Course Syllabus Course Information ATEC 6331 501: Aesthetics of Interactive Arts Tuesdays 7:00 9:45 pm Professor Lucy Petrovic Office: ATEC 1.910 Phone: 972.883.4369 Contact Information Office Hours: Tuesdays 5:00 6:00pm Email: lpetrovic@utdallas.edu Course Pre requisites, Co requisites, and/or Other Restrictions This is a core course for ATEC graduate students. ATEC approval is required for undergraduate students. Course Description This course is an exploration of aesthetic principles underlying the interactive electronic arts, their relation to and divergence from aesthetic principles underlying traditional forms of artistic expression. Topics will include aesthetics and interactive art. This course analyzes the evolution of aesthetic theories to provide a historical framework and explores interactive projects throughout the ages with a focus on those theories of aesthetics. Student Learning Objectives/Outcomes This course is designed for students to gain an understanding of aesthetic theories in historical and cultural context. Students obtain the skills to analyze those theories and apply their approach to interactive content. This course prepares students for the professional world. Students survey interactive works, participate in round table discussions, give presentations and design a creative project. Students examine readings / web sites and report on their findings. Students are encouraged to attend any events and lectures pertaining to the digital realm. Required Readings * Interactivity A Word in Process by Katja Kwastek, Ludwig Boltzmann Institute Media. Art. Research. * Systems Esthetics by Jack Burnham reprinted from Artforum, 1968. * Excepts from the book, Beyond Modern Sculpture by Jack Burnham. * The Construction of Experience: Interface as Content by David Rokeby. * Twin Touch Test Redux: Media Archaeological Approach to Art, Interactivity, and Tactility by Erkki Huhtamo from the book MediaArtHistories, edited by Oliver Grau, MIT Press, Cambridge, Mass., (McDermott Library ebooks). Page 1
* Sounding New Media, Immersion and Embodiment in the Arts and Culture by Frances Dyson, Berkeley: University of California Press (2009). See Osmose by Char Davies, http://www.immersence.com/ * Critical Computer Games from Critical Play by Mary Flanagan. Articles may be added to this list during the semester. Related Links * Robotic Art Chronology, http://audiovisualacademy.com/blog/en/2012/04/13/robotic art chronology p 2 1960 1980s/ * 9 Evenings: Theater and Engineering, 1966, Daniel Langlois Foundation http://www.fondation langlois.org/html/e/selection.php?selection=9evo * Overview of Media Art, http://www.medienkunstnetz.de/themes/overview_of_media_art/ * Database of Virtual Art, http://www.virtualart.at/ * switch online journal, San Jose State University, http://switch.sjsu.edu/ * Google Art Project, http://www.googleartproject.com/ * Lucy Petrovic, http://atec.utdallas.edu/petrovic/work.html * David Rokeby, http://homepage.mac.com/davidrokeby/home.html * Char Davies, http://www.immersence.com/ * Mary Flanagan, http://www.maryflanagan.com/ * Janet Cardiff, http://www.cardiffmiller.com/artworks/inst/index.html Suggested Readings * Flanagan, Mary, Critical Play, Radical Game Design, Cambridge, Mass., MIT Press, c2009. * Grau, Oliver, MediaArtHistories, Cambridge, Mass., MIT Press, c2007. * Grau, Oliver, Virtual Art, Cambridge, Mass., MIT Press, c2003. * Wilson, Stephen, Information Arts: intersections of art, science and tech, Cambridge, Mass., MIT Press, c2002. * Rieser, Martin; Zapp, Andrea, New Screen Media: cinema/art/narrative, London, BFI Pub., 2002. * Nadin, Mihai, The Civilization of Illiteracy, Dresden, Dresden University Press, 1997. * Burnham, Jack, Beyond Modern Sculpture, New York, George Braziller, 1968. * Wiener, Norbert, The Human Use of Human Beings 1954, Garden City, NY, Doubleday, 1954. Grading Policy Written and oral work will be graded on evidence of your serious engagement with the concepts and theories that are studied, and of how you articulate your own understanding of those concepts. Your work will be graded on organization, clear presentation and conciseness. Graduate students must receive a grade of B or better in core courses. All students are expected to attend classes on a regular basis. To be able to have an understanding of the course content and complete the assignments in an outstanding manner one needs to participate in all of the lectures, discussions and demonstrations of the class. If you miss a class, it is your responsibility to find out what you missed from a classmate. You will be responsible for all work due the next class period. Page 2
Class participation & writing assignments on readings 20% Formal Presentation & discussion of interactive projects 20% Presentation of artworks from readings or ancient art cultures 10% Write an art critique on an experienced interactive project 10% Oral presentation on aesthetics 20% Aural/visual representation of personal aesthetics 20% Course & Instructor Policies To expedite learning process for all, be ready with all assignments on dates due. Late presentations will only be accepted under major extenuating circumstances. All late works receives lower grades. No late work of writing assignments on readings will be accepted. Please review the university Policies and Procedures on: http://go.utdallas.edu/syllabus policies Academic Calendar & Assignments Week 1 Introductions, Interactive Art Influences, +work with your partner on the presentation. :Read 'Interactivity A Word in Process' by Katja Kwastek. Due next week. :Write an interpretive analysis of the reading assignment and post on e Learning pages. State in your own words the author's main points. Include your opinions of the reading. All written analysis of our reading assignments need to be posted on Sunday night before class. Group Presentations on an Interactive Project due Week 4. :Work In groups of 2 research interactive projects. These projects may be sophisticated interaction on the Internet (more than the point and click variety), art installations, educational software, or entertainment. Select one, demonstrate aesthetics both visual and interactivity. :Create an oral/visual presentation & prepare to lead a discussion on this project. Week 2 Discussion: Defining Interactivity. +A personal aesthetic 'desert views desert deaths' & 'under control / in control'. +Work with partner on presentation. Assignment: Work on presentations and typed outline. Due in 2 weeks. Week 3 Ancient Art Cultures student presentations; analyze theories of culture aesthetics. Assignment: Work on presentation and typed outline. Due next week. Week 4 Student Presentations & discussions on Interactive Projects due Turn in Typed outline. Assignment: Group Presentations on aesthetics due Week 7. :Prepare a 10 minute oral presentation (in groups of 2) on two Philosopher s aesthetic position. A list will be provided in class. Please adhere to the time limit when preparing your presentation. Type an outline of your talk. A hard copy of your outline is due Week 7. Week 5 Student Presentations & discussions on Interactive Projects. :Read 'Systems Esthetics' and 'Sculpture' pages by Jack Burnham. Due next week. :Write an interpretive analysis of 'Systems Esthetics.' and post on our class e Learning pages. Page 3
:Work on aesthetics presentation. Due in 2 weeks. Week 6 From Object to Systems Aesthetics, discuss Burnham's articles. Beginnings of Interactive Arts. Assignment: Complete Work on aesthetics presentation. Due next week. Week 7 Student presentations aesthetics. Assignment: Research Marcel Duchamp, John Cage, Myron Krueger. Look for information and materials on these artists for an informal discussion of their philosophies and contributions to interactivity. Week 8 Student presentations cont. :Read 'The Construction of Experience: Interface as Content' by David Rokeby. DUE next week. :Write an interpretive analysis of the reading assignments & post on our class e Learning pages. :Review Rokeby's installations, see Very Nervous System, The Giver of Names. Spring Break March 10 to March 16 Week 9 Mixed Realities, Virtual Realities, Telematic & Interactivity on the Internet. +Discussion on Duchamp et al. :Read 'Twin Touch Test Redux: Media Archaeological Approach to Art, Interactivity, and Tactility' by Erkki Huhtamo. Due next week. :Personal Visual Aesthetics due Week 13 :Analyze your personal aesthetics in media that you frequent (image, media, music, games, performance). Define your personal aesthetics. Type a one page paper that describes your aesthetics. :Create an aural/visual representation of your aesthetics. Include textual information (quotes) from our philosophers and media examples. (No other text please on your visual representation). :Prepare a 5 minute speech that explains your aesthetics. Week 10 Experience of Interactivity and Touch. :Read 'Sounding New Media, Immersion and Embodiment in the Arts and Culture' by Frances Dyson. Due next week. Can be found: http://www.immersence.com/ :Review Char Davies web site Link to Osmose. :Work on personal visual aesthetics & presentation. Due in 3 weeks. Week 11 Written critique due. +Immersion in virtual space. Immersive environments. :Read 'Critical Computer Games by Mary Flanagan. Due next week. :Review Mary Flanagan s web site. :Work on personal visual aesthetics & presentation. Due in 2 weeks. Page 4
Week 12 Alternative Computer Games +Are games better than life? Assignment: :Work on personal visual aesthetics & presentation. Due next week. Week 13 Student presentations of personal visual aesthetics. First show your aural/visual representation, second explain your personal aesthetics. Week 14 Student presentations of final projects. Week 15 Student presentations of final projects. +Summation of course concepts. These descriptions and timelines are subject to change at the discretion of the professor. Page 5