N. Hansen, “Introduction” and “The Affective Topology of New Media Art” in New Philosophy for New Media (Cambridge, MA: MIT, 2004), 1-11, 197-232.
Christiane Paul, “Challenges for a Ubiquitous Museum” from Christiane Paul, ed., New Media in the White Cube and Beyond (Berkeley: University of California Press, 2008), 51-73.
Anne Collins Goodyear, “From Technophilia to Technophobia: The Impact of the Vietnam War on the Reception of “Art and Technology”, LEONARDO, Vol. 41, No. 2, pp. 169–173, 2008
Atau Tanaka, "Interaction, Experience, and the Future of Music" from \Computer Supported Cooperative Work (Vol. 35 ), pages 267-288, Springer. 2006. accessed online from 
http://www.csl.sony.fr/staff/member/?username=atau on September 12, 2008
Dominic Robson, "Play!: Sound Toys for Non-Musicians" in Computer Music Journal, Vol. 26, No. 3, New Performance Interfaces (Autumn, 2002), 50-61.
(If you’d like the paper returned to you, then enclose self-addressed envelope with enough postage.)
Course Requirements:
Journaling Assignments (30% of Final Grade)
Students are required to keep a response journal to the reading materials. You must submit a response of 400-500 words (roughly equivalent of one single-spaced page) which illustrates your understanding of the readings, your questions, and challenges of the material. Be sure to cover ideas or perspectives that particularly strike your interest, or that you particularly oppose. These journal notes are not required to be as “finished” as a polished essay, but you must submit these weekly in electronic form, paragraph format, and spell-checked. Post these to the course wiki at least 24 hours before class time. Please post them in an organized fashion so that I may easily navigate the information. Notes will be assessed based upon your ability to draw out and address the key points in the selected material, and your thoughtful contemplation.
It is not necessary that these are totally resolved or perfectly rendered ideas. You need not address the entire selection. You may write in a freeform fashion, or relate the reading to your own production, but no bullet points please as I need to follow your train of thought. Remember, you must write consistently and show that you are grappling with the material assigned. If you fall behind for more than two weeks, you’ll have difficulty catching up—fall behind for too long and you’ll be likely fail the course. Take these assignments seriously as they form a significant portion of your grade. Your score on these writings will be based on your ability to draw out the key points in the readings and thoughtfully respond to them. Grade deductions will be made in the case of slovenly work due to excessive errors and poor presentation, indications that the materials were not read, and lateness.
Discussion Leading (20% of Final Grade)
Throughout the semester, students will be asked to lead discussions on various topics. The schedule for these discussions will be made during class, and everyone will have an opportunity to participate. Use the journaling assignment during the week you lead discussion as an opportunity to set forth a series of questions about the texts. Draw parallels between them, and consider artists who might be responding to these ideas. I also encourage students to bring in outside materials on artists, filmmakers, or thinkers whose works come to mind in regard to the readings.
Class Attendance/Participation (20% of Final Grade)
During class we will be viewing and discussing an array of visual material. It is absolutely essential that you attend all sessions. An attendance sheet will be passed out at the beginning of class, so be there to sign in. Also, be sure to let me know in advance if you know you will be unable to attend one of these sessions for medical reasons, due to religious holiday observance, etc. Students who anticipate being absent from class due to religious observance should inform the instructor by the second class meeting of the term. If you are absent from class, you are responsible for contacting a classmate for the information you missed. Three unexcused absences will result in failure of the course.
Final Paper (30% of Final Grade)
Students will be required to write a final paper of 12-15 pages on a subject of their choosing that relates to the material presented in class. Students will be asked to write a one-paragraph summary of research intentions and meet with the professor to obtain topic approval. Remember that although these are research papers, you may use them as investigations of themes in your own work. I strongly encourage you to think about how this research might become a section of your MFA thesis paper.
Late Papers and Extensions
All writing assignments must be turned in on time. All final papers must be submitted in hardcopy form. Late Final Papers will not be accepted. Extensions will be granted in case of medical emergency. If you are confused about an assignment, or having difficulty completing the course, contact me right away.
Standard Formatting
I will not accept handwritten work.
Use only 10 or 12 point type in Times, Palatino, Helvetica or Garamond.
The essays should be double-spaced.
Use 1.25-inch or smaller margins on the left and right, 1-inch margins on the top and bottom.
Grades
Your final grade will be based upon the quality of your journal responses, as well as your participation, attendance, and final paper.
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