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Course Information
ATEC 6331‐501: Aesthetics of Interactive Arts
Professor Contact Information
Lucy Petrovic
Phone: 972.883.4369
ATEC Building Office 1.618
Office Hours: Wednesdays 4:30‐6:30pm
Course Pre‐requisites, Co‐requisites, and/or Other Restrictions
This is a required graduate class. ATEC approval is required for undergraduate students.
Course Description
This course is an exploration of aesthetic principles underlying the interactive electronic arts, their relation to and
divergence from aesthetic principles underlying traditional forms of artistic expression. Topics will include
interactive art, games, animation, and new modes of narrative.
This course analyzes the evolution of aesthetic theories to provide a historical framework and explores interactive
projects throughout the ages with a focus on those theories of aesthetics.
Student Learning Objectives/Outcomes
This course is designed for students to gain an understanding of aesthetic theories in historical and cultural
context. Students obtain the skills to analyze those theories and apply their approach to interactive content. This
course prepares students for the professional world.
Students survey interactive works, participate in round table discussions, and give presentations. Students
examine readings / web sites and report on their findings. Students are encouraged to attend any events and
lectures pertaining to the digital realm.
Required Textbooks and Materials
Students are required to research articles that pertain to the subject matter.
* Interactivity ‐ A Word in Process by Katja Kwastek, Ludwig Boltzmann Institute Media. Art. Research.
* Systems Esthetics by Jack Burnham reprinted from Artforum, 1968.
* The Construction of Experience: Interface as Content by David Rokeby.
http://homepage.mac.com/davidrokeby/experience.html
* Twin‐Touch‐Test‐Redux: Media Archaeological Approach to Art, Interactivity, and Tactility by Erkki Huhtamo from
the book MediaArtHistories, edited by Oliver Grau, MIT Press, Cambridge, Mass., (McDermott Library eBooks).
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* Sounding New Media, Immersion and Embodiment in the Arts and Culture by Frances Dyson, Berkeley: University
of California Press (2009). See Osmose by Char Davies, http://www.immersence.com/
Articles may be added to this list during the semester.
Related Links
* Lucy Petrovic, http://www.cfa.arizona.edu/lucy/work.html
* David Rokeby, http://homepage.mac.com/davidrokeby/
* Char Davies, http://www.immersence.com/
* Sommerer & Mignonneau, http://www.interface.ufg.ac.at/christa‐laurent/
* Overview of Media Art, http://www.medienkunstnetz.de/themes/overview_of_media_art/
* switch online journal, San Jose State University, http://switch.sjsu.edu/
Suggested Readings
* Gaut, Berys Nigel; Lopes, Dominic, The Routledge Companion to Aesthetics, London, Routledge, 2005.
* Grau, Oliver, MediaArtHistories, Cambridge, Mass., MIT Press, c2007.
* Grau, Oliver, Virtual Art, Cambridge, Mass., MIT Press, c2003.
* Langer, Susanne, Feeling and Form; a theory of art, New York, Scribner, 1953.
* Nadin, Mihai, The Civilization of Illiteracy, Dresden, Dresden University Press, 1997.
* Rieser, Martin; Zapp, Andrea, New Screen Media: cinema/art/narrative, London, BFI Pub., 2002.
* Wiener, Norbert, ‘Cybernetics in History, The Human Use of Human Beings’ 1954, from Multimedia.
* Wilson, Stephen, Information Arts: intersections of art, science and technology, Cambridge, Mass., MIT Press,
c2002.
Grading Policy
Written and oral work will be graded on evidence of your serious engagement with the concepts and theories that
are studied, and of how you articulate your own understanding of those concepts. Your work will be graded on
organization, clear presentation and conciseness.
All students are expected to attend classes on a regular basis. To be able to have an understanding of the course
content and complete the assignments in an outstanding manner one needs to participate in all of the lectures,
discussions and demonstrations of the class.
Class participation & writing assignments on readings 30%
Oral presentation on theories 20%
Aural/visual representation of personal aesthetics 25%
Presentations & discussion of interactive projects 25%
Course & Instructor Policies
To expedite learning process for all, be ready with all assignments on days due. Late work will only be accepted
under major extenuating circumstances. All late works receives lower grades.
Please review the university Policies and Procedures on:
http://provost.utdallas.edu/syllabus‐policies/
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Academic Calendar & Assignments
Week 1 August 23
‐Introductions
Assignments: Presentation on one position on aesthetics. Select three possible theorists/topics (to avoid
duplication), research their position on aesthetics (a list will be provided in class). Prepare a ten minute
oral presentation on one of the theorists to present to the class on September 13th.
:Read 'Interactivity ‐ A Word in Process' by Katja Kwastek.
:Write an interpretive analysis of the reading assignment on our class e‐Learning pages.
State in your own words the author's main points. Include your opinions of the reading.
Week 2 August 30
‐Sign up for your presentation topic on aesthetics. +A personal aesthetic ‐ 'desert views desert deaths' &
'under control / in control'. http//www.cfa.arizona.edu/lucy/work.html
+Defining Interactivity.
Assignment: Work on presentation.
Week 3 September 6
‐Labor Day Holiday
Week 4 September 13
‐Aesthetic theories, student presentations
Week 5 September 20
‐Aesthetic theories, student presentations
Week 6 September 27
‐Presentations cont. +Class discussion on theories.
Assignment: Research Marcel Duchamp, John Cage, Myron Krueger. Look for information and materials
on these artists for an informal discussion of their philosophies and contributions to interactivity.
Week 7 October 4
‐Historical perspectives of interactive art ‐ Culture of participation.
Assignments:
:Read 'Systems Esthetics' by Jack Burnham reprinted from Artform, 1968.
:Write an interpretive analysis of 'Systems...' ‐ on our class e‐Learning pages.
State in your own words the author's main points. Include your opinions of the reading.
Week 8 October 11
‐From Object to System Aesthetics.
Assignments:
:Analyze your personal aesthetics in media that you frequently view (games, film, music, image,
performance). Define your personal aesthetics.
:Create an aural/visual representation of your aesthetics. Include textual information (quotes) from our
philosophers and media examples. Prepare a 5 minute speech that explains your work.
Week 9 October 18
‐Student presentations ‐Personal Visual representation of aesthetics. First show your aural/visual
representation, secondly explain your personal aesthetics.
Assignment:
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:Attend Andy Clark Lecture 'Natural‐born Cyborgs? Reflections on Bodies, Minds, and Human
Enhancement', 7:30 pm Wednesday, October 20, Davidson Auditorium, School of Management.
Week 10 October 25
‐Student presentations ‐Personal visual representation of aesthetics. +Human Enhancement.
Week 11 November 1
‐ Student presentations cont.
:Read
1) 'The Construction of Experience: Interface as Content' by David Rokeby.
http://homepage.mac.com/davidrokeby/experience.html
2) 'Twin‐Touch‐Test‐Redux: Media Archaeological Approach to Art, Interactivity, and Tactility' by Erkki
Huhtamo.
:Write an interpretive analysis of the reading assignments on our class e‐Learning pages.
State in your own words the author's main points. Include your opinions of the reading.
:Review Rokeby's installations, pay particular attention to, Very Nervous System, The Giver of Names.
Week 12 November 8
‐Experience of Interactivity and Touch. +Interactivity on Web.
Assignments:
Group project: In groups of 2 or 3 (sections based on personal visual presentations) research interactive
projects. These projects may be sophisticated interaction on the Internet (more than the point and click
variety), art installations, educational software, or entertainment. Select one, demonstrate aesthetics ‐
both visual and interactivity.
:Create an oral/visual presentation & prepare to lead a discussion on this project. Presentations due
November 22.
:Read 'Sounding New Media, Immersion and Embodiment in the Arts and Culture' by Frances Dyson,
Berkeley, University of California Press (2009). Can be found: http://www.immersence.com/
:Write an interpretive analysis of the reading assignment on our class e‐Learning pages.
State in your own words the author's main points. Include your opinions of the reading.
:Review: Char Davies web site Link to Osmose.
Week 13 November 15
‐Immersion in virtual space. Immersive environments.
Assignments:
:Attend Jonathan Tippett Lecture 'Expanding the Human Experience Through Machines', 7:30 pm
Wednesday November 17, Davidson Auditorium, School of Management.
:Work on final project
Week 14 November 22
‐Machines
‐Final group projects due. Student presentations.
Week 15 November 29
‐Student presentations of final projects
Week 16 December 6
‐Presentations cont, class evaluations.
These descriptions and timelines are subject to change at the discretion of the professor.
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