Course detail

History of Videoart 1

FaVU-HVI1Acad. year: 2009/2010

The lecture cycle deals with the "story" of the videoart beginnings in the USA and analyses its various media-historical and media-theoretical aspects. 1970s and 1960s were the "classical" phase of videoart. Tjese were the times when the first exibitions and public video screenings were held (for example "TV as a Creative Medium" in NYC), or TV presentations were broadcast ("The Medium Is the Medium" - Bostonbased WGBH TV in 1969); first theatres were being established (The Kitchen of Woody Vasulka), first activist videoclips were shot and first guerrilla TVs were founded. The first attempts at videoart were supported by grant agencies which supported festivals and first videoclips. For some time, the tendency has been to demystify all these "primal" acts and to search for alternative histories.

Language of instruction

Czech

Number of ECTS credits

2

Mode of study

Not applicable.

Guarantor

Jiří Ptáček

Department

Video Studio (AVI)

Learning outcomes of the course unit

Students will have the basic knowledge of classical and alternative histories of videoart.

Prerequisites

Basic knowledge of videoart.

Co-requisites

Not applicable.

Planned learning activities and teaching methods

Teaching methods depend on the type of course unit as specified in the article 7 of BUT Rules for Studies and Examinations..

Assesment methods and criteria linked to learning outcomes

classifed credit.

Course curriculum

1. The beginnings and changes of videoart (what is videoart, formulating first histories and terminologies, structures, institutionalizations of video and its entry to galleries, "star" system, various categories of videoart
2. looking for the forrunners of videoart. protocinema and protovideo experiments.
3. videoinstalation of the surveillance. Peter Campus, Wipe Cycle, Michael Snow, Steina Vasulka Bruce Nauman. Surveillance theories of Paul virilio and Michel Foucalt.
4. Expanded cinema.
Characteristics of the concept and its developments (Stan VanDerBeek, Gene Youngblood, Jonas Mekas, Peter Weibel). changes of the screen (Dan Graham, Robert Whitman, Aldo Tambellini) film in the streets, artistic guerilla (Peter Weibel, Wolf Vostell). Czech attempts: polyecran, laterna magika, cinemaautomat. Contemporary scene: from the expanded film to future film (Jeffrey Shaw); spatial structures, hypertext, geographical imagination (S. Cubbit).
5. performance and the moving image.
The relationship of performance to videoart: Joan Jonas, Carolee Schneeman, Vito Acconci, the austrian circle (Peter Weibel, Valie Export, Kurt Kren).
6. Sculpture and the moving image. (The relationship of sculpture to minimalism and post-minimalism to videoart: Bruce Nauman, Richard Serra, Gary Hill. Rosalind Krauss's concept of decentration
7. Formalism (Vasulkovi, Petr Campus, Ed Emshwiller, Gary Hill, Dan Sandin and the chicago circle; synthesators, audiovisual performances, experimenting with "structure" of the video image.

Work placements

Not applicable.

Aims

Students will learn the history of videoart.

Specification of controlled education, way of implementation and compensation for absences

Attendance of lectures is optional.

Recommended optional programme components

Not applicable.

Prerequisites and corequisites

Not applicable.

Basic literature

HALL, D. - FIFER, S. J. (Eds.): Illuminating Video. An Essential Guide to Video Art.
CARROLL, N.: Definování pohyblivého obrazu.
PAECH, J.: Obraz mezi obrazy.

Recommended reading

Not applicable.

Classification of course in study plans

  • Programme Bachelor's

    branch AVI , 2. year of study, winter semester, compulsory
    branch AVI , 3. year of study, winter semester, compulsory

Type of course unit

 

Lecture

676 hours, optionally

Teacher / Lecturer

Jiří Ptáček