SCHEDULE & DUE DATES:

Subject to change in response to contingencies and opportunities.

INTRODUCTION:TECHNOLOGY/RESISTANCE/PLAY; Camera Obscura, Daguerrotype, Magic Lantern
Jan 4 THEMES of the course, assignments, learning objectives.
Readings (all brief handouts or "HOs")
Brian Winston's model of invention; Huizinga on play from Homo Ludens; "the plug" excerpt from Jules Cassidy, Sally Wyatt, "Plugging into the Mother Country."
Viewings: selections The History of Computers vt8817 and They Dreamed Tomorrow vt 1989 Shi Guorui, contemporary camera obscura plates, sample daguerreotypes Huhtamo, The Magic Lantern In Archeology of the Moving Image vt 4885 selection Nekes, Media Magica DVD 3287
Assignment due emailed to mhaughwo@ucsc.edu by friday 12 midnight: writing your own media memoir and bringing it to section. This exercise often provides the kernel of your eventual paper topic. See the description of the technobiography under "assignments" or "summary"

Week One THE ARCHIVE, MOVING IMAGES, Analogy/Association, Liminality
Assignment: Analysis and Comparison of Two Archival Image Sequences (Due in section Wk3)
Jan 9 The Archive: Storing, Categorizing, Remembering; from Curiosity Cabinet to Database to Web/Analogy
Read: Sobchack, "Nostalgia for a Digital Object" in Memory Bytes
Manovich, "Database as Symbolic Form"; Ernst, "Does the Archive Become Metaphorical in Multi-Media Space?" ERES
View: a curiosity cabinet; The Museum of Jurassic Technology; database art sample; selection, www.computerhistory.org, Prelinger Archive Chris Marker, La JetŽe (1962) 29' vt 1286. DVD81 (in Dreams)
JAN 11 Moving Images: The Panorama, Motion Capture, Serial Images; Liminality
Read: Rebecca Solnit, selection River of Shadows: Eadweard Muybridge and the Technological Wild West (Electronic Text) Selected pages, Victor Turner, "Frame, Flow and Reflection: Ritual and Drama as Public Liminality" working link
View: Nekes DVD 3287; selection Ghost Dance (44') in The West VT3948 vol. 8 Jules ætienne Marey via web and McLaren, Pas de Deux vt2831 vol. 1; Hommage to Eadward Muybridge in: The Great Train Robbery The Movies Begin vol. 1 DVD123

Week Two THE SYSTEM: CLOCKS, TRAINS, TELEGRAPH, Jokes
Jan. 16 System, Industrialization of Space & Time; Fiction Effect/Split Belief
Read: Schivelbusch, Chs.2,3 and Excursus "The Space of Glass Architecture";
Marvin, Introduction, Chs. 1 &2 When Old Technologies were New (electronic text or 5 bookstore pb)
View: Clockwork vt 5507 selection The Corporation (2004) DVD2301, Arrival of a Train at La Ciotat (1895) DVD 1238; Griffith, The Lonedale Operator DVD203 v.2
Jan. 18 Trains, the Telegraph and Jokes
Read: Selection Kirby, Parallel Tracks ERES; Selection Freud, Jokes and the Unconscious ERES
View: Buster Keaton, The General (1927) 75'

Week Three NETWORKS, MOBILITY, SHOCK, FUN; Subjective Vision, Illix
Due before section this week: segment analysis and comparison
example of shot analysis PLEASE NOTE: your analysis will be different because it includes a comparison between either two time-based pieces, or a time-based piece and an image. this example is set forth to demonstrate how to break down a time-based piece.
please use one archival image or segment preferably from one of these two sources:www.computerhistory.org, Prelinger Archive see assignment summary for full descrition of assignment
Meet with TA and with instructor regarding your paper topic the third and fourth week of class.
Jan 23 Networks, Panoramic Vision, Stereography
Read: Schivelbusch, Chs.4, 7-10 include. Excursus Industrial Fatigue and The History of Shock Caillois, modes of play,
illix on ERES;
Rabinovitz on Hale's Tours in Memory Bytes ;
Babbitt on stereography in Memory Bytes
View: Stereographs, Por primera vez (For the First Time) (1967) Cuban short film
Jan 25 MODERN TIMES
Read: Joan Mellon, Modern Times BFI
View: Chaplin, Modern Times (1936) DVD 120
Due before section 26 January -- segment analysis & comparison :: please email to instructor before class.

Week Four INTERVENTIONIST ART and ACTIVISM, Tactical Media, Guerilla Television, Liminality
Jan 30Jan 30 VISIT OF CENTER FOR TACTICAL MAGIC
Read: Selected pages, Victor Turner, "Frame, Flow and Reflection: Ritual and Drama as Public Liminality" PDF,
On interventionism in The Interventionists HO
Look at website:
Feb 1: VISITOR Allan Rucker of TVTV
Read: Deirdre Boyle, selected pages of Subject to Change: Guerilla Television Revisited (Electronic resource and reserves)

Week Five MIDTERM; THE BUILT ENVIRONMENT & THE MEDIA Immersion, Interactivity, Distanciation
Due:Paper topic, tentative outline and bibliography due in section.
Feb 6 MALLS, FREEWAYS AND TELEVISION, Immersion, Interactivity, Feedback
Read:Morse, "An Ontology of Everyday Distraction: Malls, Freeways and Television" ERES
Morse, "Video Installation Art; The Body, the Image and the Space-in-Between" ERES
Morse, "Body and Screen" on closed-circuit,
Morse excerpts on "immersion" and "interactivity" ;
Brecht on distanciation, two-way radio HO
View: Video art sample, including closed circuit and installation art
Feb 8 MIDTERM

• download midterm study guide here
• week1::notes: cabinet of curiosity
• week1::notes: joseph cornell
• week1::notes: huizinga
• week1::notes: manovich
• week1::notes: solnit
• week1::notes: winston
• week1::notes: keywords & themes
• week2::notes: keywords & themes
• week3::notes: keywords & themes
• week4::notes: keywords & themes

Week Six THE CLOSED WORLD AND THE GREEN WORLD, GAMES
due noon monday: email a copy of your outline and working bibliography to the TA
due friday: email first 3 pages of your paper to professor
Feb 13 The Closed World and the Computer
Read: selection Edwards, The Closed World (Electronic Resource)
Abbate, the origin of email in Inventing the Internet (Electronic Resource)
View: computerhistorymuseum.org; part of Breaking the Code vt 4715 selections The History of Computers vt8817 and They Dreamed Tomorrow vt 1989 http://www.turing.org.uk
Feb 15War Simulation and Games
Read: Tamari-Tabrizi on military simulations in Memory Bytes
synopsis Baudrillard on simulation HO
Galloway, origins of the first person shooter in Gaming: Essays on Algorithmic Culture HO
View: selection, game art/machinima, selection, Oshii, Avalon

Week Seven SOUND
THE SOUND ENVIRONMENT, Vjaying, Synthesizing
Feb 20 SOUND ENVIRONMENT, RECORDING, LOSS OF AURA, Vjaying, Samples, Synthesis
Read: brief selections Alain Corbin on church bells,
Schaeffer on industrial sounds HO
Sobchack "When the Ear Dreams: Dolby Digital and the Imagination of Sound"
Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction" -- ERES
Chanan from Repeated Takes: A Short History of Recording and its Effects on Music -- Handout
View: archival wax cylinder songs, selection Finkelstein and Vlachos, Video Out
Feb 22
View: Iara Lee, Modulations vt6527

Week Eight SUBJECTIVITY: MIND/BODY/MACHINE, GENDER AND RACE, Scale, Miniatures
First draft of 7 pages due::emailed to margaretha by 12PM tuesday.
Feb 27The Doll as Future Eve, the Cyborg, the Ghost of Subjectivity
Read: Wood, sel., Edison's Eve: A Magical Quest for Mechanical Life (electronic resource)
synopsis Stewart on miniatures, giants HO.
Marvin, Ch. 5 "The Annihilation of Space and Time"
Donna Harraway"Cyborg Manifesto (pdf)"
Nakamura on passing in Cybertypes ERES, OR Race in/for Cyberspace
View: excerpts from Lang, Metropolis, Mongrel, Ghost in the Shell I and The SultanÕs Elephant
March 1CYBERORIENTALISM
Read:Chun on cyberorientalismand on The Ghost in the Shell in Control and Freedom ERES,
View: Mamoru Oshii, Ghost in the Shell II

Week Nine WHO OWNS THE WORLD? Collaboration, Participatory Culture, Relational Aesthetics
First draft of 7 pages returned now if not earlier. Option for those with a B or better to write and present a creative project.
March 6 THE COMMONS, CODE, RELATIONAL AESTHETICS
Read: Lessig, "free," Clippinger and Bollier,
"A Renaissance of the Commons" in Ghosh,
Code ERES
Bourriaud, selection, Relational Aesthetics (1998)
View: selection The Corporation (2004) DVD2301, selection DeBord, Society of the Spectacle vt 3428; Baldwin, Rocket Kit, Kongo Kit vt 6907, Art and participatory culture: pieces by Sack, Daniel, Dale and Stern
March 8 FANTASY AND PRIMARY PROCESS THINKING
Read: condensation and displacement, Freud, The Interpretation of Dreams HO
View: Murch, Return to Oz (1985)

Week Ten PRESENTATIONS
March 13 PRESENTATIONS Research projects, critiques. Panels assembled on like subjects. Each presentation is limited to 2 minutes (thesis and results of your research). Discussion
March 15 PRESENTATIONS Creative projects and remaining research projects, critiques.
Discussion. Handout take home exam.
Take home FINAL EXAM DUE Monday, March 19th at 4pm.

week7::notes: keywords, themes, links

week8::notes: week8 nakamura

week8::notes: week 8 chun

week8::notes: week 8 haraway

week9::notes: keywords, themes, links

REVISED 10-12 page minimum papers/project proposals accepted until Tuesday, March 20th at noon.

Film 136C S06 FINAL CREATIVE RESEARCH PROJECT
Those who have a B or better on their seven page paper have the option of doing a creative project instead of the revised and expanded10 or more page paper to be handed in on the scheduled date of the final. You will need to decide on a medium for your art piece and a strategy or tactics for intervention, expression, mode of play, etc. Your piece should be related to issues of technology and culture, work and play or other themes of the course.
Your project will have two written components:
1. a written statement that describes and contextualizes your art piece. Explain what historical apparatus, person or object are you addressing, Your art piece makes a statement: what discourse does it belong to? What research are you relying on? [For example, you might redesign or repurpose a historical apparatus like the camera obscura, stereo or panorama in a way that also redesigns it ideologically. Why and how?] Your statement should be about 2 and 1/2 to 3 pages minimum. Add bibliography at the end and make web links as relevant throughout.)
2. and, your drawings, plans or other visualization, verbalization, demo et. in some detail. Your plans/ visualization/demo or other should be about 4 pages/or a spot or a short in temporal length, meaning your creative project in total should be the equivalent of about 7 or more pages. YOU need NOT realize your project for the class. Your idea as it is specifically contextualized and detailed is what you are graded on; you are not being graded on the degree of technical skill you demonstrate. You may present an actual installation/VJ performance, etc., if you willÑand that would be a lot of fun---but that is not required. (This is not a course in production, so you are on your own when it comes to equipment and production know-how.] You will present your creative project the last day of class. You may show your creative project/plans on video or on computer if you like as part of your presentation. Presentation time may be limited in order to accommodate all creative projects.