MMS 194

COURSE CODE: MMS 194

COURSE TITLE: New Media Art

PREREQUISITE: MMS 100

COURSE CREDIT: 3 Units

COURSE DESCRIPTION:
Introduction to the critical analysis and creation of new media art.

COURSE GOAL:

To develop an understanding of the depth and breadth of new
media artistic practices involving multimedia; develop students’ abilities to create novel interactive experiences afforded by new and emerging technologies; and encourage students to take intellectual and personal risks in their professional development as multimedia practitioners.

COURSE OUTLINE:

• Foundations
  • Making sense of art
  • A brief history of new media art
  • Characteristics of new media
• Currents
  • Genres and themes in new media art
  • New media art in the Philippines and Southeast Asia
  • Case studies in new media art
• Processes
  • New media art as the intersection of art and science
  • New media art as research
  • New media art as creation

REFERENCES:

• Ascott, R., & Shanken, E. A. (2007). Telematic embrace: Visionary theories of art, technology, and consciousness. Univ of California Pr.
• BBC World Service. (2014). DigitalP: Open Data Revolution. Retrieved from http://downloads.bbc.co.uk/podcasts/worldservice/digitalp/digitalp_20141104-2030a.mp3.
• Cajipe-Endaya, I. (n.d.). Multimedia. In CCP Encyclopedia of Philippine Art. Cultural Center of the Philippines. Retrieved from https://web.archive.org/web/20171002221243/http://digitaleducation.net:80/epa-web/visual-artsftmultimedia/.
• Catricalà, V. (Ed.). (2015). Media art: towards a new definition of arts in the age of technology. Pistoia: Gli ori. Retrieved from https://www.academia.edu/11185472/Media_Art._Towards_a_New_Definition_of_Arts_in_the_Age_of_Technology.
• Damjan Obal, & Maruša Novak. (2011). Bringing IT to life. When art, plants and technology meet. In Conference Proceedings of the 2nd International Conference World Usability Day (pp. 24–30). Kranj, Slovenia: Iskratel Electronics doo, Ljubljanska cesta 24a. Retrieved from http://webhotel2.tut.fi/emmi/web/sites/webhotel2.tut.fi.emmi.web/files/2011_keynote_WUD2011_proceedings.pdf#page=24.
• Denisa Kera. (2012). Hackerspaces and DIYbio in Asia: connecting science and community with open data, kits and protocols. Journal of Peer Production, 2. Retrieved from http://peerproduction.net/issues/issue-2/peer-reviewed-papers/diybio-in-asia/?format=pdf.
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• Grau, O. (2016). New Media Art [Data set]. Oxford University Press. https://doi.org/10.1093/obo/9780199920105-0082.
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• Loft, S., & Swanson, K. (2014). Coded territories: tracing indigenous pathways in new media art. Retrieved from http://www.deslibris.ca/ID/448826.
• Maarten H. Lamers, & Wim van Eck. (2012). Why simulate? hybrid biological-digital games. In Applications of Evolutionary Computation (pp. 214–223). Springer. Retrieved from http://link.springer.com/chapter/10.1007/978-3-642-29178-4_22.
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• Maranan, D. S. (2011, March). Biomodd: an interactive and collaborative art project that integrates nature and technology. Talk presented at the School of Interactive Arts and Technology Graduate Research Colloquium, Simon Fraser University, Canada.
• Maranan, D. S. (2018, March). Haplós: Using and contributing to the cognitive sciences by designing vibrating clothing. Presented at the School of Psychology Seminar Series, Plymouth University, UK.
• Maranan, D. S., & Librero, A. F. D. (2014). Biomodd: Exploring Relationships Between Biological, Electronic, And Social Systems Through New Media Art. In ICERI2014 Proceedings (pp. 249–256). Seville, Spain. https://doi.org/10.5281/zenodo.1172839.
• Maranan, D. S., & Vermeulen, A. (2015). When Ideas Migrate: A Postcolonial Perspective on Biomodd [LBA2]. In Proceedings of the 21st International Symposium on Electronic Art. Vancouver, Canada. Retrieved from http://hdl.handle.net/10026.1/5077.
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• Quaranta, D. (2013). Beyond New Media art. Brescia: LINK Editions. Retrieved from http://www.linkartcenter.eu/public/editions/Domenico_Quaranta_Beyond_New_Media_Art_Link_Editions_ebook_2013.pdf.
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• Shanken, E. A. (2005). Artists in industry and the academy: collaborative research, interdisciplinary scholarship and the creation and interpretation of hybrid forms. Leonardo, 38(5), 415–418.
• Shanken, E.A. (2011, February 15). Contemporary Art and New Media: Toward a Hybrid Discourse? Retrieved August 7, 2017, from https://hybridge.wordpress.com/2011/02/15/writings-media/
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• Strehovec, J. (2009). New media art as research: art-making beyond the autonomy of art and aesthetics. Technoetic Arts: A Journal of Speculative Research, 6(3), 233–250. https://doi.org/10.1386/tear.6.3.233_1.
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• Vermeulen, A., & Maranan, D. (2010). Biomodd as Paradox. In S. Engelen & M. Wynants (Eds.), We Can Change the Weather: 100 Cases in Energy Efficacy to Start Doing So (pp. 22–23). Brussels: Asp / Vubpress / Upa.
• Wikipedia contributors. (2017, July 13). New media art. In Wikipedia. Retrieved from https://en.wikipedia.org/w/index.php?title=New_media_art&oldid=790375000.
• Wim van Eck, & Maarten H. Lamers. (2013). Hybrid Biological-Digital Systems in Artistic and Entertainment Computing. Leonardo, 46(2), 151–158.