THE DETAILS:
REQUIRED SUPPLIES:
Students are required to complete weekly readings, all of which have been made available for free. Links to online-sources are found on THIS website, in addition to readings available via the Library's e-reserve.LATE-WORK POLICY:
While generally discouraged, late-work will be accepted for partial-credit. Work handed in late will be reduced by one-third for every day it is late.
INSTRUCTOR WILL NOT ACCEPT LATE FINAL PROJECTS.ATTENDANCE POLICY:
Students are expected to attend all of every class meeting unless they have received prior permission from the instructor. Attendance will be taken at the beginning of each class meeting. If you are late to class it is your responsibility to make sure your attendances is acknowledged by talking to the instructor.FINAL GRADE CALCULATION
20% for Assignment #1
20% for Assignment #2
20% for Assignment #3
20% for Final Project
15 % will be based on class participation in discussions and critiques
5% will be based on the three museum/gallery/performance visit reports
THE COURSE SCHEDULE
WEEK 1: Introduction to Course and a look at "Reuse" from the European Renaissance
QUESTION: What is "Original" art?
The Romantic Artist Ideal vs. The Utopian Plagiarist. - IDEAS vs. FORMS/TECHNIQUES vs REMIX
READING: "On Plagiarism" by Richard Posner
READING: "Cannibal Culture" by Tim Lemire
READING: Free Culture (book) by Lawrence Lessig (PDF) - Chapter 7: Recorders and Chapter 8: Transformers" -- pp 95 - 107
WEEK 2: Imagistic Derivations and Collaboration as Remix
QUESTION: WHAT IS THE DIFFERENCE BETWEEN "FOUND" AND "DERRIVATIVE"
"Modernism" in terms of Art-Historical trends and explain "remix" within this context.
READING: Freedom of Expression (book) by Kembrew McLeod, pp 127 - 142 ("Art and Everyday Life")
READING: excerpts from American Artists on Art, 1940-1980 - Pollock: pp 5 - 10 - Pop Art ( Indiana, Lichtenstein, Warhol, Johns): pp 82 - 92
WEEK 3: TYPE - The Gutenberg Press and CUT-UP
QUESTION: HOW IMMUTABLE IS THE WRITTEN WORD?
Gutenberg press as technological intervention, King Henry translation, William Burroughs cut-up textsREADING: Marshall McLuhan, excerpts from Understanding Media: "The Typewriter"
excerpt from Travis Macdonald's, "The O Mission Repo" (book of poems based on the 9/11 Commission Report)
READING: William Gibson "God's Little Toys"
READING: Free Culture (book) by Lawrence Lessig (PDF) - Chpater 4: Piracy - pp 53 - 79; and Chapter 6: Founders - pp 85 - 94
WEEK 4: Mechanical Reproduction: motion picture and sound
QUESTION: DOES TECHNOLOGY FUEL MORE OR LESS "ORIGINAL" ART?READING: excerpt from "The Work of Art in the Age of Mechanical Reproduction" (Sections I through VI)
READING: Marshall McLuhan, excerpts from Understanding Media: "The Phonograph"
WEEK 5: Mechanical Reproduction: video art and electronic art
QUESTION: HOW DO 20TH CENTURY ARTISTS EMBRACE THE TOOLS OF MEDIA REMIX?READING: Free Culture (book) by Lawrence Lessig (PDF) - Chapter 12: Harms - pp 183 - 207
WEEK 6: Pop Citations and Satirical Quotation
QUESTION: WHAT ARE THE MULTIPLE STORIES TOLD IN SATIRE AND SPOOF?
READING: Freedom of Expression, "Illegal Art," pp 142 - 164
excerpt from MAD Magazine and Editorial Cartoons
WEEK 7: Public Space as Remix Space
QUESTION: HOW IS PUBLIC SPACE APPROPRIATED BY ARTISTS AS REMIXED CULTURAL INFORMATION?
READING: Free Culture (book) by Lawrence Lessig (PDF) - pp 130 - 161
WEEK 8: The Digital Copy and Hypertextualism
QUESTION: WHAT ARE UNIQUE CHARACTERSTICS OF REMIX OFFERED BY THE INTERNET?
READING: "Utopian Plagiarism, Hypertextuality, and Electronic Cultural Production" by Critical Art Ensemble (PDF)
WEEK 9: Computing in Public, Remixing Across Borders
QUESTION: HOW DOES OPEN SOURCE INFORMATION AFFECT CREATIVE AND PUBLIC CULTURE?
READING: Free Culture (book) by Lawrence Lessig (PDF) - pp 276-286
READING: excerpt from Internet Art (book) by Rachel Greene - -pp 119-128
WEEK 10: Student Presentations