San José State University

Department of Art & Art History

The History and Theory of New Media ART/H 110, Section 1 Fall 2014

Contact Information

Instructor: Dr. Dore Bowen, Assoc. Professor of Art History & Visual

Culture

Office Location: Art Bldg. 123

Telephone: (408) 924-4721

Email: dore.bowen@sjsu.edu

Office Hours: Tuesday 2:30-4:30pm and by appointment

Class Days/Time: Tues/Thurs noon – 1:15pm

Classroom: ART Bldg. 133

Course Description

This upper-division undergraduate course provides an introduction to historical and theoretical

issues relating to new media art in the 20th and 21st centuries. The course focuses on approaches

developed by the avant-garde in the United States and Europe. While thinking through the—at

times alarming, at times hopeful—implications of new media this course also examines the

complex relationships artists have developed with the machines that now inform our life-world.

The art movements addressed in this class include Fluxus and instruction-based art, process art,

performance and body art, video art, the Situationist International, installation, net.art, and bio

art.

Course Goals and Student Learning Objectives

After completing this course, students will:

1) be able to identify and respond to the main themes in new media art;

2) be familiar with the history of new media and the primary artists involved in its development;

3) be able to compare new media artworks and discuss the significance of individual works and

artists (and collectives);

4) be able to write a paper on a sub-topic related to new media.

ART/H110 T/TH NOON-1:15PM Fall 2014 DR. BOWEN page 2

Required Texts/Readings

Textbook

Class Textbook: Michael Rush, New Media in Art, Second edition (London: Thames & Hudson,

2005). Buy this book ASAP. It is available in limited supply at the Spartan Bookstore or online

through Amazon or other booksellers.

Other Readings

Additional Assigned Readings: The textbook is supplemented with required readings that are

linked to the course schedule and/or posted on the canvas course website. You should check the

schedule every week for assigned readings.

Other equipment / material requirements

Canvas: This course is managed on Canvas. The greensheet, assignments, essays (if necessary),

updates and the course dropbox for your papers are all on this course site.

How to access: Go to https://sjsu.instructure.com. Use your SJSU ID and

password to login.

For problems and issues contact the Help Desk at 408-924-2377

Websites with Information on New Media Art: This list has been compiled from a large array

of websites concerning new media.

1-Histories:

Histories of Internet Art

Great Brains — on the history of the computer

2-Online Collections:

UBUWEB — collection of avant-garde works

Virtual Circuit – collection of avant-garde works

Whitney Project Page - Artport is the Whitney Museum’s portal to Internet art and an online

gallery space for commissions of net art and new media art

Walker Art Center Project Page

Walker Mediatheque

Steve Wilson’s website and index of New Media

Rhizome — net.art collection and writings

3-Important Exhibitions:

SFMOMA Art in Technological Times exhibition — online exhibition, 2001

“Beyond Interface” by Steve Dietz

Zero1 — San Jose Media Art Biennial Sept 12th

-Dec 8th

Net_Condition — website for ZKM Center in Germany

4-Texts:

Nothingness.org (Situationist material)

SJSU Cadre Switch Journal SJSU

Library Liaison

Rebecca Kohn, rebecca.kohn@sjsu.edu or (408) 808-2007.

ART/H110 T/TH NOON-1:15PM Fall 2014 DR. BOWEN page 3

Course Requirements and Assignments

SJSU classes are designed such that in order to be successful, it is expected that students will

spend a minimum of forty-five hours for each unit of credit (normally three hours per unit per

week), including preparing for class, participating in course activities, completing assignments,

and so on.

1) Four Group Exercises (SLO 1): Students will be divided into groups. The exercises are

described in the course schedule and on the Canvas calendar. There will be time allotted in class

to prepare but students may need to make time outside of class as well. Due 9/12, 9/26, 10/17,

and 11/26. (Graduate students enrolled in the course may present their work to the class in lieu

of the group assignment.)

2) Paper Assignment (SLO 4): An individual 5 to 7-page paper. The instructions for this

assignment: 1) Describe a work of art in the San Jose Museum of Art. 2) Reread the essay by Jay

David Bolton and Richard Gruisin on “Remediation.” Define remediation and analyze your

chosen work in relation to this concept. 3) Finally, compare your chosen artwork to a work

discussed in class (see the links on the schedule) in terms of remediation.

Your paper is to be typewritten in 12-point font, with 1” borders, and footnote citations.

See the Chicago/Turabian Manual of Style for issues regarding style and formatting:

http://www.wisc.edu/writing/Handbook/DocChicago.html. If you have questions about writing

make an appointment at the Writing Center, Clark Hall, 408/924-2308. Contact Rebecca Kohn,

the library liaison, for information about research. The paper assignment will be explained and

discussed in class. A stapled hardcopy and online submission due on 11/7 at the beginning of

class.

3) Cumulative Review (SLO 2, 3): The cumulative review is on Friday 12/13 9:45 - noon. It

will be based upon the material covered during the semester in lecture and reading. It will

include term/image identification and written response questions.

Grading Policy

A+ = 100-97% A = 96-93% A- = 92-90%

B+ = 89-87% B = 86-83% B- = 82-80%

C+ = 79-77% C = 76-73% C- = 72-70%

D+ = 69-67% D = 66-63% D- = 62-60%

F = 59-0% Unsatisfactory

Grading information

No late assignments accepted. In the case of a medical emergency students will need an original,

signed and dated doctor’s note explaining the condition and declaring that you are unable to

attend class and complete work.

Papers will be graded on: 1) the ideas presented in fulfillment of the assignment, and 2)

grammar, spelling, structure, and thoughtful engagement.

ART/H110 T/TH NOON-1:15PM Fall 2014 DR. BOWEN page 4

Assignment Weight

1) 4 Group Exercises (5% each) 20%

2) Paper Assignment 40%

3) Cumulative Review 40%

Classroom Protocol

In-class Behavior

You are expected to attend all classes on time and remain in the classroom while in session,

unless otherwise arranged with the instructor. Absolutely no web surfing or phone calls will be

allowed in class.

Personal Responsibility

You are responsible for all class material. If you find material addressed in class difficult you

may leave the classroom. In such cases you are responsible for this material and will need to

arrange to exchange notes with another student.

Plagiarism will not be tolerated and will result in an F on the assignment and possibly the

course. All sources must be noted in your paper. You can find the definition of plagiarism on the

Judicial Affairs website at http://www2.sjsu.edu/senate/plagarismpolicies.htm. If you would like

to include in your project any material you have submitted, or plan to submit, for another class,

please note that SJSU’s Academic Integrity policy S04-12 requires approval by instructors.

http://www.sjsu.edu/advising/.

ART/H110 T/TH NOON-1:15PM Fall 2014 DR. BOWEN page 5

Course Schedule ART/H 110 History and Theory of New Media, Fall 2014 The following schedule is subject to change with fair notice. PLEASE NOTE: You need to have completed the reading assignment BEFORE the date listed below.

Date Topics, Readings, Artists In-class Activities Assignments Due

1.

8/22

Introduction

Syllabus, Schedule, Assignments

2.

8/27-29

The Avant-Garde & the Manifesto

Reading

*F.T. Marinetti, “Futurist Manifesto” (1909)

*Luigi Russolo, “The Art of Noises” (1913)

*Dada and Surrealism, Key Texts

*John Cage on Silence

Artists

Russolo, Intonorumori

JOHN CAGE--

John Cage, Water Walk (1960)

John Cage 4’33” (1952)

Soundings Exhibition at NYMOMA (2013)

3. 9/3-5 The Media- Possibilities & Discontents

Reading *Marshall McLuhan, “The Medium is the

Message” (1964) [pages 1-8]

*Gilles Deleuze, “Postscript on the Societies of

Control” (1990)

*Mcluhan Interview

Artists

NAM JUNE PAIK--

Nam June Paik Studio

Paik, “Video Tape Study #3” (1967-69)

Paik and Charlotte Moorman, TV Bra (1967)

Harun Farocki “Serious Games” (2009-10)

Trevor Paglen AND here

Thurs. 9/5 Groups Discuss

Event Score, Ex #1

Read over the event scores in

the Fluxus Performance

Workbook. Write a short

event score that responds to

one of the scores in the

Workbook. A one-page

hardcopy is due 9/12.

4.

9/10-12

The Event Score and the Happening

Reading

*Rush, Introduction, pp. 7-35

*Fluxus Performance Workbook

*Yoko Ono, “Event Lecture” (1966)

*Bruce Altshuler, “Art By Instruction”

Artists

Ubuweb 37 Short Fluxus Films

Fluxus at New York MOMA

Ray Johnson’s Mail Art

Dick Higgins on Fluxus vs. Dada

Allan Kaprow, “18 Happenings in 6 Parts”

(1959)

Joseph Beuys, Eurasian Symphony

Yoko Ono, Cut Piece (1965)

Thurs. 9/12 Group Ex #1

Due

Turn in a printed one-page

hard copy of your score at

end of class. Include the

names of your group

members and the title of

the event you are

responding to. Also

upload a copy to the

Canvas dropbox under Ex

# 1.

Exchange and perform

event scores.

ART/H110 T/TH NOON-1:15PM Fall 2014 DR. BOWEN page 6

5.

9/17-19

Performance & Video Art

Reading

*Rush, Ch. 1, pp. 36-81

*Definition of Performance Art

Artists

Dan Graham, Performer/Audience/Mirror

(1975)

Viennese Actionists (caution: might be

disturbing to some viewers)

Marina Abramovic in Manchester and Relation

in Time (1977/2010)

Vito Acconci, Theme Song (1973)

Bruce Nauman on Art 21

Douglas Davis, Write Me (1979)

William Wegman, Works (1972)

Joan Jonas, Vertical Roll (1972)

Thurs. 9/19 Groups Discuss

Endurance Video, Ex #2

Create a video no more than

3 minutes long. You may use

any device—video camera,

cell phone, webcam, etc.—to

capture an interesting gesture

of physical/emotional

endurance. Bring a copy on

9/26 on usb. Also upload a

link or copy to Canvas

dropbox under Ex #2. Be

prepared to screen and

explain your video in class.

6.

9/24-26

Performance & Video Art (cont)

Reading

*Rush, Ch. 2, pp. 81-123

Artists

Carolee Schneemann, Fuses (1964-67)

Peter Campus, 3 Transitions (1973)

Richard Serra and Nancy Holt, Boomerang

(1974)

Martha Rosler, Semiotics of the Kitchen (1975)

Sophie Calle & Greg Shephard, Double Blind

(1992)

Gillian Wearing, 2 Into 1 (1997)

Orlan, Carnal Art (2001) (caution: might be

disturbing to some viewers)

Thurs. 9/26 Group Ex

#2 Due

Bring in video on usb and

upload a link or copy to

the Canvas dropbox under

Ex #2 by the beginning of

class.

Project and explain in

class.

7. 10/1-3 Video Re-enactment

Reading

*Amelia Jones, “Presence in Absentia” (1997)

*Zimmerman Re-enactment Video (2012)

*On Marina Abramovic’s “Seven Easy Pieces”

(2005)

Artists Cindy Sherman, Doll Clothes (1975)

T.R. Uthco and Ant Farm, “The Eternal Frame”

(1975)

Mark Tribe, “Port Huron Project” (2006-9)

Sharon Hayes, “SLA Screeds” (2003)

Eva and Franco Mattes, “Imponderabilia”

(2007)

Marina Abramovic, “Seven Easy Pieces”

(2005)

Sam Taylor-Wood, The Last Century (2005)

ART/H110 T/TH NOON-1:15PM Fall 2014 DR. BOWEN page 7

8.

10/8-10

Mapping Space: The Situationists & After

Reading

*“Situationist Manifesto” (1960)

*Guy Debord, “Sit. Theory of the Derive” (ca.

1956)

*“Sit Theory of Détournement”(1959)

*Douglas Kellner, “Media Culture and the

Triumph of the Spectacle” (2001)

Artists

Psychogeographic Map of Paris

Situationist Films: Can the Dialectics Break

Bricks?(Vienet) & Society of the Spectacle

(Debord)

Asger Jorn

DIY Cartography

Julie Mehretu on Art21

Paula Levine

AdBusters

Thurs. 10/10 Groups

Discuss Psychogeographical

Map, Ex #3

Your group will perform a

dérive and from this create a

map that charts the data

culled from your drift

through the SJSU campus.

Scale, color, shape, etc.

ought to be carefully

designed. You may use

special effects, such as

collage or layering, but all

elements must be deliberate

and based upon group

consensus. Bring a usb copy

on 10/17 and upload on

Canvas under Ex #3. Be

prepared to project the map

and discuss in class.

9.

10/15-17

Media Installation and Projection

Reading

*Rush, Ch. 3, pp. 124-179

Artists

Installation Artists on Art & Culture

Janine Antoni

Mary Ellen Strom & Ann Carlson

Bill Viola (from SFMOMA 1999 Exhibition)

Pipilloti Rist, Ever is Over All (1997)

Douglas Gordon, Interview

Thurs. 10/17 Group Ex

#3 Due Bring in on usb and

upload a link or copy to

the Canvas dropbox under

Ex #3 by the beginning of

class.

Project and explain in

class.

10.

10/22-24

10/22 Mediation and Remediation

Reading

*Jay David Bolton and Richard Gruisin,

“Remediation” (1996)

Tues. 10/22 Visit to San

Jose Museum of Art

Print and bring a copy of the

questionnaire located on

Canvas to the museum. This

is to help you begin your

Paper Assignment. Bring

student ID card for discount

rate.

11.

10/29-31

The Birth of net.art

Reading

*Rush, Ch. 4, pp. 180-238

Artists

Olia Lialina, My Boyfriend Came Back from

the War (1995)

Jodi.org

Mark Napier, Digital Landfill

Visual Complexity

Martin Wattenberg

Vuk Cosic, ASCII (1998)

Thurs. 10/31 Discuss Paper

Assignment in-class

ART/H110 T/TH NOON-1:15PM Fall 2014 DR. BOWEN page 8

12. 11/5-

7

Narrative vs. Database

Reading

*Lev Manovich, “Database as Symbolic Form”

(2001)

*Rachel Greene, “Web Work: A History of

Internet Art” (2000)

Suggested Reading

*Emile Devereaux, “Doctor Alan Hart” (2010)

Artists

George Legrady

Jenny Holzer, Please Change Beliefs

Young-hae Chang and Heavy Industries

Natalie Bookchin

Jim Campbell, “Exploded Views” (2012)

Thurs. 11/7 Speaker

Artist Dr. Emile Devereaux,

Lecturer Lancaster

University

Thurs. 11/7 Paper

Assignment Due

Bring stapled hardcopy of

paper and upload a copy

to Canvas under Paper

Assignment by the

beginning of class.

13.

11/12-14

The Cyborg

Reading

*Albert Borgmann and N. Katherine Hayles

(1999)

*Donna Haraway, “Cyborg Manifesto” (1991)

Suggested Reading

* Elizabeth Grosz, “Chapter 4” from Volatile

Bodies (Canvas)

*Summary of Grosz in relation to

“Remediations”

Artists

Eduardo Kac

Aziz and Cucher

Matthew Barney [Cremaster Cycle, 1994-

2002]

Critical Art Ensemble (“Cult of the New Eve”)

Mongrel

Thurs. 11/14 Speaker

Artist G. Craig Hobbs,

Assistant Professor of Digital

Media, SJSU

14.

11/19-21

Remix Culture

Reading

Paul Miller A.K.A. DJ Spooky on his Rebirth

of a Nation (and watch video excerpt)

Artists

DJ SPOOKY—

DJ Spooky website, Retouching McLuhan, and

soundfile

Thurs. 11/21 Groups

Discuss Remix, Ex #4

Make a remix on Mixbit

(www.mixbit.com). Be

prepared to project and

discuss it in class.

15. 11/26 Remix Culture (cont)

No Class 11/28 for Thanksgiving 11/26 Exercise #4 Due

Upload link or copy to

Canvas under Ex #4 by

the beginning of class.

Project and explain in

class.

ART/H110 T/TH NOON-1:15PM Fall 2014 DR. BOWEN page 9

16. 12/3-

5

Wrap-Up

Final

Exam Cumulative Review Friday 12/13 9:45 - noon 12/13 Cumulative

Review

ART/H110 T/TH NOON-1:15PM Fall 2014 DR. BOWEN page 10

University Policies

Dropping and Adding

Students are responsible for understanding the policies and procedures about add/drop, grade

forgiveness, etc. Refer to the current semester’s Catalog Policies section at

http://info.sjsu.edu/static/catalog/policies.html. Add/drop deadlines can be found on the current

academic year calendars document on the Academic Calendars webpage at

http://www.sjsu.edu/provost/services/academic_calendars/. The Late Drop Policy is available at

http://www.sjsu.edu/aars/policies/latedrops/policy/. Students should be aware of the current

deadlines and penalties for dropping classes.

Information about the latest changes and news is available at the Advising Hub at

http://www.sjsu.edu/advising/.

Consent for Recording of Class and Public Sharing of Instructor Material

University Policy S12-7, http://www.sjsu.edu/senate/docs/S12-7.pdf, requires students to obtain

instructor’s permission to record the course.

“Common courtesy and professional behavior dictate that you notify someone when you

are recording him/her. You must obtain the instructor’s permission to make audio or

video recordings in this class. Such permission allows the recordings to be used for your

private, study purposes only. The recordings are the intellectual property of the instructor;

you have not been given any rights to reproduce or distribute the material.”

o It is suggested that the greensheet include the instructor’s process for granting

permission, whether in writing or orally and whether for the whole semester or on

a class by class basis.

o In classes where active participation of students or guests may be on the

recording, permission of those students or guests should be obtained as well.

“Course material developed by the instructor is the intellectual property of the instructor

and cannot be shared publicly without his/her approval. You may not publicly share or

upload instructor generated material for this course such as exam questions, lecture notes,

or homework solutions without instructor consent.”

Academic integrity

Your commitment as a student to learning is evidenced by your enrollment at San Jose State

University. View the document at: http://www.sjsu.edu/senate/docs/S07-2.pdf. The university

requires you to be honest in all your academic course work. Faculty members are required to

report all infractions to the office of Student Conduct and Ethical Development. The Student

Conduct and Ethical Development website is available at http://www.sjsu.edu/studentconduct/.

Instances of academic dishonesty will not be tolerated. Cheating on exams or plagiarism

(presenting the work of another as your own, or the use of another person’s ideas without giving

proper credit) will result in a failing grade and sanctions by the University. For this class, all

ART/H110 T/TH NOON-1:15PM Fall 2014 DR. BOWEN page 11

assignments are to be completed by the individual student unless otherwise specified. If you

would like to include your assignment or any material you have submitted, or plan to submit for

another class, please note that SJSU’s Academic Integrity Policy S07-2 requires approval of

instructors.

Campus Policy in Compliance with the American Disabilities Act

If you need course adaptations or accommodations because of a disability, or if you need to

make special arrangements in case the building must be evacuated, please make an appointment

with me as soon as possible, or see me during office hours. Presidential Directive 97-03 at

http://www.sjsu.edu/president/docs/directives/PD_1997-03.pdf requires that students with

disabilities requesting accommodations must register with the Disability Resource Center

(DRC/now ERC) at http://www.drc.sjsu.edu/ to establish a record of their disability.

Student Technology Resources

Computer labs for student use are available in the Academic Success Center at

http://www.sjsu.edu/at/asc/ located on the 1st floor of Clark Hall and in the Associated Students

Lab on the 2nd floor of the Student Union. Additional computer labs may be available in your

department/college. Computers are also available in the Martin Luther King Library.

A wide variety of audio-visual equipment is available for student checkout from Media Services

located in IRC 112. These items include DV and HD digital camcorders; digital still cameras;

video, slide and overhead projectors; DVD, CD, and audiotape players; sound systems, wireless

microphones, projection screens and monitors.

SJSU Peer Connections

Peer Connections, a campus-wide resource for mentoring and tutoring, strives to inspire students

to develop their potential as independent learners while they learn to successfully navigate

through their university experience. You are encouraged to take advantage of their services

which include course-content based tutoring, enhanced study and time management skills, more

effective critical thinking strategies, decision making and problem-solving abilities, and campus

resource referrals.

In addition to offering small group, individual, and drop-in tutoring for a number of

undergraduate courses, consultation with mentors is available on a drop-in or by appointment

basis. Workshops are offered on a wide variety of topics including preparing for the Writing

Skills Test (WST), improving your learning and memory, alleviating procrastination, surviving

your first semester at SJSU, and other related topics. A computer lab and study space are also

available for student use in Room 600 of Student Services Center (SSC).

Peer Connections is located in three locations: SSC, Room 600 (10th Street Garage on the corner

of 10th

and San Fernando Street), at the 1st floor entrance of Clark Hall, and in the Living

Learning Center (LLC) in Campus Village Housing Building B. Visit Peer Connections website

at http://peerconnections.sjsu.edu for more information.

SJSU Writing Center

The SJSU Writing Center is located in Clark Hall, Suite 126. All Writing Specialists have gone

ART/H110 T/TH NOON-1:15PM Fall 2014 DR. BOWEN page 12

through a rigorous hiring process, and they are well trained to assist all students at all levels

within all disciplines to become better writers. In addition to one-on-one tutoring services, the

Writing Center also offers workshops every semester on a variety of writing topics. To make an

appointment or to refer to the numerous online resources offered through the Writing Center,

visit the Writing Center website at http://www.sjsu.edu/writingcenter.

SJSU Counseling Services

The SJSU Counseling Services is located on the corner of 7th

Street and San Fernando Street, in

Room 201, Administration Building. Professional psychologists, social workers, and counselors

are available to provide consultations on issues of student mental health, campus climate or

psychological and academic issues on an individual, couple, or group basis. To schedule an

appointment or learn more information, visit Counseling Services website at

http://www.sjsu.edu/counseling.