- MATX 690 Seminar in Media Art & Text
- Semester course; three lecture hours. Three credits. Graduate-level research and reading centered on interdisciplinary study.
- Deadly Devices: Point-of-View-Shots in Combat, Sports and Games
- Oliver Speck
- Many news outlets have remarked on a recent macabre phenomenon: terrorists now record their attacks with lightweight cameras that were initially designed and marketed for extreme sports. The affinity of extreme sports and terrorist attacks hardly needs to be pointed out: a fast-paced, dangerous, potentially deadly activity in a hostile terrain is recorded from the point of view of the participant bearing witness to the authenticity of an exhilarating experience. The exact way in which this device is deployed deserves careful analysis, as the graphic footage then finds its way into recruitment videos mostly aimed at disaffected young men and women in Europe, the United States and other developed and developing regions. This seminar will elucidate this particular challenge to our democracy by looking at the complex ideological underpinning of this narrative device, relating point-of-view-shots in video games, extreme sports and combat to a solid base of political philosophy.
Selected Past Seminars
- The Virtual and Political in Cinema
- Oliver Speck
- This course will explore films that treat virtual reality as an alternative consciousness (e.g. “Total Recall,” “The Matrix,” “eXistenZ”), comparing them to films that introduce a notion of the virtual as developed by Gilles Deleuze in his two cinema books and in the two books he co‐authored with Felix Guattari (“Groundhog Day,” “Run Lola Run,” “The Third Generation”). Since the virtual holds potential for political change, but should not be confused with the possible, films can help to think a “community to come,” as Giorgio Agamben conceptualizes it (“Hero,” “Miracle in Milan” and “Our Daily Bread”).
Representing the Artist
- Eric Garberson
- This Media Art and Text topic seminar examines representations of the visual artist from the 18th century to the present. The principal question to be investigated is how the cultural constructs of creativity and artistic identity are produced and reproduced, visually and textually, across different social and institutional contexts. The course will begin with a variation on Foucault’s question, asking “what is an artist?” and reading key historical and theoretical texts on the figure of the artist. This will provide the foundation for a selective, thematic survey of representations in scholarly and literary texts (artist monographs and catalogues raisonnés, novels and short stories), fine art (painting and graphics) and popular media (advertising and film). Class format will be primarily a discussion of assigned readings, which will include secondary scholarly literature and primary sources, both textual and visual. Each student will select a topic relevant to his or her own interests for a major research project culminating in a presentation and a 20‐page paper.