3 February
Mandatory assignment A should be done before this class
• Denis Dutton: “Authenticity in art” published in Levinson (ed.): The Oxford Handbook of Aesthetics, 2003, Oxford University Press. Also at: (refer to the webpage for illustrations)

The Artwork essay

10 February
• Walter Benjamin: “The Work of Art in the Age of Mechanical Reproduction” (third version 1939) in Arent (ed.): Illuminations (1955), 1968, Schocken Books, pp. 217-251

17 February
Presentation by group 1
• Theodor W. Adorno: “Culture Industry Reconsidered” in New German Critique, no. 6 (Autumn 1976), pp. 12-19
• Peter Bürger: Theory of the Avant-Garde, 1984, University of Minnesota, pp. 41-54

Digital media

24 February
Presentation by group 2
• Lev Manovich: The Language of New Media, 2001, MIT Press, pp. 19-61

3 March
Presentation by group 3
• H.M. Enzensberger: “Constituents of a Theory of the Media” (1970), in New Left Review, Nov./Dec. 1970, pp. 13-36
• J.D. Bolter and R. Grusin: Remediation – Understanding New Media, (1999) 2000, MIT Press, pp. 21-50

Digital art

10 March
Presentation by group 4
• Boris Groys: ”From Image to Image File – and back: Art in the age of digitalization” in Art Power, 2008, MIT Press, pp. 83-91
• Krzysztof Ziarek: “The Work of Art in the Age of Its Electronic Mutability” in Benjamin (ed.): Walter Benjamin and Art, 2005 Continuum, pp. 209-225
• Mark Tribe: “A Brief Introduction to Digital Art” in Enter Action, Digital Art Now (exhibition catalogue), 2009, ARoS Aarhus Kunstmuseum, pp. 60-64


17 March
Presentation by group 5
• Roland Barthes: “From Work to Text” in Barthes: Image, Music, Text (1977), Noonday Press, 1998, pp. 155-164
• M. Foucault: “What is an Author?” (1969) in Preziosi (ed.): The Art of Art History, 1998, Oxford University Press, pp. 299-314

24 March
Presentation by group 1
• C.S. Peirce: “What is a sign?” (1894) from
• Jean Baudrillard: Simulacra and Simulation, (1981) 1994, University of Michigan Press, pp. 1-7; 12-14; 19-27

Critique of Benjamin

7 April
Presentation by group 2
• Hennion and B. Latour: “How to make mistakes on so many things at once – and become famous for it” in Gumbrich and Merrinan (eds.): Mapping Benjamin, 2003, Stanford University Press, pp. 91-97
• H. Ritter: “Toward the Artwork Essay, Second Version” in Gumbrich and Merrinan (eds.): Mapping Benjamin, 2003, Stanford University Press, pp. 203-210
• Bill Nichlos: “The Work of Culture in the Age of Cybernetic Systems” (1988) in Wardrip-Fruin and Montfort (eds.): The New Media Reader, 2003, MIT Press, pp. 625-641

(Wild) documentation

14 April
Presentation by group 3
• J. Walker: “Feral Hypertext” in Proceedings of the sixteenth ACM conference on Hypertext and hypermedia, 2005, pp. 46-53
• Eric Kluitenberg: “The Network of Waves” in Open no. 11, 2006, pp. 6-16
• Boris Groys: ”Art in the age of Biopolitics: From artwork to art documentation” (2002) in Art Power, 2008, MIT Press, pp. 53-65


April 21
The conference has been cancelled. We meet as usual in room 116, 11-14.
Programme: Lotte on interactive digital art, and guest Nina Gram on 'Mobile sounds and mediated immediacy'. Please read Nina's abstract here. As a bonus perhaps Sigmar can tell us a little about Islandic vulcanos?

Sampling (commercial) bits

28 April
Hand in assignment D
Follow-up on the flashmob and the conference
Presentation by group 4
• Chris Anderson: The Long Tail, (2006), 2007, Random House Business Books (Introduction, Chapter 1+4)
• Lev Manovich: Software takes command (excepts). From

Copy-right and creativity

5 May
Presentation by group 5
• Quinn Norton: “Secrets of the Pirate Bay” in Wired Magazine, 16.08.2006 (
• Larry Lessig: ”How creativity is being strangled by the law” (20 min. video lecture), 2007
• Chris Anderson: “Free! Why $0.00 Is the Future of Business” in Wired Magazine 25.02.2008

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