syllabus

fine 4316/5316 history and theory of digital art

14 january - 1 may 2002, boulder, colorado, usa

!!!THIS SYLLABUS (like life, is) SUBJECT TO CHANGE!!!

department of fine art | university of Colorado boulder

facilitating agent: John Hopkins
e-mail: jhopkins (at) uiah.fi
office (Fine Arts N287): +1 303 492 4489
office hours: Mondays 15:30 - 17:30 open door -- other times by appointment only

| working schedule | resources | class list |

working schedule -- wednesdays 1500 - 1730

 

date content/structure

essential links/references/resources

week

1

01.16

discussion: introductions, background, identifying people, roots, resources, and possibilities

review basics of e-mail/mailing list etiquette...

 

during the first few sessions I will be presenting a detailed and comprehensive point-of-view concerning creative practice and presence in the world. this worldview is a re-presentation of my creative practice and will inform many of the subsequent commentaries I will make in class. missing parts of this formative stage of the course is equivalent to missing the point of the course. ATTENDANCE IS MANDATORY, NO EXCEPTIONS

week

2

23.01

 

discussion: a universal model for connection and interaction
defining terms: network vs heirarchy

exercise: with a single partner from the course, find a suitable two-hour time period and, minimizing distractions, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other. maintain at least several neurons in a self-reflexive mode, but otherwise document/comment on the experience online.

The Importance of Meetspace: A Manual for Temporary Media Labs

week

3

30.01

discussion: history of technology

A Finished Work of Art is a Thing of the Past

week

4

06.02

defining terms: VR and the history

exercise: with a single partner from the course, find a suitable two-hour time period and, minimizing distractions, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other. maintain at least several neurons in a self-reflexive mode, but otherwise document/comment on the experience online.

Billy Klüver

Redefinition of artistic practices in the 21st century

week

5

13.02

defining terms: interface, GUI

dialogue: foundations

VR and the Tea Ceremony

week

6

20.02

defining terms: creativity, re-situating the discussion so far in a sample model of creative practice

selection of case studies

case studies will be selected from a list of possible projects (compiled by myself and participants). individuals will then decode the object of the case study -- proposals for possible case studies must be made to me by 22 February...

exercise: with a single partner from the course, find a suitable two-hour time period and, minimizing distractions, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other. maintain at least several neurons in a self-reflexive mode, but otherwise document/comment on the experience online.

Technology and it Mediated Use

week

7

27.02

discussion: developing a model

Content is Not King

week

8

06.03

MID-TERM

exercise: with a single partner from the course, find a suitable two-hour time period and, minimizing distractions, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other. maintain at least several neurons in a self-reflexive mode, but otherwise document/comment on the experience online.

the unabomber manifesto

week

9

13.03

case studies

society of spectacle ch8: negation and consumption within culture

case studies:
Nicole - the thing
Kate - adbusters

Joel - lev manovich

Gretchen - kidlink

week

10

20.03

case studies

exercise: with a single partner from the course, find a suitable two-hour time period and, minimizing distractions, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other. maintain at least several neurons in a self-reflexive mode, but otherwise document/comment on the experience online.

computer paradigms

case studies:
Ian B. - art crimes
Beth - trace
Brian - timebroker
Ian K. - critical art ensemble
Blake - rtmark
Jessica - otherlands

week

11

03.04

exercise 3: create an event, situation, or happening on- or off-line where you yourself have a focused and attentive presence while seeking to engage others in a feedback loop.

 

utopian plagiarism, hypertextuality, and electronic cultural production (paper)

week

12

10.04

exercise: with a single partner from the course, find a suitable two-hour time period and, minimizing distractions, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other. maintain at least several neurons in a self-reflexive mode, but otherwise document/comment on the experience online. temporary autonomous zone

week

13

17.04

  architecture of dialogue

week

14

24.04

final presentations, planning strategies for continuing action

exercise: with a single partner from the course, at some two-hour period during the di*fusion event, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other.

di*fusion 0900:26:April--0900:27:April - happening

 

week

15

01.05

closing dialogues, planning for future activities, reflections on May Day  

week

16

monday
may 6
0730-1000

final examination  

 

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class list

name   web email
Blake J. Nolan http://ucsub.colorado.edu/~nolanb Blake.Nolan@Colorado.EDU
Brian Wood http://ucsu.colorado.edu/~woodbs Brian.Wood@Colorado.EDU
Ian Bauer     Ian.Bauer@colorado.edu
Ian Kennedy

http://digidev.8m.com/

http://www.snowowltraders.8m.com/

ian.kennedy@colorado.edu
Jessica Leber   dablondy@aol.com
Joel Swanson   Joel.Swanson@Colorado.EDU
Elisabeth Roorbach   elisabeth.roorbach@colorado.edu
Katherine Schwerin   Katherine.Schwerin@colorado.edu
Nicole Bechaka   nicolebechaka@yahoo.com
Gretchen Jones   Gretchen.Jones@Colorado.EDU

Grading Criterion

Grading will be based on the folloowing criteria:

The timely and successful completion of all projects.

Full PRESENCE in class (i.e., not just body attendance) is an absolutely essential element. Each student will be allowed one unexcused absence. The final grade will be lowered by one grade for each unexcused absence beyond one.

Participants will be expected to take an active role in class discussion and on the mailing list.

Projects and other work must be finished and presented on the due date. Any project turned in after those dates will be downgraded for each class day it is late.

Project grading will emphasize the creative and aesthetic qualities of the projects over any formalist/technical chrarcteristics.

An advisory grade based on work-to-date, participation, and attendance will be assigned at mid-semester. The final grade will be based on completion of the assigned projects, active participation in class and on the mailing list, and attendance.

The Department of Fine Arts is committed to upholding the University Uniform Grading System. Grades will be assigned according to this system, which reads:

A superior/excellent
B good/better than average
C competent/average
D minimum passing
F failing


Any student eligible for and needing academic adjustments or accomodations because of a disability is requested to speak with the professor no later than 30 January 2002.

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updated Feb.28.02
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