History of Art and Technology

History of Art and Technology
New Technologies In Twentieth and Twenty-first Century Art

SPRING 2015 • ARTHI 2514-001 (1137)
http://www.ekac.org/history.of.ats.html

Tuesdays 1 - 4pm
112 S Michigan Ave, Room 620

Instructor:
Eduardo Kac [pronounce “Katz”]
Board of Governors Professor of Art and Technology
email: ekac@saic.edu
http://www.ekac.org
Office: 112 S. Michigan Avenue, Room 407

If you have questions about the syllabus and general course procedures, please write first to Tie Jojima. If you have questions about the course’s content, please feel free to write to EK directly.

Course description
This course examines the impact of new technologies on the aesthetics of the twentieth and twenty-first centuries. Issues explored in the course include the structure of synthetic pictorial spaces, creating art in a global scale, responding to images of pure light, the aesthetics of motion, behavior in virtual environments and the experience of interactive artworks. In some cases the emphasis is on a particular new medium and the multiple artistic approaches to it; in other cases, the emphasis is on particular artists and their experimental work. Main lecture topics include: Moholy-Nagy's work, early radio and the impact of auditory images, kinetic art, robotic art, telecommunication art, computer art, digital photography, virtual reality, telepresence and holographic art. By focusing on the theoretical and historical implications of the aforementioned media and movements, and on the work of several artists, the course places this major trend in modern and contemporary art within its larger context. Through a combination of lectures and discussions, and presentation of films, photos, videos and audio works, we investigate critically the relationship between new technologies and the visual arts.

Learning Outcomes
Students will learn how artists employed a wide range of new technologies in their practice throughout the twentieth and twenty-first centuries. Students will be able to identify different strategies employed by artists in their use of new media and will understand how artists channeled these strategies in the production of specific works of art. A midterm Research Proposal, participation in class discussion, a final presentation, and the final Research Paper will evaluate students' grasp of the historical and conceptual issues relevant to this aim.

Students may vary in their learning; achieving course goals requires work on the students' part.

Class Schedule and Readings
While the core content of the class is provided through lectures, the readings are included below in the form of links (webliography). Students are expected to read the assigned texts (or explore the websites, when appropriate) before class. Please note that the lecture plan is subject to change without notice.

Week 3: February 10
Moholy-Nagy: From the Telephone Pictures to the Light-Space Modulator
http://www.moholy-nagy.org

Week 4: February 17
Kinetic Art: From Representation to Actual Motion
“The Morphology of Movement: A Study of Kinetic Art”, by George W. Rickey <Search in JSTOR, through the Flaxman website>
http://thecreatorsproject.vice.com/blog/original-creators-thomas-wilfred-the-father-of-multimedia

Week 13: April 21
Student Presentations.

Week 14: April 28
Critique Week - No class.

Week 15: May 05
Student Presentations.
Research papers due.

Grading
Assessment is based on four components. All four must be completed to receive a passing grade.
- Participation (come to class regularly and punctually, read the assigned texts and participate in the class discussion)
- Midterm Research Proposal (written summary) — due March 10
- Final Presentation
- Reseach Paper — due May 05

Midterm Research Proposal
Use your interest as guide in order to choose the topic (which must be related to the general subjects of the class). On March 10 you will deliver a one-sided letter-size sheet with your research topic clearly stated as the title, your name, your ID number, an extended paragraph summarizing the content of the research, and a bibliography composed of five sources (books and/or journals).

Final Research Paper
The aim of this assignment is to produce a research paper on a focused subject. The paper should be a well-composed essay on an artist, group of works, problem or theme. You may consider a comparative study of two artists or two artworks. Papers about technical issues and of a technical nature will not be accepted. Opinion papers, descriptive papers about the student’s own work or about the instructor’s work will not be accepted. Students should make an effort to balance specific information, formal analysis and broader intellectual/cultural ideas. Define the topic of choice clearly. Students should keep in mind that in a research paper footnotes should be used and that bibliography should be provided accurately. Do not quote generic websites. Online references must be from peer-reviewed publications. It’s OK to use Wikipedia preliminarily, but not as a final source. Students should avoid broad topics. Rather, particular art works, events or critical issues should be chosen as a means of focusing in on a larger theme.

THE FINAL RESEARCH PAPER SHOULD HAVE BETWEEN 9 TO 12 PAGES (EXCLUDING FOOTNOTES AND BIBLIOGRAPHY). IT MUST BE LASER-PRINTED AND DOUBLE-SPACED. USE TIMES, TYPE 12. FINAL PAPERS MUST HAVE AT LEAST SEVEN BIBLIOGRAPHIC REFERENCES. STUDENTS MUST OBTAIN APPROVAL BEFORE STARTING TO WORK ON THE PAPER.

The instructor is available for discussing papers and ideas via email <ekac@saic.edu> or immediately after class. You're welcome to schedule an appointment as well.
Remember: you must obtain approval before starting the research. This can be done via email, informally during break or after class, or through a formal appointment.

Final Presentation
You will present your final research for ten minutes. You may present only orally or you may use the multimedia system and the projector if you like. If possible, the room will be open beginning at 12:30 so you can set up the computer before class begins. Bring your materials on a drive and transfer them to the computer.
Begin your presentation by stating your name. Follow by declaring your topic. Then explain your research.

Some presentation tips:
1 - Please practice beforehand and keep your presentation to 10 minutes.
2 - If you'll use audio, images and video, do not rely on the Internet. Download everything beforehand and copy the material to a drive or CD.
3 - Please avoid saying "hmmm", "like", and "whatever".
4 - Read, organize the material and prepare yourself so that you can speak with confidence. Try to avoid reading long passages out loud.
5 - Share your passion for your research with your audience.

The final presentations will take place on April 21 and May 05. The class will be divided in two groups randomly. The paper is due on May 05, the last day of class.

Flaxman Library Databases
For a list of Flaxman Library Databases by Subject, please see:
https://startit.artic.edu/kb/resources/webproxy/databaselist_bysubject.html
See also: http://flaxman.mylibrarytoolbar.com/

The Writing Center
SAIC offers free, hour-long writing tutorials at the Writing Center, which is located in the basement of MacLean. Tutors are available to assist all currently enrolled students with any stage of the writing process, including the following:
            • Getting started with writing
            • Forming a claim or thesis statement
            • Developing ideas
            • Strengthening organization
            • Improving writing style
            • Revising drafts
            • Correcting grammar and punctuation errors
            • Addressing MLA, CMS, and APA style questions
            • Citing references

Writing Center tutors work with students to help them find their own solutions to questions. Rather than correcting or editing papers for students, tutors work with students to help them identify issues that need further attention. Tutors may ask students to discuss their ideas as a way to specify, clarify, or deepen them. Tutors may also offer feedback on drafts, suggest writing approaches, review information, and help students analyze their own writing. Ultimately, the goal in the Writing Center is to help students become more proficient, independent writers.

Writing Center Location and Hours
MacLean Center Basement
112 S. Michigan Ave., B1-03
Monday - Thursday: 10:00 AM - 7:15 PM
Friday: 10:00 AM - 5:15 PM
4:15–7:15 p.m. are designated as walk-in hours Monday–Thursday
writingcenter@saic.edu
Leila Wilson, Coordinator — 312-345-3588 — lwilson@saic.edu

Appointments
To schedule an appointment with a Writing Center tutor, students first need to create an account through the online sign-up system:
(https://www.supersaas.com/schedule/saic/writingcenter).
Once students have set up their own account, they may sign up for appointments. Weekly standing appointments are available upon request. When students come to their tutoring appointments, they should make sure to bring their assignments with them and have any work printed out.
Online schedule instructions are available outside of the Writing Center suite (in the hallway outside of the MacLean Center B1–03).
Writing Center Suite: 312.345.9131 (Call to see if there are any last-minute openings.)

SAIC Official Attendance Policy:
Students are expected to attend all classes regularly and on time. Any necessary absences should be explained to the instructor. Students who are ill should contact their faculty member or leave a message for the instructor in the department office the day they are absent. For an extended absence due to illness, contact Health Services. Notification is then sent to all instructors informing them of the student's absence. For other extenuating circumstances contact the Academic Advising office. Please note that the written notification does not excuse a student from classes. The instructor gives students officially enrolled in a course credit only if they have responded adequately to the standards and requirements set. If the instructor does not clarify their requirements and absence policy in the course syllabus, students should ask the instructor. Also note that if a student registers late for a class (during add/drop) the instructor counts the missed classes as absences and the student is responsible for assignments given during those missed days.

Any more than two missed classes is grounds for a No Credit (NCR). If a student misses MORE than three classes, whether or not for a reasonable cause, s/he will fail the class automatically, if s/he does not withdraw from the class prior to the deadline for withdrawal with a grade of "W."
Deadline for withdrawal: March 25, 2015.

Reasonable cause to miss a class might include:
·   Illness or hospitalization (the student should contact Health Services, who will relay information to the faculty in whose class the student is enrolled. To contact Health Services, call 312.499.4288. Regular Health Services hours are 9:00 a.m.–5:00 p.m.)
·       Observation of a religious holiday
·       Family illness or death

Accommodations For Differently-Abled Students
SAIC is committed to full compliance with all laws regarding equal opportunities for students with disabilities. Students with known or suspected disabilities, such as a Reading/Writing Disorder, ADD/ADHD, and/or a mental health or chronic physical condition who think they would benefit from assistance or accommodations should first contact the Disability and Learning Resource Center (DLRC) by phone at 312.499.4278 or email at dlrc@saic.edu . DLRC staff will review your disability documentation and work with you to determine reasonable accommodations. They will then provide you with a letter outlining the approved accommodations for you to deliver to all of your instructors. This letter must be presented before any accommodations will be implemented. Accommodations are not retroactive. You should contact the DLRC as early in the semester as possible. The DLRC is located on the 13th floor of 116 South Michigan Avenue.

Plagarism Statement
The School of the Art Institute of Chicago prohibits academic misconduct, which includes "both plagiarism and cheating, and may consist of the submission of the work of another as one's own; unauthorized assistance on a test or assignment; submission of the same work for more than one class without the knowledge and consent of all instructors; or the failure to properly cite texts or ideas from other sources" (Students' Rights and Responsibilities, Student Handbook, <http://www.saic.edu/pdf/life/pdf_files/rights.pdf>.

Plagiarism is a form of intellectual theft. One can plagiarize even if one does not intend to. The penalty for plagiarizing may range from failure on the specific plagiarized assignment to failure in the class. Repeat offenses can lead to disciplinary action, which could include suspension or expulsion from the School. The Faculty Senate Student Life Subcommittee has prepared a 28-page handbook entitled Plagiarism: How to Recognize It and Avoid It. The document is available online on at :
<http://www.artic.edu/webspaces/portal/library/plagiarism_packet.pdf>.

Library staff has also prepared a two-page synopsis of the committee's handbook, designed as a handout for students. Avoid Plagiarism: Quick Guide, is available at <http://www.saic.edu/webspaces/portal/library/plagiarism.pdf>.

Book: Author Name, Title of the Book: Subtitle of the Book (Location of Publisher: Name of Publisher, Year of Publisher), Pages from x—x

One author
Michael Pollan, The Omnivore’s Dilemma: A Natural History of Four Meals (New York: Penguin, 2006), 99–100.

Two or more authors
Geoffrey C. Ward and Ken Burns, The War: An Intimate History, 1941–1945 (New York: Knopf, 2007), 52.

Editor, translator, or compiler instead of author
Richmond Lattimore, trans., The Iliad of Homer (Chicago: University of Chicago Press, 1951), 91–92.

Editor, translator, or compiler in addition to author
Gabriel García Márquez, Love in the Time of Cholera, trans. Edith Grossman (London: Cape, 1988), 242–55.

Chapter or other part of a book
John D. Kelly, “Seeing Red: Mao Fetishism, Pax Americana, and the Moral Economy of War,” in Anthropology and Global Counterinsurgency, ed. John D. Kelly et al. (Chicago: University of Chicago Press, 2010), 77.

Preface, foreword, introduction, or similar part of a book
James Rieger, introduction to Frankenstein; or, The Modern Prometheus, by Mary Wollstonecraft Shelley (Chicago: University of Chicago Press, 1982), xx–xxi.

Journal article: Author Name, “Article Title,” Name of Journal issue number (year of issue): page number.

Article in a print journal
Joshua I. Weinstein, “The Market in Plato’s Republic,” Classical Philology 104 (2009): 440.

Article in an online journal
Include a DOI (Digital Object Identifier) if the journal lists one. A DOI is a permanent ID that, when appended to http://dx.doi.org/ in the address bar of an Internet browser, will lead to the source. If no DOI is available, list a URL.
Gueorgi Kossinets and Duncan J. Watts, “Origins of Homophily in an Evolving Social Network,” American Journal of Sociology 115 (2009): 411, accessed February 28, 2010, doi:10.1086/599247.

Article in a newspaper or popular magazine: Author Name, “Title of Article,” Name of Magazine/Newspaper, date of issue, page number.
Daniel Mendelsohn, “But Enough about Me,” New Yorker, January 25, 2010, 68.

Website: “Title of Website,” date last modified, URL.
“Google Privacy Policy,” last modified March 11, 2009, http://www.google.com/intl/en/privacypolicy.html.

Footnotes
As their name suggests, footnotes appear at the foot of a page. Notes should be created with a word processor’s note function to facilitate renumbering when notes are added or deleted. Readers of scholarly printed works usually prefer footnotes for ease of reference. This is especially true where the notes are closely integrated into the text and make interesting reading, or if immediate knowledge of the sources is essential to readers. The limiting factor in printed works is page makeup—it can be difficult or impossible to fit a close succession of long footnotes onto the pages they pertain to, especially in an illustrated work (a basic requirement for all footnotes is that they at least begin on the page on which they are referenced). There is also the matter of appearance; a page consisting almost exclusively of footnotes is daunting.