Recent Changes

Sunday, September 24

  1. page edited Home_2018 Home Syllabus Directory
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    2:37 pm
  2. page instructions_2018 edited Orient yourself to the overall structure of the wiki by going to the HELP button in the upper righ…
    Orient yourself to the overall structure of the wiki by going to the HELP button in the upper right hand corner of the screen.
    The main idea to grasp is that there is a "view" mode and an "edit" mode for the wiki. Anyone can view the pages. But only invited "members" can edit the pages.
    In order to edit, you need to first sign in with your personal ID and password combination (usually your asurite/password that you set at the beginning of the class).
    Now, go to the horizontal string of options at the top right corner of the page. Click on the little box (has two intersecting lines) at the left end of the row (this is "wiki controls" icon). This activates the edit function. If you toggle this button, you will see a whole bunch of editing functions appear on the navigation menu at the right.
    Let's say you want to make a link to the School of Art on your personal wiki page. Here are the steps:
    1. Go to the class Directory by clicking on the link in the navigation menu at the right.
    2. Go to your personal wiki page by clicking on your last name in the Directory.
    3. Activate the "Edit Mode" by clicking on the Edit button on the upper right of your screen (has a pencil next to it).
    4. You are now in "edit mode."
    5. Type SCHOOL of ART somewhere on the page (insert your cursor and begin typing).
    6. Try changing the size of the text by using the pull down cell in the edit menu at the top of the page. Change "normal" to "Heading 3." This will create a "bold" and slightly larger font.
    7. Now, let's link that piece of text to the actual URL (universal resource locator--the web address) of the School of Art at ASU.
    8. Highlight the text.
    9. Click on the Link button at the top of the page.
    10. Notice that it gives you three choices as to what you are linking to: A Page or File; Web Address; or Email Address. In this case we are linking to a web address, so you would click that option. Notice that the dialogue box changes to provide little cells for the address. Also, in most cases, you will want to check the box that says "new window" (otherwise, the school of art website would open--and be framed by--the class site...instead of a whole new window).
    11. Type the address into the cell labeled Address. In the case of the school of art, this would be
    12. Finally, click on the Add Link button at the bottom right of the dialog box.
    13. You're done!
    OK, let's say you want to upload a file or image to the wiki. (You will need to do this if the file does not already exist as a webpage with a unique URL).
    1. While in Edit Mode (remember to click on the "Edit" button in the upper right), go to the Navigation Menu to the right
    2. Click on Pages and Files
    3. Find the Upload Files button at the upper right and click on it. This will take you to another dialog box.
    4. Select the Upload Files option to the left. Try uploading your CV to the wiki archive. Click the Add Files button at the bottom of the dialog box. This will allow you to browse to the file on your hard-drive or external drive. Your files are loaded once the blue arrow to the right of the file name turns into a green check. (Know that each file can only be 20 MB max.). Also, be sure to name the file something unique--such as "collins_cv.pdf" (NOT "cv.pdf"). This way you can do quick searches and ALSO not have your file overwritten by someone else's "cv"!
    5. Make a link from a piece of anchor text on your personal wiki page to the file or image. Type your own version of this: " Dan Collins's Curriculum Vitae {collins_CV_NSF_010114.pdf} ".
    7. Highlight the text (click and drag), then select Link.
    8. This time, instead of linking to an external URL, you will be linking to a file that you have uploaded.
    9. In order to easily find the file on the wiki archive, click on the down arrow next to the Page Name. This will bring up a little cell where you can type the name of the file. Since all of the stuff I am uploading to the site starts with "collins_", I just type "collins." A list of files that starts with "collins" is delivered beneath cell. Select the desired file--in this case, "collins_CV_NSF_010114.pdf".
    10. Click on the Add Link at the bottom of the dialogue window.
    11. You're done!

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  3. page links_2018 edited x-Links to ResourcesLinks to Resources Feel free to link your favorite artists, critics, histor…

    x-Links to ResourcesLinks to Resources
    Feel free to link your favorite artists, critics, historians, sites, artworks, galleries, etc.
    Local Venues
    Phoenix Art Museum
    Scottsdale Museum of Contemporary Art (SMOCA)
    Musical Instrument Museum
    Tempe Center for the Arts
    Arizona State University Art Museum
    Mesa Arts Center
    Local Artists and Critics
    Dan Collins
    Laurie Lundquist
    James Turrell
    Art in Phoenix
    Upcoming Lectures at ASU
    In the News...
    Ai Weiwei (Chinese conceptual artist):
    "He May Have Nothing to Hide, but He's Always Under Watch," New York Times, Feb. 25, 2013.

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    2:33 pm
  4. page videos_2018 edited First class: Patiris, Phil (1991). Modern Television.…
    First class:
    Patiris, Phil (1991). Modern Television.
    Week1: The Roles and Responsibilities of the Artist
    Lin, Maya (1990). A Strong Clear Vision. Documentary on the Vietnam Memorial. Trailer available at: Check out DVD at the ASU Architecture Library.
    Week 2: The Semiotics of Pop
    Hughes, Robert (1980)."Culture as Nature," The Shock of the New, Episode 7 (television series).
    Week 3:
    Duchamp, Marcel (1968). Interview.
    Robers Horton, Mandy. Minimalism. 1956 - 1970.
    Rogers Horton, Mandy. Conceptual Art. 1965 - present.
    Week 4: Earth Art & Environmental Art
    Goldsworthy, Andy, YouTube
    Holt, Nancy, Sun Tunnels {Nancy Holt, Sun Tunnels.mp4} , YouTube
    Smithson, Robert, Floating Island.
    Smithson, Robert, Spiral Jetty.
    Turrell, James, Air Apparent (2012). Video {movie.mp4} by Dan Collins (test 1).
    Uekeles, Mierle, Flow City
    Week 5: Body Art
    Burden, Chris
    Week 6: Performance Art
    Pussy Riot:
    Week 7:
    Week 8:
    Week 9:
    Week 10:
    Week 11:
    Week 12:
    Week 13: Video
    Julien Rosefeldt, Manifesto (performances by Cate Blanchett)
    Pipolotti Rist, New Museum video installations
    Week 14:
    Week 15:
    Week 16:

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  5. page lectures_2018 edited Supplemental lectures See poster for SOA Visiting Artist and Scholar Lecture Series here {VASL…

    Supplemental lectures
    See poster for SOA Visiting Artist and Scholar Lecture Series here {VASLS 2017 poster.pdf} . See descriptions of lecturers for VASLS program here.
    TJ Demos, VASLS Lecture Series, Grant Street Studios, Thursday, January 26, 7 pm (downtown Phoenix)
    Liz Lerman, Conversations. Museum of Walking. Jan. 19, 26, Feb.
    Ghost of a Dream, VASLS Lecture Series, Grant Street Studios, Thursday, Feb. 2, 7 pm (downtown Phoenix)
    Liz Lerman, Conversations. Museum of Walking. Feb. 9, 16, 23.
    Will Bruder, Architect. ASU Art Museum. 6:30 - 8:30, Feb. 9.
    Caleb Weintraub, VASLS Lecture Series, Grant Street Studios, Thursday, Feb. 9, 7 pm (downtown Phoenix)
    Christina Widmer, SMoCA, Thursday, Feb. 16, 7 pm.
    Stephanie Syjuco, VASLS Lecture Series, Grant Street Studios, Thursday, Feb. 23, 7 pm (downtown Phoenix)
    Justin Underhill, VASLS Lecture Series, Grant Street Studios, Thursday, Mar. 2, 7 pm (downtown Phoenix)
    Dario Robleto, Contemporary Forum Lecture Series, Phoenix Art Museum. Wed., Mar. 15, 6:30 pm
    Liz Lerman, Conversations. Museum of Walking. Mar. 16, 30.
    Eva Hesse: Film & Conversation, Thu. March 16, 7 pm, SMOCA (Scottsdale Museum of Contemporary Art)
    Linda Hogan (Chickasaw): Poet, Novelist, and Essayist, Tishomingo, OK. March 23. 7 pm, Heard Museum.
    Frankenstein panel. Friday. March 24, 5:45 pm, SMOCA (Scottsdale Museum of Contemporary Art)
    Mario Ybarra Jr, VASLS Lecture Series, Grant Street Studios, Thursday, April 6, 7 pm (downtown Phoenix)
    Beatriz Santiago Munoz, VASLS Lecture Series, Grant Street Studios, Thursday, April 13, 7 pm (downtown Phoenix)
    Sarah Cochran (SMOCA director), Walk Through Walls: A Memoir by Marina Abramovic, Thu. Apr. 13, 5:45, SMOCA (Scottsdale Museum of Contemporary Art)
    Liz Lerman, Conversations. Museum of Walking. Apr. 20.
    Click on titles to download .ppt lectures from class.
    First class meeting: The Roles and Responsibilities of the Artist
    Week 1: Modernism and Beyond {firstWeek_issues_inermedia_20170118.pptx}
    Week 2: Pop Art and Semiotics {collins_popSemiotics_detournement_012815.ppt}
    Week 3: Minimal, Post-Minimal, and Conceptual Art {collins_minimalism_postmin_concept.ppt}
    Week 4: Beyond the White Cube: Land Art & Environmental Art {collins_earthArt_021016.ppt}
    Weeks 5: Body Art {bodyArt_collins_012914.ppt}
    Week 6: Performance Art
    Weeks 7: Personal Research Presentations
    Week 8: SPRING BREAK
    Week 9: Video ( part I {video_part1.ppt} & part II {video_part2b.ppt} )
    Week 10: Expanding the Discourse {nativeAmericanContemp_collins.ppt} (Indigenous Art & Identity Politics)
    Week 11: Expanding the Discourse ( Feminist Art {feminist_art_140406.pptx} ). See also Politics of the Other {Expanding_Discourse_II.ppt}
    Week 12: Art, Science, and Technology
    Week 13: Social Media, Interactivity, Participatory Practices {collins_interactiveMedia_040412.ppt}
    Week 14: Gaming
    Week 15: Final Presentations
    Other: Sound {collins_soundArt_042915.ppt}

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    2:31 pm
  6. page readings_2018 edited Please post your questions to Blackboard "Discussion Forum" by the Sunday evening BEFO…
    Please post your questions to Blackboard "Discussion Forum"
    by the Sunday evening BEFORE the in-class discussion. For
    example, for Week 1, you would complete the readings sometime
    between Jan. 12 - 15, post your questions by the evening of Jan. 15,
    and participate in online forum between Jan. 15 and class on Jan. 18.
    First Class
    (Jan.11): Intro to the "Issues" class.
    What was big in 2016?
    Video in class: Modern Television by Phil Patiris.
    x-----Week 1Week 1Week 1
    (Jan. 12 – 18): The Purposes of Art and the Responsibilities of the Artist
    Greenberg, Clement, "Modernist Painting" (1965)
    The Animated Theories of Clement Greenberg (created in 2011 by Judith Shimer)
    Gablik, Suzie, “Beyond the Disciplines: Art Without Borders” (2004)
    Collins, Tim, “Thoughts on Strategic Action” (2004)
    Gomez-Pena, Guillermo, “The Virtual Barrio @ The Other Frontier (2002)
    In Electronic Media and Technoculture, John Caldwell, ed. New Brunswick: Rutgers, 2000, pp. 295-308
    Plato, "Allegory of the Cave," {plato_allegory_of_the_cave.pdf} Republic
    Video in class: Maya Lin – A Strong Clear Vision (excerpt)
    x-----Week 2Week 2Week 2
    (Jan. 19 -25): The Semiotics of Pop
    Additional lectures/events:
    TJ Demos, Grant Street Studios, 7 pm, January 26, 2017
    Video in class:
    Hughes, Robert, Culture as Nature.
    Pop Art: A Brief History (MOMA).
    Rauschenberg: Factum I / Factum II
    Oldenburg: Statement
    Lawrence Alloway: The Arts and Mass Media (1958)
    Marshall McLuhan: Playboy Interview (1969)
    Roland Barthes: Mythologies (1957). Pick out ONE essay (if you are an undergrad) TWO essays (if you are a grad) and be prepared to discuss (pages 15 – 103). Also, read pages 110 - 119; 127 – 130. Try to arrive a clear definition of "sign" and "signifier."
    Benjamin, Walter, "The Work of Art in the Age of Mechanical Reproduction," {benjamin_work_art_age_mechanical_reproduction.pdf} Illuminations, 1935/1969.
    Pop Art Overview {Pop_Art_goodOverview.pdf} (Saylor):
    Rose, Barbara, "Pop Art," {rose_barbara_popArt_1965.pdf} Encounters (August 1965)
    The story behind Jasper Johns's Beer Cans.
    Highly motivated students: You may want to dive further into the history and multiple manifestations of “semiotics.” A good starting point is the Wikipedia article here on Roland Barthes: Reading the full text at the end of Barthes’s Mythologies (pp. 106 – 164) would also be helpful. Finally, diving a bit deeper into the sources for the individual essays in Mythologies could be the basis for a short paper or even your semester research project. For example, Barthes's essay from the anthology, "The Great Family of Man" (based on Edward Steichen's famous traveling exhibition of photographs, The Family of Man), might be examined with respect to the overall "myths" espoused by the Exhibit...and whether or not you feel Barthes's critical assessment has merit.
    All: Be prepared to discuss the image below.
    {barthes_negroSoldier.jpg} barthes_negroSoldier.jpg
    x-----Week 3Week 3Week 3
    (Jan. 26 – Feb. 1): Minimal, Post-Minimal, Process, and Conceptual Art
    Additional lectures/events:
    TJ Demos, Grant Street Studios, 7 pm, January 26, 2017
    Judd, Donald, “ Specific Objects {judd_specificObjects_1965.pdf} ,” Arts Yearbook 8, 1965.
    Lewitt, Sol, “ Sentences on Conceptual Art,” 1966.
    Morris, Robert, Notes on Sculpture (parts I and II) {Morris_notesOnSculpture_1966.pdf} , Art Forum, 1966.
    Kosuth, Joseph, “Art After Philosophy,” 1969.
    Kaprow, Allan, Essays on the Blurring of Art and Life {Kaprow_Allan_Essays_on_the_Blurring_of_Art_and_Life_with_Impurity_Experimental_Art_The_Meaning_of_Life_missing_1993.pdf} (Written1958-1979. Anthologized in 1993). Read pp. 163 - 180. "Non-Theatrical Performance" (1976). [If you're pressed for time, read 175 - 180.]
    A Brief History of John Baldessari (2012. Narrated by Tom Waits)
    Morris, Robert, “ Anti-Form {morris_antiForm_1968.pdf} ,” Artforum, 1968.
    Fried, Michael, Art and Objecthood {Michael_Fried_Art_and_objecthood_1998_fullBook.pdf} , "Art and Objecthood" (1967), 1998.
    Lippard, Lucy, “Escape Attempts,” {Lippard-dematerialization-of-art.pdf} Six Years: The Dematerialization of the Art Object from 1966 – 1972.
    {baldessari_pencils.jpg} baldessari_pencils.jpg
    John Baldessari, The Pencil Story, 1972 - 73.
    x-----Week 4Week 4Week 4
    (Feb. 2 – Feb. 8): Beyond the White Cube – Earth Art, Environmental Art, Public Art, Community-based Strategies
    Guest Artist: Laurie Lundquist, Public Art
    Feb. 8: Field Trip -- James Turrell’s “Air Apparent” on the east side of ASU campus.
    Earth Art (Land Art): Overview
    Burnham, Jack, “ Systems Esthetics {SystemEsthetics-BURNHAM.pdf} ,” ArtForum, September 1968
    Smithson, Robert, "A Sedimentation of the Mind: Earth Projects," {smithson_asedimentationofthemind.pdf} ArtForum, September 1968
    Harrison, Helen and Newton, The Harrison Studio {harrisons_studio.pdf}
    Matt Moore: Personal Website –
    James Turrell, "Roden Crater"
    Smithson, Robert:
    Ratcliff, Carter, “ A Heap of Smithson {ratcliff_c_Smithson_2005.pdf} ,” Art in America, October 2005.
    Fuller, R. Buckminster, Operating Manual for a Spaceship Earth {fuller_manualSpaceshipEarth.pdf} , 1968 (pp. 1 - 23, Sections I - 4). Tho' it's so great you might read the whole thing!
    Fuller, R. Buckminster: Lightweight video overview:
    Fuller, R. Buckminster: The Buckminster Fuller Challenge 2008
    Lundquist, Laurie: Civic Art
    x-----Week 5Week 5Week 5
    (Feb. 9 – Feb. 15): Body Art
    Video in class: Chris Burden
    Performance Art: Overview Since 1910” (Read first for context)
    Jones, Amelia (1998). Body Art: Performing the Subject {jones_bodyart_intro_ch1.pdf} (dense theory piece)
    Zhang Huan: Essay on Chinese body artist by Eleanor Heartney (2007)
    (first watch the video clip under "Individual Artists")
    Documentation of Individual Artists
    Vito Acconci: Seedbed, 1972 (caution: this work may be offensive to some due to its sexual content)
    Chris Burden
    Chris Burden: Shoot
    Ulay / Abramovic: Relation in Time
    Yoko Ono: Cut Piece (1965)
    Tehching “ Sam” Hsieh
    Tehching Hsieh: Time Clock (videos)
    William Wegman: Deodorant, 1972 (video)
    Zhang Huan: Altered States (2007)
    Pyotr Pavlensky (2016)
    {Abramovic_RelationInTime_0.jpg} Abramovic_RelationInTime_0.jpg
    Ulay and Abramovic, Relation in Time, 17 hours, 1977
    x-----Week 6Week 6
    (Feb. 16 – Feb. 22): Performance: Character, Transformation, the "theatrical"
    Viegener, Matias, “Identity Theft: Eleanor Antin, Lynn Hershman, Suzy Lake, 1972-1978,” X-TRA, Contemporary Art Quarterly, Winter 2008, Volume 10, Number 2
    Deak, Frantisek, “The Use of Character in Artistic Performance,” {Deak_CharacterInPerformance_DumbOx_1980.pdf} Dumb Ox, Allan Kaprow, ed., #10/11, Spring 1980
    Antin, Eleanor: Antinova Remembers (4:12 .mpg)
    Laurie Anderson: “Difficult Listening Hour”
    Cindy Sherman: Doll Clothes (1975)
    Antin, Eleanor, “Notes on Transformation,” Theories and Documents of Contemporary Art, Kristen Stiles and Peter Selz, eds., 1996
    Artaud, Antonin: Overview in Wikipedia
    Artaud, Antonin: The Theater and Its Double, excerpt (1938)
    The Theater and Cruelty {ArtaudChap7-8-9-11.pdf}
    Suzanne Lacy: The Women's Building (History)
    Suzanne Lacy: Crystal Quilt performance exerpt
    Fisher_Lichte, Erika, “The Emergence of Meaning,” Transformative Power of Performance {Transformative Power of Performance _ A New Aesthetics_chap5.pdf} , 2008 (pp. 147 – 160)
    Ant Farm: “The Eternal Frame”
    Matthew Barney: Cremaster Cycle (1994 –i i 2002)
    Adrienne Truscott (Wau Wau Sisters). Reappropriating the Rape Joke (2015)
    x-----Week 7Week 7
    (Feb. 23 - March 1): Paper/Project presentations.
    March 2 - 15. Do readings in preparation for Video unit on March 15th. Develop proposal for Second project/paper and your Final research project.
    x-----Week 8Week 8
    (Mar. 6 - 10): SPRING BREAK
    x-----Week 9Week 9
    (March 11 - 15): Video
    Special guest: Peter d'Agostino. Professor of Film and Media Arts at Temple University and video pioneer.
    See links to his work here:
    Timeline (1864-2011):
    Horsfield, Kate, Busting the Tube: A Brief History of Video Art {Kate Horsfield - Busting the Tube; A Brief History of Video Art.pdf} (2006)
    Hugetz, Ed, "Experimental Video" (Overview of the field posted in 2005)
    Kurtz, Bruce, “Video is Being Invented” (1973)
    Collins, Dan, “Taka Iimura: Electronic Linguistics” (1980)
    Taka Iimura videos:
    Making An Audience (2006 - 2013):
    Furlong, Lucinda, "Tracking Video Art: ‘Image Processing’ as a Genre” (1985)
    Ekim, Berna, "A Video Projection Mapping Conceptual Design and Application: Yekpare" {video_projection_mapping_tojdac_2006.pdf} (2011) (Series of short videos illustrating recent work in the area of video projection)
    Overview of early Video: From Portapak to Camcorder
    In the news:
    Citizens' Videos Raise Questions on Police Claims. NY Times, April 9, 2015 (video) (Video Selfies documenting tensions between Palestinians and Israelis)
    Documentary Video
    Citizenfour, trailer (video on Edward Snowden by Laura Poitras)
    Citizenfour -- PBS interview with filmmaker Laura Poitras and journalist Glenn Gould
    Vice. Huge range of documentary video online.
    Experimental Film & Video
    Hoberman, J., Valley of the Cult Heroines, NY Times, Oct. 23, 2016
    Peter d'Agostino
    Mika Rottenberg
    Bill Viola (interview):
    x-----Week 10Week 10
    (March 16 – March 22): Expanding the Discourse (Volume I, Feminist Art)
    Guest artist: Malena Barnhart
    The Suffrage Movement (culminating the the vote for women in 1920)
    Civil Rights Act of 1964
    Equal Rights Amendment
    Equal Rights Amendment in Arizona (most recent legislation March 10, 2015!)
    Gender versus Sexuality Definitions {sexuality-definitions.pdf}
    Essentialism (Wikipedia)
    Feminist Art: Overview {feministArt_overview_2012.docx}
    Feminist Art: 3rd Wave {feministArt_3rd-wave_2003.docx} (pp. 1 - 7)
    Feminism: A Fourth Wave?
    Judy Chicago: "The Breakfast That Preceded 'The Dinner Party'" (NY Times, April 11, 2014)
    Rebecca Walker, Becoming the Third Wave
    Third Wave Video Art: Sarcastic and Serious
    What is Third Wave Feminist Art?
    Laura Mulvey, Visual Pleasure and Narrative Cinema {mulveyVisualPleasureNarrativeCinema.pdf} (1975)
    Alicia Ross
    Lauren McCarthy
    Molly Crabapple (Read this, then read Laura Mulvey above)
    La Performera
    Tracy and the plastics.
    Pussy Riot (See YouTube clips below)
    Micha Cardenas (transgendered)
    Adriene Truscott.
    Malena Barnhart.
    Video clips shared:
    EXHIBITIONS (online and in the world)
    Bad Girls (1994)
    Alien She (2013-2014)
    (en)Gendered (in)Equity: The Gallery Tally Poster Project (2014)
    Wikipedia: WikiProject Women artists
    WACK. Exhibition at MoCA (Los Angeles) Important in terms of 2nd wave fem.
    Revolution in the Making: Abstract Sculpture by Women, 1947-2016. Exhibition at Hauser, Wirth & Schimmel Gallery (Los Angeles) that provides an overview of Feminist Sculpture.
    Also – they have a video compendium over at West (too late for tonight’s class) of 1980/90s feminist video art
    Scream (trailer)
    This is the first of three movies discussed in the 3rd wave article above (pp. 7 - 16
    Goldiblox (the latest viral video)
    Barbie on the cover of Sports Illustrated
    Bechdel Test (1985) (2009) (2012 update looks at 2011 Oscars)
    Background on Riot Grrrl
    {hanna_kathleen_bikiniKillPapers_1990.jpg} hanna_kathleen_bikiniKillPapers_1990.jpg
    Bikini Kill no. 2, circa 1991. The Kathleen Hanna Papers.
    [Bikini Kill, led by Kathleen Hanna, released their last album in 1996]
    Bikini Kill Biographical Info.
    The Punk Singer- Kathleen Hanna Documentary w. Dir. Sini Anderson. (trailer) (full movie)
    Bikini Kill clips
    Rebel Girl (over Maoist propaganda films).
    Rebel Girl (club performance by Kathleen Hanna and Bikini Kill)
    Pussy Riot clips
    Women and Gaming
    Women and the Internet
    Feminism in the News
    How a Fractious Womens Movement Came to Lead the Left. New York Times, Feb. 7, 2017
    What to Ask a Celebrity Instead of Are you a Feminist? NY times, Feb. 26, 2017
    Steinem, Gloria (March 12, 2017). Women Get 'Chick Flicks.' What About Men? New York Times.
    x-Week 11Week 11
    (Mar. 23 – March 29): Expanding the Discourse (Vol. II - Indigenous Voices)
    March 29: Visiting artist -- Cristobal Martinez (Postcommodity)
    March 23. 7 pm: Lecture by Linda Hogan (Chickasaw), Poet, Novelist, and Essayist, Tishomingo, Oklahoma
    Heard Museum, 2301 N. Central Avenue (Central & Encanto), Phoenix, AZ 85004
    {luna_j_museumVitrine.png} luna_j_museumVitrine.png
    James Luna, Artifact Piece, performance, San Diego Museum of Man, 1986
    Cole, Karen, Bob Haozous: Unshackled Visions, Santa Fe One Heart, Sept – Oct. 2010. (currently unavailable. Stay tuned
    Interview with Bob Haozous
    Fisher, Jean. "In Search of the ‘Inauthentic’: Disturbing Signs in Contemporary Native American Art." {fisher_disturbingSigns_1992.pdf} Art Journal 51, no. 3 (1992): 44-50.
    James Luna: Take a Picture with a Real Indian
    Edgar Heap of Birds: Discussion of his work at the Venice Biennale in 2007
    Jimmie Durham
    Kade Twist: Interview (Remix Exhibition at the Heard Museum)
    The Simon Ortiz and Labriola Center Lecture on Indigenous Land, Culture, and Community
    Contemporary Native Artists
    Institute for American Indian Art
    National Museum of the American Indian
    Edgar Heap of Birds
    Jaune Quick-to-See Smith:
    Kade Twist - Semiotic Warfare:
    Bob Haozous
    Radio Healer (Cristobal Martinez and Company)
    x-Week 11----Week 12Week 12
    March 30 - April 5): Art, Science, and Technology (TBD based on visiting lecturer)
    Wilson, Stephen, “Art and Science as Cultural Acts,” {wilson_informationArts.pdf} Information Technology, pp. 1 - 33 (2002)
    Collins, Dan, "Digital Somatics" (1996)
    Collins, Dan, “Breeding the Evolutionary” (2002)
    Kac, Eduardo, “Transgenic Art” (1998)
    {kac_GFP_bunny.jpg} kac_GFP_bunny.jpg
    Eduardo Kac, GFP Bunny, 2000
    Stelarc, YouTube clips
    Kuhn, Thomas, The Structure of Scientific Revolutions {Kuhn_Structure_of_Scientific_Revolutions.pdf} (famous book about paradigm shifts). See in particular pages 111 - 135.
    References for further study:
    STEAM education (Science, Technology, Engineering, Art, and Math)
    Nettrice Gaskins (African American Women with ties to art, technology, and education)
    Rich Gold - Xerox Research Park
    John Seely Brown
    Bell Labs -- Lillian Schwartz, Ken Noltan (recumbant nudes)
    E.A.T. (Billy Kluver). Demise of EAT. Pepsi sued artists.
    Art and Technology Exhibition -- LA County MOMA. Unwieldy show with ONLY men.
    Nine Evenings of the Armory
    Wood and Steina Vasulka -- Audio/Synthesis
    Center for Advanced Visual Studies (George Kypas, Otto Piene -- MIT)
    Center for Creative Inquiry (Carnegie Mellon, Lowry Burgess, Tim Collins)
    Cybernetic Serendipity
    Secret Life of Plants (John Lifton).
    InfoZONE (Richard Lowenberg, Telluride, CO)
    Pauline, Mark, "Interview"
    Sheets, Hilarie (March 6, 2016), "Science Embraces a New Chaos Theory," {At M.I.T., Science Embraces a New Chaos Theory_ Art - The New York Times.html} NY Times. [direct link to online article]
    {munoz_vic_MIT_grainSand.jpg} munoz_vic_MIT_grainSand.jpg
    “Sandcastle No. 3,” drawn on a single grain of sand, part of a Vik Muniz series from 2013.
    Credit: Vik Muniz, via Sikkema, Jenkins & Co.
    x-Week 11----Week 13Week 13
    (April 6 – April 12): 2nd personal research project/paper due. Presentations in class.
    x-Week 11----New Media (Social media, Interactivity, and Participatory Practices)New Media (Social media, Interactivity, and Participatory Practices)
    Shanken, Edward, “Telematic Embrace…”
    .pdf {shanken_Art_Telematics_2001.pdf}
    Noah Wardrip-Fruin: Expressive Processing (Introduction)
    .pdf {Expressive_Processing_Digital_Fictions_Computer_Games_and_Software_Studies_Chapter_1_Introduction.pdf}
    Lev Manovich, “Real-Time Theory”
    .pdf {manovich_realTimeTheory_1997.pdf}
    Optional (by our former Director, Adriene Jenik).
    Jenik, A. & Lewison, S. (2001). Desktop theater. Drama review 43, 3. New York University and The Massachusetts Institute of Technology.
    Jenik, A. & Lewison, S. (2009). Moving in place: The question of distributed social cinema. In P. Harrigan, P. & N. Wardrip-Fruin (Eds.), Third person. Boston, MA: MIT Press.
    Other references:
    Dibbell, J (1993). A rape in cyberspace. The Village Voice, 36-42.
    Malloy, Judy (2016).
    Another more recent article that puts that article into a more contemporary context among other social behaviors that happen online:
    Hole in Space
    Jeffrey Shaw “The Virtual Museum” (1992)
    Networked performance:
    Hacker Quarterly
    Some random references for further study...
    Precursor project to Kit Galloway (1976-77). N. and S. Korea Hole in Space project that connected via satellite window (emotionally charged virtual connection -- inspiration for Hole in Space).
    Sherrie Rabinowitz (Optic Nerve...mostly radical documentary work. then went to Paris and Kit Galloway).
    Room in Berkeley. House of Michael Rothman free speech movement. Errol Morris also in house. apprenticing on film with Werner Herzog. (Les Blank made film of Werner Herzog eating his shoes...also One Garlic Is Worth Two Good Mothers
    Carolee Schneeman (Interior Scroll...1977 in Telluride)
    Hole in Space (Kit Galloway and Sherrie Rabinowitz). NASA/Ames/Goddard Satellite upload, Maryland , CTS project (also Satellite Arts Project -- Arch Diocese Menlo Park, CA...educational facility)
    Paul DeMarinis (Science). Exploratorium. Stanford University.
    Andrea Halprin. Lawrences wife. Choreographer.
    Biotelemetry (unencumbered...secret life of plants)
    Keith Sonnier, Lowenberg, Willoughy Sharp (Avalanche)
    Gary Lloyd (telefax performance). Include Dan's essay on "Real Time is the Only Time" (Artweek, early 80s, L.A.)?
    Robert Adrian (early European tele projects)
    Roy Ascott
    Tom Sherman (Canadian)
    Don Foresta (Paris/American Satellite work)
    Theodore Kheel (labor negotiation) Automation House (near Hunter College) David Rosenboom, Lowenberg
    Frank Odasz (Wyoming -- connected one room school house network. Czech + indigenous)
    Judy Malloy -- hypertexts. Early adopter. The Well in Berkeley.
    Dave Hughes (Colorado Springs). Cursor cowboy. EFF Electronic Frontiers Foundations award). Duane Hendricks black man from Detroit..met Bucky Fuller assistants. Champion wireless communication. Google hang-out with Dave, Richard, Duane (now at Institute of the Future in Palo Alto). NSF contracts created Mongolia in Island cultures...available on YouTube. Now 86 years old. Base camp wireless on Everest at age 75.
    1942 Heddy Lamar (Czech/Austrian) swimming naked 1930s-40s. Sam Goldwyn. Married to a German industrialist ...then composer George Antille...American composer collaborated. Ballet Mechanique with Leger. Antille did the score. Patent in 1942 "frequency hopping" for message encryption (basis for wifi)
    x-Week 11----Week 14Week 14
    (Apr. 13 – 19)
    Visiting artist, Laurie Lundquist. Site specific and Public Art.
    Video: Never Sorry. Ai Wei Wei. Watch in class.
    note: We will watch the documentary video, Never Sorry, by American documentarian, Alison Klayman.
    From 2008 to 2010, Beijing-based journalist and filmmaker Alison Klayman gained unprecedented access to internationally renowned Chinese artist and activist Ai Weiwei. Klayman documented Ai's artistic process in preparation for major museum exhibitions, his intimate exchanges with family members and his increasingly public clashes with the Chinese government. Klayman's detailed portrait of the artist provides a nuanced exploration of contemporary China and one of its most compelling public figures.
    x-Week 11----Week 15Week 15
    (Apr. 20 – 26): TBD. Let's decide the topic -- Gaming or Sound Art?
    x-Week 11----Week 16Week 16
    (May 3): No readings. Prepare to present your final project to class
    Final Presentations (as per final exam schedule): Wednesday, May 3, 4:50 - 6:40 PM (or until finished)
    Art, Activism, and Geo-Politics (the work of Chinese dissident artist, Ai Weiwei)
    Do the readings and watch the videos. Pick out one piece from Ai Weiwei's career (from Wikipedia or elsewhere) to discuss in the BB Forum.
    Salmon Rushdie, Dangerous Arts
    Roberta Smith, A Provacateur's Medium: Outrage, NY Times, April 17, 2014. (See also slide show and short embedded video).
    Simone Hancox, Art, activism and the geopolitical imagination: Ai Weiwei’s‘ Sunflower Seeds. (See video below entitled "Sunflower Seeds" before reading)
    Ai Weiwei (personal website)
    Ai Weiwei (wikipedia entry)
    PBS Newshour: Art, China, and Censorship According to Ai Weiwei
    Ai Weiwei: Sunflower Seeds
    note: We will be watching in class in its entirety the documentary video, Never Sorry, by American documentarian, Alison Klayman.
    From 2008 to 2010, Beijing-based journalist and filmmaker Alison Klayman gained unprecedented access to internationally renowned Chinese artist and activist Ai Weiwei. Klayman documented Ai's artistic process in preparation for major museum exhibitions, his intimate exchanges with family members and his increasingly public clashes with the Chinese government. Klayman's detailed portrait of the artist provides a nuanced exploration of contemporary China and one of its most compelling public figures.
    Experimental Music (Wikipedia)
    Sound Art (Wikipedia)
    Cage, John, Silence {Cage_Silence_1961.pdf} (1961)
    Kahn, Doug, The Wireless Imagination (Intro)
    Kahn, Doug, "Noises," The Wireless Imagination ( Chapter 35 {kahn_noises_ch35_wirelessImag.pdf} )
    Weiss, Allen (ed.), Experimental Sound and Radio {experimental_sound_radio.pdf} (2001)
    Pinder, David, "Ghostly Footsteps: Voices, Memories and Walks in the City" {cardiff_soundWalks_byPinder_2001.pdf} (2001) [the sound walks of Janet Cardiff]
    LaBelle, Brandon, Other Acoustics {LaBelle_OtherAcoustics(2009).pdf} (2009) [discussion of sound and architecture]
    Byrne, David, Playing the Building {Byrne_David_playing_the_building_Stockholm_2005.pdf} (2005)
    Virtual Reality
    {kac_GFP_bunny.jpg} kac_GFP_bunny.jpg
    Sam Anderson, Just One More Game... {Just One More Game_NYTIMES, April 4, 2012.docx} (NY Times, April 4, 2012)
    Laura Parker, Not Just Playing Around Any More {parker_gamesSocialProjects_NYTimes_2014.docx} (NY Times, April 21, 2014)
    Janet Murray, Toward a Cultural Theory of Gaming {Murray_culturalTheoryGaming_2006.pdf} (2006)
    Readings (optional)
    Elizabeth Hayes, Women, Videogames, and Learning {hayes_womenGaming_2004.pdf} (2004)
    Marian Carr (Review), Women & Gaming by James Gee & Elizabeth Hayes (2010)
    Lev Manovich, New Media ( "Navigation," pp. 213 - 243 {Manovich_newMedia_book.pdf} )
    Birgitte Holm Sørensen & Bente Meyer, Serious Games {seriousGames.pdf} (2007)
    Videos (optional):
    Yale Course in Game Theory
    Jonathan Blow (rec. by Don Vance)
    Image/text (rec. by Don Vance)
    Eterna. Online video game for researching RNA
    Rose, Frank, The Mission to Save Vanishing Pixels, NY Times, Oct. 23, 2016
    Link to the class list (2014 & 2016)

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  7. page Discussion_Forum_2018 edited Discussion_Forum_archive Discussion Forum Instructions: Proceed to our dedicated BlackBoard pa…


    Discussion Forum Instructions: Proceed to our dedicated BlackBoard pages as follows:
    1. Log into using your regular asurite login combo
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  8. page Discussion_Forum_2018 edited Discussion_Forum_archive Discussion Forum Instructions: Proceed to our dedicated BlackBoard pag…

    Discussion Forum Instructions: Proceed to our dedicated BlackBoard pages as follows:
    1. Log into using your regular asurite login combo
    2. Find the Blackboard Course entitled: ARA 330: Issues in Intermedia (2017 Spring)
    3. Once you open the class Blackboard home page, look for "Discussion Board" on the menu on the left side (link above should take you there directly).
    4. Start your own "thread" under posted "forums."
    5. Submit responses to the questions posted by your colleagues.
    6. The Discussion Board/Forum will provide the basis for in-class discussion.
    7. Post a minimum of 3 questions and 3 responses per week.
    note: You will not be given credit for one word replies, glib or wry observations, or off the cuff remarks...tho' all are welcome! (Please do avoid verbal abuse, personal attacks, and profanity (!))

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  9. page Syllabus_2018 edited Syllabus_archive ISSUES in Intermedia Instructor: Dan Collins Course numbers: ARA 330 (SLN# 2…

    ISSUES in Intermedia
    Instructor: Dan Collins
    Course numbers: ARA 330 (SLN# 21733).
    Class meetings: Wed. 6:00-8:45 pm Spring 2017 Location: Twr A 202 Credits: 3 hours
    Office: Stauffer Hall and Tower A 105
    Office Hours: T/Th 10:30 – 11:30, Stauffer Hall 125, and by appointment.
    Intermedia Area / School of Art / Arizona State University
    Course Objectives
    --Present a survey of recent theory and practice in "Intermedia" art.
    --Broaden students understanding of non-traditional media, performance, installation, computer art, video, social practice, webart, interactivity, etc. and their relationship to contemporary society and discourse.
    --Provide a common historical and theoretical framework for students majoring in the Intermedia area.
    Learning Outcomes
    --understand the historical context, major artworks, artists, supporting documents, and literature of “intermedia” practice.
    --produce original research based on required and related readings and in-class discussion.
    --gain confidence in discussing the key issues concerning intermedia practice in ways that are both articulate and persuasive.
    --develop a set of research methodologies and approaches to critical discourse that will serve them in other areas of research.
    This course is designed as a critical survey of recent theory and practice in "Intermedia" art. Created specifically to provide a common historical and theoretical framework for students majoring in the Intermedia area, the course will also be of interest to anyone seeking to broaden their understanding of non-traditional media, performance, installation, computer art, video, social practice, webart, interactivity, etc. and their relationship to contemporary society and discourse.
    You needn’t purchase any books. Nevertheless, we will be doing lots of reading, surfing, info gathering, sharing of favorite texts, images, videos, etc. Weekly readings from online sources will be provided.
    Course Requirements
    During the semester, each student will produce two short essays (3- 5 pages), oral presentations, or projects (with instructor's approval) that address issues and/or artists discussed in class or that respond to current exhibitions or symposia. In addition, a final research paper (10 pages min.) and/or equivalent project will focus upon a "question"-- philosophical, aesthetic, political, etc.-- formulated by the student during the course of the semester. This question should clearly target some particular aspect of 20th/21st century art for the purposes of in-depth analysis. Preferably, this analysis would have some bearing on the student's creative work. Final questions are due at the latest by March 7th and must be approved by the instructor.
    Additionally, using the Discussion Board feature in Blackboard, you are required to submit three leading questions based on the reading each week. Also, you are to comment on at least three of your colleagues' questions. In other words, you will make a minimum of six postings to the Discussion Board each week--at least 3 of your own original questions and 3 comments.They will be reviewed/recorded weekly by Collins (don’t fall behind) and provide the basis for in-class discussion.
    Your grade will be determined as follows: Class participation (reading, discussion, attendance, questions) 20%; Questions on readings 10%; 2 short essays or projects 30%; Final paper or project 40%. Attendance is critical as we meet only once a week. You must speak with me or leave a message on my machine if you can't attend for good reason. No unexcused absences will be accepted.
    Dates to remember
    Spring 2017
    January 11 (Wednesday) First meeting
    Feb. 15 Proposals for First Paper/Project Due
    March 1 First paper/project due
    March 6 - 10 Spring Break
    March 15 Proposals for Second Paper/Project AND Final Paper Due
    April 5 Second paper/project due
    April 26 Last Class Meeting
    May 3 Final Papers/Projects due. 4:50 - 6:40 PM (or until finished) in Tower A 202
    Note: In order to receive the most from this class, it is imperative that you keep up with the reading. Much of the literature is rather dense and slow going. It is hoped that the spirit and the letter of the texts will become clear to you through a combination of careful study on your own and open discussion in class (this means reading with a dictionary by your side and taking notes--asking questions!--as you go.)
    Attendance Policy
    As we meet only once a week, 2 unexcused absences = one letter grade drop from overall final grade. 3 partial attendance (late arrivals and/or early class departures) = 1 absence. Any additional excused absences MUST be accompanied by a note from doctors, student services, or other evidence that demonstrates the need to miss additional classes. Every effort will be made to accommodate extenuating circumstances when necessary.
    Students required to miss classes due to university sanctioned activities will not be counted absent. However, absence from class or examinations due to university-sanctioned activities does not relieve students from responsibility for any part of the course work required during the period of the absence. Students should inform the instructor early in the semester of upcoming absences. Reasonable accommodation to make up missed exams or other required assignments will be made. Consult the instructor BEFORE the absence to arrange for this accommodation.
    Students may be excused for the observance of religious holidays. Students should notify the instructor at the beginning of the semester about the need to be absent from class due to religious observances. Students will be responsible for materials covered during their absence and should consult with the instructor to arrange reasonable accommodation for missed exams or other required assignments.
    Seminar Room
    This is a shared classroom, so it is important that you clean up after yourself. It is also expected that you will act in a safe manor. Unsafe or destructive behavior will not be tolerated, and may result in expulsion from the class. A complete list of safety policies and procedures can be found at:
    Disabilities: Rights and Responsibilities of Students
    If a student desires accommodation for a disability, he or she must be registered with the Disability Resource Center (DRC) and submit the appropriate documentation from the DRC to the instructor. To request academic accommodations due to a disability, please contact the ASU Disability Resource Center – Phone: (480) 965-1234. This should be done in a timely manner because accommodations cannot be made retroactively.
    Student Code of Conduct and Student Disciplinary Procedures
    The ABOR Student Code of Conduct is designed to promote and protect an environment that encourages reasoned discourse, intellectual honesty, openness to constructive change and respect for the rights of all individuals. In keeping with this mission, the Office of Student Rights and Responsibilities staff seeks to balance the rights and needs of the individual with responsibility of the individual to meet the needs of the community. In addition, it reviews allegations of student misconduct, determines whether a violation has occurred and if applicable, imposes appropriate sanctions. Students are expected to adhere to the ABOR Student Code of Conduct. See ithere:
    Self -discipline and a respect for the rights of others in the classroom or studio and university community are necessary for a conducive learning and teaching environment. Threatening or violent behavior will result in the administrative withdrawal of the student from the class. Disruptive behavior may result in the removal of the student from the class.See Student Rights and Responsibilities:
    ASU’s Academic Integrity Policy
    The highest standard of academic integrity is expected of all students. The failure of any student to meet these standards may result in suspension or expulsion from the university and/or other sanctions as specified in the academic integrity policies of the individual colleges. Violations of academic integrity include, but are not limited to, cheating, fabrication, tampering, plagiarism, or facilitating such activities. The university and college academic integrity policies are available online at:
    All use of non-original materials is discouraged. However, if non-original material is used, you are responsible for the proper citation and legal usage of the resource. Violations are punishable by assignment failure, class failure (E), or failure due to academic dishonesty (XE) depending on the severity of the infraction.Your instructor will sanction any incidents of academic dishonesty in the course using University and HIDA guidelines. Should you have any question about whether or not something falls subject to this clause, feel free to contact your instructor or review the university policy on academic integrity at the above link.
    The Computer, Internet and Electronic Communications Policy
    Potentially Offensive Course Material
    Some course content may be deemed offensive. Reasonable advance warning will be made of potentially offensive material by the instructor; it is the student’s responsibility to remove him/herself from the class during those classes/lectures/field trips in which potentially offensive content is shared. Generally, there will be nothing that exceeds the standards of any PG13 movie; however, there are instances in our discussions focused on performance and body art that involve nudity, bodily fluids, and behavior that in certain societies would be considered taboo.
    Intellectual Property Rights
    The course content, including lectures and other handouts, is copyrighted material. Students may not record lectures or sell notes taken during the course.
    The information in this syllabus, other than grade and absence policies, may be subject to change with reasonable advance notice.

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