Course detail

History of Videoart 2

FaVU-HVI2Acad. 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

classified credit.

Course curriculum

1. "Community art" (TV collectives, alternative TVs, first video programs for TV; efforst at the transformation of TV industry; forrunners of internet communities - Electronic Cafe Internationa of Kit Galloway and Sherrie Rabinowicz; the Radical Software magazine circle
2. the problematics and specificity of media - film versus video (theories of the encounters of video and film: (Paul Sharits, Hollis Frampton, Anthony McCall); Jean-Louis Baudry and the analysis of cinema apparatus. "found footage" films, Clement Greenberg's theory of the media "specificity"/
3. Fluxus (Nam June Paik, Paul Sharits, Yoko Ono, Georges Maciunas and others; the projection phenomenon)
4. The Image and Sound (the developments of audiovisual relationships; "color" music, "color pianos", etc. audiovisual performances usin videosynthesators - Dan Sandin's Image Processor and his relationship to present audiovisual practice using Max/MSP/jitter applications
5. Gallery installations in 1990s (inspiration by the history of art and film hisotry, the so-called allegorical and historical approach to video by Douglas Gordon, Bill Viola, Jim Campbell, Gary Hill, Mona Hatoum, Judith Barry, Steina Vasulka…..)
6. Virtual and expanded realitz and further

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

Shaw, J. - Weibel, P. (eds.): FUTURE CINEMA. THE CINEMATIC IMAGERY AFTER FILM.
RUSH, M.: New Media in Late 20th Century Art.
PAUL, Ch.: Digital Art.

Recommended reading

Not applicable.

Classification of course in study plans

  • Programme Bachelor's

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

Type of course unit

 

Lecture

676 hours, optionally

Teacher / Lecturer

Jiří Ptáček