"I Like America and America Likes Me", 1974 performance  by 
Joseph Beuys at the Rne Block Gallery, New York City.

VSAR 101
Introduction to Interdisciplinary Art

CSUSM Fall 2004

Time: Monday 4 - 6:45 pm
Location: Arts 240
Office Hours: 3- 4 pm Mondays
Telephone: (contact Lani Woods 1-760-4137)
Email: tallard@csusm.edu or antalla@cox.net

Week_by_Week Schedule:
1   2   3   4   5   6   7   8   9   10   11   12   13   14   15   16   
Course Description

"A work of art is not necessarily something worked on; it is basically something conceived. To be an artist is not always to make something,
but rather to engage in a cultural enterprise in which artistic pieces are profered for consideration." --Timothy Binkley

This course is an introduction to historical and contemporary interdisciplinary art making practices. Particular attention will be given to examples
of artworks and art movements that have made connections across artistic disciplines as well as connections between art and science, philosophy,
history, psychology, politics, popular culture, mass media and global culture. The course will consist of performance lectures, group discussions on
each topic covered, writing assignments, creative individual and group projects and Conceptual Aerobics. This is a theory and practice course; you
will be engaged in both theoretical and artistic persuits. The subject of this course, interdisciplinary art, will dovetail well with the interdisciplinary
direction of the Visual and Performing Arts Department.

Required Text
VSAR 101 Introduction to Interdisciplinary Art reader.
This reader can be purchased at CopyServe, 754 S. Rancho Santa Fe Rd., San Marcos. 760-599-9923. CopyServe is on the corner of Rancho Santa Fe
and San Marcos Blvd. If you are travelling west on San Marcos Blvd. from CSUSM, it is on your right, just across Rancho Santa Fe near the NW corner.
Turn right into the parking area, and then an immediate left. Purchase your reader immediately as, if they run out, it may take a day to have them
make it up. They do not take phone orders. Other handouts may be given to supplement the course reader.
This reader will be avialable the after
September 6th.

Reading Assignments
NOTE: Reading assignment are due on the day they are listed in the syllabus. Reading assignments were carefully chosen to help you prepare
for screenings and class discussion. They will also be instrumental in helping you write your position papers ond your presentaions.

Assignments and Art Projects
Link to a full description of all Assignments and projects

Interdisciplinary Projects
These four projects are designed to dovetale with the four main sections of the course which deal with a wide range of issues and approaches to
interdisciplinary art. The projects are divided into two individual projects and two group projects. In partial fullfillment of the required writing
component for this course, you will write a one to two page position paper that discusses central issues and ideas put forth in each section.
Each paper will be due the day your project is presented.

Writing Assignments
University Writing Requirement
California State University San Marcos has established a 2500-word minimum writing requirement for each course.
The University offers assistance to students who encounter writing difficulties and invites you to visit the Writing Center.
Appointments are scheduled on line:   http://www.csusm.edu/writing_center/index.html
Project Position Papers
Over the course of the semester you will write a total of four two page papers; the subjects of these papers coincides with
the four interdisciplinary art projects you do, with the reading assignments and with class lectures/presentations. During the second class, I will
explain in greater detail what is required in the position paper.
Critical Art Reviews

You will write two 750 word critical art review of two interdisciplinary artworks. The first review will be on an artwork that is
analogue-based and the second review will be of an interdisciplinary artwork that exists on the Net.
First Critical Art Review due Oct 18
Second Critical Art Review due
Dec 6
Ten Events Writeups
Brief, one paragraph writeup of ten cultural events you attend over the semester. Five writeups are due at midterm and five are
due at semester's end.
Fall Arts and Lecture Series

Conceptual Aerobics
These studio activities will be presented chronologically in conjunction with lecture topics and are intended to expand on the material covered in
lecture. No projects will be assigned. T hese activities are participatory in nature and therefore, you will be graded on the quality of participation.
These exercises will include both analogue and digital media.

Late work is accepted but will be automatically down graded by one letter. You will not be down graded if you have a legitimate reason for
turning in late work.
Grading is as follows:
40% writing assignments

40% Interdisciplinary Projects
20% class participation

Link to list of assignments to be graded

Attendance and Participation:

You must attend each class and complete all readings in order to effectively participate. The syllabus is subject to change. If you miss a class,
it is your responsibility to contact a fellow student to determine what material was covered and what is due for the next class. Do not call me
to tell me you will not be in class unless it is an emergency and you will be missing more than one class. Four missed classes constitute a failing
grade. Attendance is recorded at the beginning of each class. You are also required to stay for the duration of the class. Leaving at the break
will count as half a missed class.

Class Resources
Visual and Performing Arts

Fall Arts and Lecture Series

Writing Center
My Email: tallard@csusm.edu or antalla@cox.net

Course Content
Course Introduction

Section I

Origins of Interdisciplinary Art

Section II
A Brief Survey of Time-based Interdisciplinary Art Forms

Section III
Culture Jamming: Interventions, Protests, Pranks, Street-level performances
and other forms of Resistance to Mainstream/Dominant Culture(s)

Section IV
Computer and Net-based Art

Week-to-Week Schedule


Course Introduction
Week 1
August 30th

Course Introduction

--Introduction of Instructor
--Syllabus covered
Conceptual Aerobics
--"Socialized Vision"
--Oculus introduced
Annecdotes on Mediated visions
Images relating to socialized vision
"Socialized Vision"
For the first Conceptual Aerobics we will explore the process of what Norman Bryson calls "socialized vision", or, the numerous
and well established visual habits which are imposed upon us from the culture we live in. Through a series of conceptual and physical
actions, we will uncover these habits and hopefully gain a greater awareness and appreciation for our own sense of sight.

Writing Assignment 1: Socialized Vision, visual habits, observations through the Oculus
Due week 4. Be prepared to discuss your observations in class.
On an 8 1/2 X 11 piece of white cardboard, cut an oculus in the middle of the page that is a horizontal rectangle two inches wide and one
and a half inches high. The proportions should be roughly the same as that of a conventional television set, the 4:3 ratio, horizontal rectangle.
During the coming week take your oculus with you where ever you go and use it to frame your view. As you are framing and composing these "shots"
be looking for specific examples of socialized vision and the visual habits (discussed in class) you come across at home and in public spaces.Take
particular notice of the site/context where you observe these examples of socialized vision. Write down you observations and hand in to me next week a one to two page paper and also be prepared to discuss your observations in class. You will use this oculus throughout the semester so bring it to every class.

Readings due for next week:
“Introduction”, from Understanding Media , Marchal McLuhan

"From Dada to Digital", from Aperatur, Timothy Drucker

Materials needed for next week's Conceptual Aerobics
You will need to bring to class several pictures (taken by someone else) of the four major parts of the human body (male or female):
head,upper torso, lower torso and legs. You will also bring to class fragments of found text on the Internet and will read your fragments
of found text as you place the photographs onto the group Exquisite Corpse. I will have a camera set up to record the making of an
Exquisite Corpse. This video tape will be edited, compressed and posted on the class webstie.

Section I
Origins of Interdisciplinary Art


Week 2

September 13
Six waves of mass media and three waves of globalization; the merging of technology,
mass media, mass culture and art
The primary focus of this first presentation will cover six major time periods in human history in which human communication
has gone through major paradigm shifts as a result of technological innovations. These six epochs make up the history of
mass media and mass communications systems.
Annecdotes on Mediated visions; six waves of mass media; three waves of globalization
Information on Cuneiform, first form of writing
Pop  Artist, Andy Warhol and his "Factory", 1960s

--The "digital divide", computer usage and access

--Discussion on assigned readings

Modernism and the Avant Garde
Mondernism, Avant Garde movements
Collage, Assemblage, Cubism, Dada, Surrealism

Conceptual Aerobics
Exquisite Corpse
Dada, Surrealism, Explanation of the Surrealist Parlor Games Exquisite Corpse
This Conceptual Aerobics excersize is collaborative and is an updated version of the Surrealist parlor game, the Exquisite Corpse.
You will need to bring to class several pictures (taken by someone else) of the four major parts of the human body (male or female): head,
upper torso, lower torso and legs. You will also bring to class fragments of found text on the Internet and will read your fragments of found text
as you place the photographs onto the group Exquisite Corpse. I will have a camera set up to record the making of an Exquisite Corpse.
This video tape will be edited, compressed and posted on the class webstie.

Examples of Exquisite Corpses Projects: Example 1      Example 2     Example 3   

Finished "VSAR 422 Exquisite Corpse" Spring 03
Finished "VSAR 422 Exquisite Corpse" Spring 04

Project #1
Personal Identity Collage

In our examinations of the cultural and art historical origins of interdisciplinary art, the medium of collage has played a key role in
this long and intriguing history of interdisciplinary art practices. For this project you will create two collages: the first collage will
address your cultural/ethnic identity; the second will be a more fanciful representation of your personality, that of your alter ego.
The two collages can be made using the computer and scanners, however, the first stage of the collage process must be done with cutout
images, textures, texts, etc., before you scan it into the computer and manipulate it. The size of the finished collage must be 8.5" x 11".
We will use the documentation camera on the podium to view the collages during presentations--which will take place on week four.

Reading Assignment due next week

“Overture” from Multimedia; from Wagner To Virtual Reality, by Randall Packer and Ken Jordan

Week 3

September 20

Electronic Metamorphosis: old analogue media transformed into new d_i_g_i_t_a_l and mass media
I) Static art forms
II) Time-based art forms

Electronic metamorphosis I: Static art forms

--A brief chronology of the metamorphosis: older, static, analogue art forms transformed into digital and mass media art forms.
painting, drawing, graphic design, photography, printmaking, et al.

Early scientific and technological developments that influenced the course of interdisciplinary art.
Images relating to early scientific and technological developments
Chance, Indeterminacy: simultaneity, randomness: Irony: appropriation
Painting & Drawing
Joe DeLap”s Mouse drawings
Piet Mondrian Paintings on the Web

Digital Photograph

Christine Icam, Digital Portraits (Video)
Alternative Art Gallery and Museum Spaces for Static Art forms
Whitney Museum of Art, NYC
Franklin Furnace
Franklin Furnace goes digital
Ducky Waddles Emporium Gallery Encenitas
Good descriptions of the interface/web/museum connections
A change of venue: mass media revisited, new venues for art and culture

Franklin Furnace
The Kitchen, NYC
Whitney Museum of Art, NYC


Electronic metamorphosis II: the transformation of analogue, time-based art forms into digital, time-based art forms
--The appearance in Modern art of nonlinear structures, randomness, simultaneity and chance

Tele from the Greek word meaning far + vision, hence, vision from afar.
--With the introduction of Television on a mass scale, for the first time in Western history, the primary source of
culture-building images is located within the home itself.
--Broadcast Televison
--Web television

CNN http://www.cnn.com/
BBC http://www.bbc.co.uk/
Video art
Kristine Diekman "Drift to Dust", single channel video tape
Nam June Paik "Edited for TV"

Digital Art:Photograph, Cinema, Multimedia, Video, Web-based, VR, VRML
--LINKS artists who use technology in their work
ICC Online Japan
Digital Cinema
and Video for the Web
Walker Art Center http://adaweb.walkerart.org/home.html
Desperate Optimist  http://www.desperateoptimists.com/minute/index.html

"Little Movies" and Soft Cinema (go to Projects at top of page) by Lev Manovitch
Adriene Jenick " Mauve Desert"
(CD-ROM "translation"), recent project ActiveCampus
Professor Kristine Diekman, Art and Digital Video for the Web course
Sound art,
Audio art and Music
Performance Artist, Laurie Anderson
John Cage's composition "4 Minutes 33 Seconds" (Video clip)
Golan Levin "Dial Tones, A Telephony"
Analogue FM, AM and other Radio signals to Digital Internet radio
KCUR 89.3 Santa Monica, CA
FOSSIL MEDIA, Radio and Internet. Broadcast

Digital distribution of music

A non linear hypertextual reading throug Steven Johnson's Interface Culture, Stephen Johnson,
Conclusion, Pg. 206 - 242
Jenny Holzer Truisms
Mark Amerika Hpertextual Consciousness 1.0
Net Art:

From Kristine Diekman's VSAR 305 Art and Digital Video For the Web
Beal Center UCIrvine

Introduction to net.art by Alexei Shulgin and Nathalie Bookchin
Why Have there been no great Net Artists? by Steve Dietz

American Museum of the Moving Image
David Ross, Net.art in the Age of Digital Reproduction
--Discussion on assigned readings

Week 4
September 27

Project #1
Personal Identity Collage
Observations of socialized vision using the oculus.

VSAR 101 Exquisite Corpse_F04

Reading Assignment due next week:
"Choices: Making an Art of Every Day Life", Chapters. II, III, from Choices, Edited by Marcia Tucker, New Museum of Contemporary Art, N.Y.C.
Section II
A brief Survey of Time-based Interdisciplinary Art Forms

Week 5
October 4 

Performance Art
Like the medium of collage, Performance Art has played a major role in the development of interdisciplinary art from the turn
of the century to the present. We will look at a variety of approaches to performance art, from political to feminist to personal to
underground to mainstream. The Prophet of @ will make an appearance during the lecture and give prophecies for the future of
interdisciplinary art.
Performance Art
Early History
+ Cabaret Voltaire
+ Dada
+ Futurism
+ Surrealism
1950s – 60s – 70s
+ Cage and Black Mountain
+ Happenings, Kaprow
+ Fluxus
+ Real time, Burden
discussion of Readings due for today
+ Body Art
+ Feminist Performance--Gorilla Girls
+ Site Specific
1980s – 90s
+ Club Scene
+ Holly Hughes and the "NEA Four"
+ Laurie Anderson
+ Blue Man Group

+ Survival Research Labs
Burning Man Event
2000 - Present
+ Real/Virtual performances
+ Adriene Jenik's Desktop Theater
+ Stelarc
+ Orlan
+ Toni La Bone, A.K.A., Prophet of @
--Prophet of @ performances on the WWW
--“From the Quotidian”, World_mix project
Future of Performance Art
+ Prophet of @ will prophecy the future of Performance art (have your cell phones ready).
Performance Art Venues and Information on Performance
Franklin Furnace, N.Y.C.
The Kitchen, NYC
Sushi, San Diego
High Performance

Project #2
Illusion Is the Devil's Campground: Plato's Allegory of the Cave
Like the medium of collage, performance art and installation art have played a key role in the development of historical and contemporary
interdisciplinary art practice. This project consists of two components: a performance and an installation at a chosen site where the
performance will be done.
The subject of this project is an allegory of knowledge, the "Allegory of the Cave" (text), written by the Greek philosopher, Plato.

Conceptual Aerobics
We will use Plato's "Allegory of the Cave" as a starting point for developing a site-specific performance and installation. After conceptual aerobics, you will break up into groups and begin working on a group performance of Plato's "Allegory of the Cave". The site will be Room 240--I will go into greater detail about the performance and installation today in class.

Readings Due for next week:
John Hanhardt, “Paik’s Video Sculpture”. David Ross, “Nam Jun Paik’s Videotapes”. Nam Jun Paik. Whitney Museum of American Art. 1982. 91-110

Stan Brakhage. from "Metaphors on Vision". Film Theory and Criticism, Introductory Readings. Ed. Leo Braudy and
Marshall Cohen. Oxford Press, 1999. 228-234


Week 6
October 11
Experimental Film, Television, Video and Video Installations: From Audience to Interactor
Recently, the viewer, spectator or audience has been incorporated into the moving image, whether through identification with
the camera, through psychological response or direct phyisical interaction. Today, "interactivity" is the buzzword in the world of art,
entertainment, news and commerce. This class will consist of a performance lecture during which I will introduce early interactive
electronic art as experienced in the work of Nam Jun Paik, and other video artists and filmmakers working the late 60's, 70s early 80's.
The viewer becomes interactor, actually manipulating the apparatus itself. We will conclude with a discussion of the assigned readings and on
interactive, hands-on experimentation with a closed circuit television setup.

Prepare for discussion:
--How does Nam Jun Paik's work challenge our assumptions about television? What are the ways he uses and critiques popular culture?

--Brakhage suggests that through art we can have an increased ability to perceive. Imagine your perception unruled by the laws of
perspective, logic, socialized vision. Imagine if you had no words for the objects around you, no preconceived models in which to place
the things you see. How many colors are in the grass.

Part 1: Post Modernism

Part 2: Experimental Film and Video
“Meshes of the Afternoon” Maya Deren (film)
“Fireworks” Kenneth Anger (film)
Cut up Films” William Burroughs (film)
Stan Brakhage “Hand Painted Films” (film)
“Brakhage”, a documentary by Jim Shedden (video)
"Edited For Television" Nam June Paik (video)
“Stamping in the Studio” Bruce Nauman (video)
“TV add” & “Back to You” Chris Burdon (video)
Vertical Roll” Jone Jonas (video)

“Mitchelle’s Death” Linda Montano (video)
“Drift to Dust” Kristine Diekman (video)
“The Passing” Bill Viola (video)
“Incidences of Catastrphy” Gary Hill
"From the Quotidian: a de_standardized dictionary" Prophet of

Conceptual Aerobics

Experiments with alternative video shooting, production and display.
Week 7
October 18
Project #2
Illusion Is the Devil's Campground: Plato's Allegory of the Cave

Reading due for next week:
“Virtual-Real Space: Information Technologies and the Politics of Consciousness”, from Artist’s Article by Jeffrey Schulz
“T.A.Z. The Temporary Autonomous Zone, Ontological Anarchy, poetic Terrorism”
An experiment in “un-mediated reality” by Hakim Bey, Autonomedia

Art Review Resources
Links for 1st and 2nd Art Review

Section III
Culture Jamming: Interventions, Protests, Pranks, Street-level performances
and other forms of Resistance to Mainstream/Dominant Culture(s)

Week 8
October 25

First Critical Art Review due

Culture Jamming: Utopian/Distopian in Cyberspace

--Culture, Nature, Machines and historical development of the concept of Progress
--Culture Jamming, or radical reconfiguring of cultural production through some form of action, is connected to the notion of progress and the
advancement of mechanized, machine-based cultures.

Dystopias VS Utopias
--From the Industrial revolution onward we see a multitude of CULTURE JAMMERS setting up two camps: Utopianists and Distopianists,
which consisted of
artists, writers, philosophers, political revolutionaries, crackpot sociologists, psychopaths and many others putting forth
their views on the future that technology would bring about in the modern world.



Early Culture Jammers, 1850 - 1970

--Today's culture jamming actions that are happening in cyberspace have their roots in late 19th century and early 20th century
avant garde art and the Modernist movement.




Contemporary Culture Jammers, 1970s - present
POST-MODERNISM, late 1970s - 1990s:
--The New Avant Garde

Manifestos of Culture Jammers both positive and negative
Culture Jamming
Ted Kasinski, "Unibomber Manifesto"

Hakim Bey T.A,Z Ontological Anarchy and Poetic Terrorism

Ken Kesey Kesey and the Merry Pranksters
Zane Kesey
Merry Pranksters history

"Media Burn" by Ant Farm
(video excerpt) and Culture Jamming http://www.levity.com/markdery/culturjam.html
Paper Tiger TV
Alexei Sulgin and Nathalie Bookchin Introduction to net.art by Alexei Shulgin and Nathalie Bookchin
Bureau of Inverse Technology
Guillermo Gomez Pena, The Virtual Barrio @ The Other Frontier
Electronic Civil Disobedience
Related Links

Opperation Re-information
Spoof Web Ads
Cult of the Dead Cow
Free Speech TV
Market Research
Patrick Lichty, Grasping at Bits: Intellectual Property in the Digital Age
What Color is the Net
Temple of Confessions
A challenge to act up and culture jam: protest, pranks and performance art
Sheppard Fairey ObeyGiant
Ron English http://www.graffiti.org/ron_english/billbord.html
Linux VS Microsft for open source. excerpted from the New York Times Ad for Linux

and a Microsoft ad for "Visual Studio
--Recent protests
--Prophet of @ reads from V Vale on Pranks
and Kansas City Art Institute Student Pranks (stories)
The Prank Institute

Performance Art:

--Performance art, because it is a public art form, has historically been the medium artist gravitate when they want to
make a direct statement or protest in the culture.

Burning Man Event (Powerpoint)
The T.A.Z.
--Discussion on assigned reading

Project #3
Personal Manifesto: Culture Jamming in the 21st Century
We have looked at a number of manifestos by avant garde artists and non artists. These manifestos present, for better
or worse, the person's strongest convictions about their beliefs, politics, art, culture, religion, etc. The written form that
the manifesto takes is not limited to straight expository prose, but rather, the text might be a mix of poetry, prose, dogma,
political rhetoric, etc.--or, it might take just one form, such as a poem or just a plain statement. Many of these manifestos
have been written for the purpose of publicly performing them. For this assignment you will write your own manifesto that
expresses your convictions and principles (artistic, political, religious, etc.) you live by. The central theme of your manifesto
must address your personal stance on the use of technology for cultural production and communication in our technological
and mass media-based culture.
You will present/perform your manifesto in class and you may use whatever analogue or
digital media for your presentation--which I strongly encourage you to do.

Reading Due for next week: Teshome H. Gabriel,
"Thoughts on Nomadic Aesthetics and Black Independent Cinema: Traces of a Journey."
Out There: Marginalization and Contemporary Cultures.
MIT Press, 1990. 395-410.

Week 9
November 1

Signs of Resistance: Cultural Resistance
Using Teshome Gabriel's essay on black cinema, we will entertain the notions of "nomadic aesthetics" and how they are a
sign of resistance to mainstream Hollywood film while viewing work from Australian Aboriginal filmmaker, Tracey Moffet,
and African documentarian, Cesar Paes. We will also look at the interactive multimedia work by Keith Piper, entitled
"Relocating the Remains". In this CD-ROM Piper questions the dominant culture's official history by engaging a
"nomadic aesthetic" and proposing a personal, alternative, changeable, non linear history.

"Relocating the Remains", Keith Piper  (CD-ROM)
"Angano..Angano..Tales from Madagascar", Cesar Paes, Africa (video)
"Bedevil" Tracy Moffatt, Australia (video)

Related link
"the Virtual Barrio @ the Other Frontier"  by Guillermo Gomez-Pena

Conceptual Aerobics

Reading due for next week:
The Rhetoric of Empire, "Surveillance, Under Western Eyes", Chpt. 1, pgs. 13-27.

Week 10
November 8

Colonialism: Privilege of the Gaze
In this class we will discuss the tropes or convention used to observe or represent others, how these act to colonize or objectify.
We will also examine the origins of the observer. And finally, we will discuss the phenomenon of the panopticon and we will experience
in reality the panopticon as it is expressed in the architectural design of Craven Hall on the CSUSM campus.
Cinematic Representation and the Gaze
Some theoretical terms you may need to know

Images and text relating to lecture
Colonial and Post Colonial Gaze

Footage from Television Coverage of the Vietnam War

"Triumph of the Will" 1935, Leni Riefenstahl
"Imagining Indians" 1992, Victor Masayesra

"West Side Story"
"Star Trek the Next Generation"

Discussion: What are the tropes or conventions discussed in this reading through which we see or represent other cultures or people?
How are the conventions present in your everyday life? What are some of the solutions the authors suggest to break with "objectivist models"
of experiencing other cultures and people?

Writing Assignment due:
Brief description of five cultural events you have attended thus far in the semester. (The next five are due finals week)

Conceptual Aerobics

We will observe a Panopticon design as it is expressed in Craven Hall on the CSUSM campus. We will use
the artist's tool of the oculus to "frame" several views of the building from a number of differnt locations.
Week 11
November 15
Project #3
Personal Manifesto: Culture Jamming in the 21st Century

Readings due for next week:

“Touch-Sensitivity and Other Forms of Subversion: Interactive Artwork” from Artist’s Article by Lynn Hershman

Section IV
Computer Art, Net Art and Performance

Net Art Web Sites for review

Week 12
November 22

Animation, Computer Animation, Computer Games, Online Gaming, Digital Cinema
--New forms of Perspective, Realism, Aesthetic Distance and Socialized Vision
--The invention of mechanical means to represent motion, time and speed
--Precursors to contemporary animation: mechanical means of representing motion

Persistence of Vision
Early Film
Lumiere Brothers: Demolition (Video)

Analogue Animation
"Felix the Cat" (video clip)
Eric Sacs' "Touchtone"
"Alice" Jan Svenkmeir (video clip)
The late Chuck Jones Road Runner & Wily Coyote (video)
Osamu Tezuka's Astro Boy
Computer animation
--Critique of "Poser" animation software
A history of computer animation
Anime on TV

Digital Cel and Sprite Animation

Yelena Aizin's "dCarmen Digital Story Telling" (CD-ROM)
Computer Games, Online Gaming
History of Video games
The Sims
Computer Games resources
The Poser Forum Online: www.poserforum.org
3D Alliance: www.3dalliance.net
Brycetech.com: www.brycetech.com
Planet-3D.com: www.planet-3d.com
ZBRUSH: www.pixologic.com
3D Gate: www.3dgate.com
Summons to Surrender
Bang Bang (you're not dead?)

Laura Croft (game demo, CD-ROM)
Lara Croft Stripped Bare
Tomb Raider (The movie on video)
Animation and computer games as Art
--It is now common place for art museums and galleries to show all forms of computer art, computer games included.
Bitstreams: www.whitney.org
Rhizome: www.rhizome.org

Game Show: www.massmoca.org/index2.html
SHIFT-CTRL: beallcenter.uci.edu/shift/textonly/main.html
John Haddock's Screenshots

"Digital Cinema"
--Experimental Cinema = new forms of computer-based cinema
Synthetic Pleasures (clip from video)

--Motion rides, Disneyland, The "you are there" feeling created by motion simulator seats and movies in front of you.
--Motion rides similar to early video project and model-based flight simulators developed by the military in the 70s
Motion Graphics and Text in motion

Adjectives on the move, nouns that speak, verbs that animate the text.
Interactive Digital Cinema and
Non Linear narrative structures.
--Viewers participate in the construction of the narrative through random access to the narrative's data base
--film as interface to a multimedia database:

David Blair (USA). "Wax or the Invention of Television among the Bees." 1991.
David Blair (USA). "Wax Web" 1994

Digital Cinema

Approaching the seamless illusions: Virtual Actors / Motion capture
"The Final Fantasy" Hiranobu Saggaguchi
--Acclaim motion capture system (USA). 1994.
"Titanic" (USA, director: James Cameron). 1997.
The music video for Bjork's single "All Is Full Of Love," 1999 (RealPlayer)
Related links
social architecture for networked communities
Silicon Valley Tarot Deck
The Intruder
Sissyfight 2000
Noodle by Josh Portway
Iconica - Troy innocent
--Discussion on assigned readings

Project #4
Internet Broadcast Performance

For your final project and presentation of the semester, you will be divided into groups and will collaborate on
developing an online performance in a chat space. These performances will be done outside of class at a time of the group's
choosing. As a group you will develop a performance in which you all perform as Avatars (your online electronic body, the
"second self" in a visual or text-based chat space. The group can take on an identity,for instance, as the Wizzard of OZ posse,
or the Simpsons, etc. Each group member will develop his or her own avatar, which could be based on the collage you did of your alter ego.
You may develop your part of the performance in the medium or mediums of your choice. For instance, if you play a musical instrament, you might create
a musical composition that expresses some aspect of the topic; or, if you are working with digital media you can incorporate you
contribution to the
performance via output from a computer. For the final presentation of your group's online performance, you will
present a series screen shots taken during the online performance. Each group member will be required to talk briefly about the project
and their respective part of the performance. Each individual member of the group will be required to turn in a postion paper
after your presentation.

Resources for project.

Lambda Moo




Readings due for next week:
“The Future of the Novel” by William Burroughs, from Multimedia;from From Wagner To Virtual Reality.
Randall Packer and Ken Jordan

"Mudding: Social Phenomena in Text-based Virtual Realities" (1992), from Multimedia;from From Wagner To Virtual Reality.
Randall Packer and Ken Jordan

Week 13
November 29

Hypertext: Experiments in Non Linear text
--Postmodernism, a brief historical background
--Hypertetual transformation of the static word. Spacializing the text and incorporating nonlinear editing and story telling strategies.

--James Joyce's multilingual, nonlinear novel "Finnegans Wake"
--The Cut up technique of William Burroughs

Marshall McLuhan and the Guteburg Galaxy
Eastgate Hyper Fiction
Mark Amerika's Grammatron
Feminist Hypertext
The Mobius Text
David Burn,Powerpoint Presentation, "E.E.E.I. (Envisioning Emotional epistemological Information)
and screening of VHS tape
Hypertext: Text-based performances
Story Engine
Plaintext Players
Lambda Moo

Net Art Web Sites for review

Readings due for next week:
“Desktop Theater; Keyboard Catharsis and the Masking of the Roundheads” from Drama by Professor Adriene Jenik
“Identity Crisis” from Life on the Screen by Sherry Turkle


Week 14
December 6

Digital Performance
--Professor Adriene Jenik Desktop Theater
--Since 1997 Professor Jenik and Ms. Brenneis have adapted, directed, rehearsed, and performed live, in "real time," over
25 different Desktop Theater experiments.
--Socialized Vision
--Four key technologies that form the foundation of digital performances
Virtual venues for live, real time Digital performance

--"Real Time" strategies
The Cooking Project

--The desktop as performance space
--Toni La Bone's "Prophet of @" online performance (Video tape of desktop teleconferencing performance).
--Desktop Teleconferencing software and reflectors:
“From the Quotidian” (Video tape of desktop teleconferencing performance).

--iChat, Web cams, video telephones, and others
--Intra Net performances, Closed Circuit performances
Chris Burden, video performance "Velvet Water" (Excerpt from Video tape)

Web Cams

Web cam in Ephraim, Wisconsin. A potential impromptu Digital performance space. http://evergreenbeach.com/
Streaming live: Internet Radio and TV
Sorenson Broadcaster and the OSX Streaming Server
KCUR 89.3 Santa Monica, CA
FOSSIL MEDIA, Radio and Internet. Broadcast

Combined with simulcasting over analogue channels, offers an alternative to the one-point-to-many model of traditional radio
and television broadcasting
. Unlike the limited one-way model of broadcasting, which involves a single transmitter transmitting
to many receivers, hybrid Internet. Radio (and television) stations can now operate on the principle of many
transmitters and many receivers.

Editing as a performance: real time nonlinear digital editing
Adriene Jenik "Mauve Desert" (CD-ROM)
Keith Piper "Relocating the Remains" (CD-ROM)
David Blair's "Wax Web"

Hypertext: Text-based performances
Story Engine
Plaintext Players
Lambda Moo
The Internet itself as a global digital performance space and time
Mediated presence in Digital Performance
--The Mind/Body split
--Points of view on the Mind/Body Split:
, the Australian performance artist, Stelarc , claims the body is obsolete. "We are at the end of philosophy and
human physiology. Human thought recedes in the human past. Virtual Reality technology allows transgression across boundaries
between male/female, human/machine, time/space. The body becomes situated beyond the skin."
mind body split is simultaneously
growing and disappearing.
--Sandy Stone, in the article “Will the Real Body Please Stand Up ,
--Sherry Turkle Identity in cyber space has been called, "the second self" by Sherry Turkle, writer and psychologist.

Electronic Body building: performing with our electronic bodies (Avatars) through hybrid computer interfaces.

Stelarc "Ping Body"
Digital Performance
MUDS, Chat Rooms ,hypertext environments, virtual communities and other real time multimedia environments
Professor Adriene Jenik and Lisa Brenneis Desktop Theater

MUDS Multi User Domains (or Multi User Dungeons, referring to the board game from the 1980s).
Sherry Turkle, on MUDS, Virtual communities and other real online environment
Sherry Turkle on searching for community in cyberspace
Metaopet The World's First Transorganic Virtual Pet Game
Distributed Narrative: Distributed narrative works with the same principle of distributed computing over a network and
involves adapting and acting out a chosen play or narrative by having a cast of characters acting out the play from a number
of computer terminals distributed over the Internet.
--An example of distributed narrative is Jenik's adaptation of Samual Beckett's modernist stage play, "Waiting for Godot."
into a chat room drama called "watingforgodot.com" staged in the Palace.

Visual Chat spaces

Lambda Moo (Give this a second try if it does not load on the first)
Related links
Survival Research Labs
--Discussion on assigned readings

In-class work on Final Presentations
In preporation for your group's presentation next week, the second half of today's class will be a work day. You will get
together in your groups and do a run through of your group's presentation. You must bring to class ALL the hardware and
software you will be using for your group's presentation and you must test and trouble shoot it as well.

Critical Art Review due

Week 15
December 13
Final Presentations
Final project papers due at the end of class
Second set of five online art events due


Thanks for your interest in learning and have a well deserved and great break. Onward!