<< preface

this blog is nina wenhart's collection of resources on the various histories of new media art. it consists mainly of non or very little edited material i found flaneuring on the net, sometimes with my own annotations and comments, sometimes it's also textparts i retyped from books that are out of print.

it is also meant to be an additional resource of information and recommended reading for my students of the prehystories of new media class that i teach at the school of the art institute of chicago in fall 2008.

the focus is on the time period from the beginning of the 20th century up to today.

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2008-07-02

>> Guy Debord, "Hurlements en faveur de Sade", 1952

This is a 4 minutes excerpt from youtube, the full movie is about 90 minutes long and can be found on ubuweb (http://www.ubuweb.com/film/debord_hurlements.html)
The movie consists of either black or white images only. In the white-phases, you can hear a conversation between four people, in the black-phases, there is only silence.
When it was first shown, the film was stopped after a short time because of audience-protests. Next time, Situationists stopped the audience from leaving the cinema, by promising them things and threatening them. The last part of the movie is 24 minutes of black and silence.

--> compare to Peter Kubelka's work "Arnulf Rainer" (1960), which is also just black or white and sound or silence, but follows a strict mathematical structure.


Gepostet von Nina Wenhart ... hh:mm 4:19 PM tags - , ,

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... is a Media Art historian and researcher. She holds a PhD from the University of Art and Design Linz where she works as an associate professor. Her PhD-thesis is on "Speculative Archiving and Digital Art", focusing on facial recognition and algorithmic bias. Her Master Thesis "The Grammar of New Media" was on Descriptive Metadata for Media Arts. For many years, she has been working in the field of archiving/documenting Media Art, recently at the Ludwig Boltzmann Institute for Media.Art.Research and before as the head of the Ars Electronica Futurelab's videostudio, where she created their archives and primarily worked with the archival material. She was teaching the Prehystories of New Media Class at the School of the Art Institute of Chicago (SAIC) and in the Media Art Histories program at the Danube University Krems.