DANM 201Students will examine an array of methods and approaches to research and writing Digital Media Art and Culture and explore key theories concerning digital media and cultures. The course may focus on the interaction between digital technologies and socio/cultural formations. Upper-division undergraduates may enroll with permission of the instructor.
Week 9 – November 28 — Embodiment
Response Writing Week #9
Jean-Francois Lyotard, “Can Thought Go On Without a Body?” in The Inhuman (Stanford: Stanford University Press, 1988), 8-23.
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.
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.
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From Three Different Times On one hand it is amazing to me that Bergson was able to see ideas so far into the future, and on the other being born into a new era where the concepts of the individual was emerging due to the discourse between Darwinian thought, which in tern question concepts of God... I don't think it is a stretch to compare (not topically) the significance of the subject matter relative to newness, Donna Haraway''s, “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century” with Bergin's Matter and Memory. Both contend with a world in flux, Harraways because of a technological new world void of a gender impressioned historical context and Bergson because origin of life itself was being questioned.
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About the Video
This Video is called The Human Race. This is an interview with Pro. Sandra Kemp of the Royal College of Art, on human enhancement. |
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About the Video
The New York Times Company Debuts "Moveable Type" Nope, it's not the corporate blogging software we're talking about here, but the new permanent art installation in the lobby of the newspaper's new Renzo Piano-designed headquarters building on Eighth Avenue and 41st Street. Artist Ben Rubin and UCLA professor/statistician Mark Hansen have created a multi-media installation of 560 small screens, mounted on two walls, which display information culled from the newspaper's archives and live feeds. Information is parsed and displayed by algorithms created by the artists. The duo's last collaboration as the Listening Post, which debuted at the Whitney in 2002 and has been traveling, most recently at the San Jose Museum of Art. The new work by Ben Rubin and Mark Hansen is reported in today's New York Times. Above is the segment that David and I did with the artists. This is one of a series of videos we have been creating for The New York Times Company about the new building. If you're in the neighborhood, stop by and see "Moveable Type." No ticket needed. -- Andy Plesser, Posted on Thursday, October 25, 2007 |
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This video is called PostHuman Society. To me it is stunning visually and contextually. Youtube Video Description: An interpretation of a Futuristic Society into a Controled MicroUniverse, with music by Dresden Dolls (672, Good Day) and MUSE (Ruled by Secrecy)... what are we becoming? |
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preliminary topic for final paper.
Week 2 — October 10 — Ideology of Media
Walter Benjamin, “The Work of Art in The Age of Mechanical Reproduction” in Illuminations, edited by Hannah Arendt (NY: Shocken, 1968), 217-242.
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.
Week 3 — October 17 — Surveillance /Biopolitics
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.
Week 4 – October 24 — Games
Jesper Juul, “Introduction” and “Rules and Fiction” in Half-Real: Video Games Between Real Rules and Fictional Worlds (Cambridge, MA: MIT, 2005), 1-22,163-196.
Henry Jenkins, “Game Design as Narrative Architecture” in Katie Salen and Eric Zimmerman, eds., The Game Design Reader: A Rules of Play Anthology (Cambridge, MA: MIT, 2006), 670-686.
Week 5 – October 31— Cyborgs
Donna Haraway, “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century” in Socialist Review, 80 (1985): 65-107
In class: individual meetings regarding selected topic for final paper.
Week 6 – November 7 — Emergence
Mark C. Taylor, “Emerging Complexity” in The Moment of Complexity: Emerging Network Culture (Chicago: University of Chicago Press, 2001), 125-156.
Sarah Kember, Cyberfeminism and Artificial Life (London and NY: Routledge, 2003), 1-13, 53-82.
Week 7 – November 14 — Virtuality
Brian Massumi, Parables for the Virtual (Durham and London: Duke U. Press, 2002), 1-21.
Margaret Morse, “ Cyberscapes, Control, and Transcendence: The Aesthetics of the Virtual” in Virtualities: Television, Media Art, and Cyberculture (Bloomington: Indiana U Press, 1998), 178-211.
N. Katherine Hayles, “Virtual Bodies and Flickering Signifiers.” October 66 (Fall 1993): 69-91.
Week 8 – Monday November 19 — Globalization, Digital Divide (note this is a Monday class)
Iba Ndiaye Djiadji, “Artistic Aggression and Globalization: What Will Remain of Africa?” in Gerfried Stocker, ed., Unplugged: Art as the Scene of Global Conflicts (Ostfildern-Ruit: Hatze-Cantz, 2002), 68-76.
Arjun Apadurai, “Here and Now” excerpt from Modernity at Large (Minneapolis: University of Minnesota Press, 1996), 1-11.
Olu Oguibe, “Part III: Brave ‘New World’,” from The Culture Game (Minneapolis: University of Minnesota Press, 2004), 149-177. Focus on the first section.
Week 9 – November 28 — Embodiment
Jean-Francois Lyotard, “Can Thought Go On Without a Body?” in The Inhuman (Stanford: Stanford University Press, 1988), 8-23.
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.
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.
Due December 5th, along with class presentation
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