Digital Compendium: Link
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Books to buy (all other texts in compendium or online)
- WJT Mitchell and Mark Hansen: Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010.
- Friedrich Kittler, Gramophone, Film, Typewriter, Stanford: Stanford University Press, 1999
Reading list (obligatory)
Inke Arns, ”Interaction, Participation, Networking” (22 pp.)
Full text with images and video examples published at Media Art Net
Jacques Attali, ”Listening”, in Noise. The Political Economy of Music, Minneapolis:
University of Minnesota Press, 2002. (3-20)
Roland Barthes, ”Extracts from Camera Lucida”, in Liz Wells (ed.) The Photography Reader, London: Routledge, 2002. (19-30)
Geoffrey Batchen, “Electricity made Visible”, in Wendy Hui Kyong Chun & Thomas Keenan, New Media Old Media. A History and Theory Reader. London: Routledge, 2006, 27-44
Walter Benjamin,”The Work of Art in the Age of Mechanical Reproduction”, published in full at www.marxists.org. (12 pp.)
Blom, Ina “The Autobiography of Video. Outline for a Revisionist Account of Early Video Art. Critical Inquiry 39 (Winter 2013), 276-295
Osip Brik, ”What the Eye Does Not See”, in Liz Wells (ed.) The Photography Reader, London: Routledge, 2002. (90-91)
Bill Brown, “Materiality”, in Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010, 50-63
Jonathan Crary, “The Camera Obscura and its Subject”, in Crary, Techniques of the Observer, Cambridge: MIT Press, 1992, 25-66
Mary Ann Doane, ”Temporality, Storage, Legibility”, in The Emergence of Cinematic Time. Modernity, Contingency and the Archive. Harvard: Harvard University Press, 2002. 33-69
John Durham Peters, “Chapter 1: Understanding Media”, in The Marvelous Clouds. Towards a Philosophy of Elemental Media, Chicago: The University of Chicago Press, 2015, 13-52
Wolfgang Ernst, “Media Archaeography: Method & Machine versus History & Narrative of Media”. In Media Archaeology: Approaches, Applications, and Implications, edited by Erkki Huhtamo and Jussi Parikka, 239–255. Berkeley: University of California Press, 2011
Villem Flusser: “The Photograph as Post-Industrial Object: An Essay on the Ontological Standing of Photographs”, Leonardo vol. 19, No. 4, 1986, 329-332
Alexander Galloway, “Networks”, in WJT Mitchell and Mark Hansen: Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010, 280-296
Oliver Grau: “Historic Spaces of Illusion” and “Intermedia Stages of Virtual Reality in the 20th Century” in Grau, Virtual Art. Cambridge: MIT Press, 2003, 24-65 and 140 –173
Mark Hansen, “New Media”, WJT Mitchell and Mark Hansen: Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010, 172-186,
Mark Hansen, “Between Body an Image” and “Framing the Digital Image: Jeffrey Shaw and the Embodied Aesthetics of New Media”, in Hansen, New Philosophy for New Media, Cambridge: MIT Press, 2004, 21-46 and 47-92
Miriam Hansen, ”Why Media Aesthetics”. Critical Inquiry, Vol 30, No.2, Winter 2004. Chicago: The University of Chicago Press (391-395)
Caroline Jones, “Senses”, in Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010. 80-98
David Joselit, “No Exit. Video and the Readymade”, October 119 (Winter 2007), 37-45
Douglas Kahn, ”Significant Noises”, in Noise Water Meat. A History of Sound in the Arts, Cambridge: MIT Press, 2001. (20-68)
William Kaizen, “Open Circuits”, in Against Immediacy. Video Art and Media Populism, Darthmouth College Press, 2016, 10-24
Friedrich Kittler, Gramophone, Film, Typewriter, Stanford: Stanford University Press, 1999, (1-115)
Rosalind Krauss,”The Photographic Conditions of Surrealism, in The Originality of the Avant-Garde and Other Modernist Myths, Cambridge: MIT Press, 1999. (87-118)
Thomas Y. Levin, “Tones from out of Nowhere. Rudolf Pfenninger and the Archeology of Synthetic Sound”, in Wendy Hui Kyong Chun & Thomas Keenan, New Media Old Media. A History and Theory Reader. London: Routledge, 2006, 45-81
Lev Manovich, “What is New Media” in Manovich The Language of New Media, Cambridge: MIT Press, 2001, 18-61
Lev Manovich, “The Forms”, in Manovich The Language of New Media, Cambridge: MIT Press, 2001, 212-243
Marshall McLuhan, "The Medium is the Message", "Housing: New Look and New Outlook " and "Television: The Timid Giant", in Understanding Media,
Cambridge: MIT Press, 1994, 1-20, 123-130 and 308-337
Mehring, Christine. “Television Art’s Abstract Starts: Europe circa 1944-1969.” October 125 (Summer, 2008), 29–64.
WJT Mitchell and Mark B. N. Hansen, “Time and Space” in Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010, 102-112
Lazslo Moholy-Nagy, ”A New Instrument of Vision”, in Liz Wells (ed.) The Photography Reader, London: Routledge, 2002. (92-96)
Martin Norden: ”Avant-Garde Cinema of the 1920's: Connections to Futurism, Precisionism and Suprematism”. Leonardo Journal of Art, Science and Technology, Vol. 17, No. 2, 1984. Cambridge: MIT Press, 108-112
Arvind Rajagopal, “Imperceptible Perceptions in Our Technological Modernity”, in Wendy Hui Kyong Chun & Thomas Keenan, New Media Old Media. A History and Theory Reader. London: Routledge, 2006, 277-286
Christine Ross, “The Temporalities of Video: Extendedness Revisited.” Art Journal 65, no. 3 (2006), 82–99.
Pierre Schaeffer, “Acousmatics”, in Christoph Cox and Daniel Warner, Audio Culture. Readings in Modern Music, New York: Continuum, 2004, 76-81
Sven Spieker, “Matters of Provenance” and “Archive, Database, Photography”, in The Big Archive. Art from Bureaucracy, Cambridge: MIT Press, 2008, 17-34, 131-172
Malcolm Turvey: “Can the Camera See? Mimesis in Man with a Movie Camera". October 89 (Summer 1999), 35-58
Andrew Uroskie, “Introduction: From Medium to Site”, in Uroskie, Between the Black Box and the White Cube. Expanded Cinema and Postwar Art. Chicago: University of Chicago Press, 2014, 1-16
Jonathan Walley: ”The material of Film and the Idea of Cinema: Contrasting Practices in Sixties and Seventies Avant-Garde Film”. October 103, Winter 2003, Cambridge: MIT Press. 15-30
Anne M. Wagner “Performance, Video, and the Rhetoric of Presence.” October 91 (winter, 2000), 59–80.
Bernadette Wegenstein: “Body”, in Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010, 19-34
Mark Wigley, “Network Fever” in Wendy Hui Kyong Chun & Thomas Keenan, New Media Old Media. A History and Theory Reader. London: Routledge, 2006, 375-397
Jennifer Wild, “Seeing Through Cinema, in Wild, The Parision Avant-Garde in the Age of Cinema, 1900-1923, Oakland: University of California Press, 2015, 23-61
1092 pages
Recommended additional reading
Eugene Thacker, “Biomedia”, in WJT Mitchell and Mark Hansen: Critical Terms for Media Studies, Chicago: University of Chicago Press, 2010, 117-131
Alexander Galloway, “Part III: Protocol Futures. Hacking. Tactial Media. Internet Art”, in Galloway, Protocol. How Control Exists after Decentralization, Cambridge: MIT Press, 2004, 145-239
Wolfgang Ernst, Dis-Continuities. Does the Archive Become Metaphorical in Multi-Media Space, in Ernst, Digital Memory and the Archive, Minneapolis: University of Minnesota Press, 2013, 113-146