NEW MEDIA ART HISTORY
CADN Courses (not all courses offered every year)
CADN 6B03: Canadian Art, Design and New Media Art History
This course addresses contemporary artistic, new media art or architectural/design practices in Canada. Depending on the instructor’s specialization, the course may analyze case studies of particular artists, designers or architects; specific art and design scenes in the country’s regions and metropolitan centres; Canadian arts institutions, policies and representation in international projects; criticism and theory; and issues such as nationalism, sovereignty and multiculturalism.
CADN 6B05: Contemporary Indigenous Art, Design and New Media Art History
Depending on the instructor’s specialization, this course will survey pioneering and contemporary work by Aboriginal artists, new media art practitioners, or architects/designers. The rich heritage of First Nations’ culture continues as artists and designers translate traditional values and approaches into modern and postmodern contexts. Such work serves multiple functions: asserting Aboriginal voices and methodologies, critiquing Western aesthetics and politics, and forging alternative theories and cultural analyses.
VISM 6B01: Hybrid Media and Interactivity
As new technologies become ever more enmeshed in artmaking practice, they also merge with and assimilate multiple forms of media from the domains of entertainment, mass media, the sciences, and elsewhere. Whether this merging is due to integration, convergence or recombination, it demonstrates the dynamic and protean nature of artistic utilization of technology. Such hybridity often involves interactivity and directly solicits participation, shifting the nature of the art audience from viewer to user and maker. Contrary to the purity, autonomy and distance privileged in modernism, this course analyzes the theoretical and aesthetic significance of hybridity, interactivity and engagement.
VISM 6B02: Digital Aesthetics
This course examines the effect of digital presence on contemporary visual culture and the rethinking of aesthetics. It will foster a critical attitude to digital culture and consider issues such as sensual stimulation, interface aesthetics, surface appearance, digital composition and artifice, illusion and simulation, among others. Through readings and case studies, the course will draw upon digital art, collaborative digital practices, and new, creative technological developments.
VISM 6B03: New Technologies, New Critical Perspectives
The burgeoning fields of digital and new media bring forth unexpected challenges to the practice of art history and criticism. New technologies – whether utilizing the Internet, telepresence, virtual or augmented reality – cross disciplinary boundaries and bring art into integral relationships with science, engineering, artificial intelligence, robotics and biotechnology. This course will develop critical perspectives, terminology and theory relevant to post-1990 technologies and their use by artists.
VISM 6B04: New Media Art History
New media art has a complex triangulated ontology derived from the fields of science, art, and technology. Beginning in the nineteenth century, this course will trace these distinct histories coupled with emerging theoretical paradigms. Certain aspects of new media now taken for granted – immersion, interactivity, emergence – arose theoretically prior to their materialization via technology. Hence, with particular attention paid to the way we have written our futures, the course will also include prescient narratives from science fiction, film, and visual art.
VISM 6B05: Digital Historiography and Screen Documents
This course focuses on the impact of digital technologies on traditional screen representational regimes. What happens when the universality of digital documentation encounters the infinite mutability of digital documents? The course will examine a range of philosophical approaches to digital screen documents as historical evidence. Contemporary theorists in this emerging field of research to be considered include Peter Sloterdijk, Brian Massumi, Philip Rosen, Alex Galloway, Bruno Latour, and Mark Poster.
VISM 6B06: Issues in New Media Art History
Tailored to the individual faculty member’s research interests, this course examines the issues arising from the recent innovations in new media artistic practice and theory. Virtual museums, data aesthetics, posthuman audiences, embedded computing and gaming strategies are just a few of the means by which technology is drastically changing the conventions of art experience, criticism and art historical analysis.
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Suggested Readings
Abbate, Janet, Inventing the Internet, Cambridge: MIT Press, 1999.
Barnard, Malcolm, Art, Design and Visual Culture: An Introduction, Hampshire: MacMillan Press Ltd, 1998.
Bender, Gretchen and Timothy Druckrey, eds., Cultures on the Brink: Ideologies of Technologies, Seattle: Bay Press, 1994.
Boxer, Sarah, Ultimate Blogs, New York: Vintage Books, 2008.
Bugeja, Michael, Interpersonal Divide: The Search for Community in a Technological Age, New York: Oxford University Press, 2005.
Burnett, Robert and David Marshall, Web Theory, New York: Routledge, 2003.
Campbell-Kelly, Martin and William Aspray, Computer: A History of the Information Machine, New York: Basic Books, 1996.
Clarke, Andy and Grethe Mitchell, Videogames and Art, Bristol: Intellect Books, 2007.
Couture, Francine, Les art visual au Québec dans les Années Soixante: La reconnaissance de la modernité, Montreal: VLB, 1992.
Crary, Jonathan, Techniques of the Observer, Cambridge: MIT Press, 1996.
Daniels, Dieter and Barbara U. Schmidt, Artists as Inventors/Inventors as Artists, Linz: Ludwig Boltzmann Institute, 2008.
Darley, Andrew, Visual Digital Culture: Surface Play and Spectacle in New Media Genres, London: Routledge. 2000.
Dixon, Steve, Digital Performance, Cambridge: MIT Press, 2007.
Dizard, Wilson, Old Media/New Media: Mass Communication in the Information Age, New York: Longman, 2000.
Doane, Mary Ann, The Emergence of Cinematic Time: Modernity, Contingency, The Archive, Cambridge: Harvard University Press, 2002.
Dyson, Frances, Sounding New Media: Immersion and Embodiment in the Arts and Culture, Berkeley: University of California Press, 2009.
Easthope, Antony and Kate McGowan, eds., A Critical and Cultural Theory Reader, Maidenhead: Open University Press, 2004.
Frieberg, Anne, The Virtual Window: From Alberti to Microsoft, Cambridge: Harvard University Press, 2009.
Gere, Charlie, Digital Culture, London: Reaktion, 2002.
Gitelman, Lisa, Always Already New: Media, History and the Data of Culture, Cambridge: MIT Press, 2006.
Graham, Beryl and Sarah Cook, Rethinking Curating: Art after New Media, Cambridge and London: MIT Press, 2010.
Grau, Oliver, Virtual Art, From Illusion to Immersion, Cambridge and London: MIT Press, 2003.
Grau, Oliver, ed., MediaArtHistories, Cambridge and London: MIT Press, 2007.
Gray, Chris Hables, The Cyborg Handbook, New York: Routledge, 1995.
Greene, Rachel, Internet Art, London: Thames & Hudson, 2004.
Hansen, Mark, New Philosophy for New Media, Cambridge: MIT Press, 2004.
Hansen, Mark, Bodies in Code: Interfaces with Digital Media, New York: Routledge, 2006.
Haraway, Donna, Simians, Cyborgs and Women: The Reinvention of Nature, New York: Routledge, 1991.
Hassan, Robert and Julian Thomas, eds., The New Media Theory Reader, London: Open University Press, 2006.
Hayles, Katherine N., Chaos and Order: Complex Dynamics in Literature and Science, Chicago: University of Chicago Press, 1991.
Hayles, Katherine N., How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics, Chicago: University of Chicago Press, 1999.
Hayles, Katherine N., Writing Machines, Cambridge: MIT Press, 2001.
Hayles, Katherine N., My Mother Was a Computer: Digital Subjects and Literary Texts, Chicago: University of Chicago Press, 2005.
Illes, Chrissie, ed., Into the Light: The Projected Image in American Art 1964-1977, New York: Whitney Museum of Modern Art, 2002.
Imre, Anikó, Identity Games, Cambridge: Harvard University Press, 2009.
Jenkins, Henry, Convergence Culture: Where Old and New Media Collide, New York: New York University Press, 2007.
Jones, Caroline A., Sensorium: Embodied Experience, Technology and Contemporary Art, Cambridge: Harvard University Press, 2006.
Kac, Eduardo, Signs of Life: Bio Art and Beyond, Cambridge: Harvard University Press, 2009.
Kosel, Susan, Closer: Performance, Technologies, Phenomenology, Cambridge: Harvard University Press, 2009.
Kroker, Arthur, Technology & the Canadian Mind, Montreal: New World Perspectives, 1983.
Ladly, Martha & Philip Beesley, eds., Mobile Nation, Toronto: Riverside Architectural Press with Canadian Design Research Network Toronto, 2008.
Latour, Bruno, We Have Never Been Modern, Cambridge: Harvard University Press, 1993.
Lister, Martin, et al., eds., New Media: A Critical Introduction, London and New York: Routledge, 2009.
Lovejoy, Margot, Postmodern Currents: Art and Artists in the Age of Electronic Media, New Jersey: Prentice Hall, 1992.
Lunenfeld, Peter, ed., The Digital Dialectic: Essays on New Media, Cambridge: MIT Press, 2000.
Manovich, Lev, The Language of New Media, Cambridge: MIT Press, 2001.
Marvin, Carolyn, When Old Technologies Were New: Thinking About Electric Communication in the Late Nineteenth Century, New York: Oxford University Press, 1988.
McLuhan, Marshall, Understanding Media: The Extensions of Man, Toronto: McGraw Hill, 1965.
Murray, Timothy, Digital Baroque: New Media Art and Cinematic Folds, Minnesota: University of Minnesota Press, 2008.
Penley, Constance and Andrew Ross, eds., Technoculture, Minneapolis: University of Minnesota Press, 1991. >
Popper, Frank, From Technological to Virtual Art, Cambridge: Harvard University Press, 2007.
Postman, Neil, Technopoly: The Surrender of Culture to Technology, New York: Alfred A. Knopf Press, 1992.
Salter, Chris, Entangled: Technology and the Transformation of Performance, Cambridge: MIT Press, 2010.
Shanken, Edward, Art and Electronic Media, London: Phaidon Press, 2009.
Shaw, Jeffery and Peter Wiebel, eds., Future Cinema: The Cinematic Imaginary After Film, Cambridge: MIT Press, 2003.
Tribe, Mark and Reena Jana, eds., New Media Art, New York: Taschen, 2006.
Tremayne, Mark, Blogging, Citizenship, and the Future of Media, London: Routledge, 2007.
Virilio, Paul, Cinema and War, New York: Verso Books, 1989.
Virilio, Paul, The Lost Dimension, New York: Semiotext(e), 1991.
Virilio, Paul, The Vision Machine, Bloomington: Indiana University Press, 1994.
Wardip-Fruin, Noah, First Person: New Media as Story, Performance and Game, Cambridge: Harvard University Press, 2010.
Wardip-Fruin, Noah and Nick Montfort, eds., The New Media Reader, Cambridge: MIT Press, 2003.
Whitelaw, Mitchell, Metacreation: Art and Artificial Life, Cambridge: MIT Press, 2005.
Wilding, Faith, Domain Errors: Cyberfeminist Practices, New York: Automedia, 2002.
Wilson, Stephen, Information Arts: Intersections of Art, Science and Technology, Cambridge and London: MIT Press, 2002.
Zielinski, Siegfried, Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means, Cambridge: MIT Press, 2006.
Last Modified:2/16/2012 8:21:56 AM
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