This multimedia documentation covers the many facets of the history of media art. Concentrating o... more This multimedia documentation covers the many facets of the history of media art. Concentrating on Germany, the book deals not just with video, film and television, but also with music, installation, action and painting at the beginning of the 1960s and 1970s. The CD-ROM features reproductions of moving images. System requirements: PC - Windows 95, at le ast 12 MB RAM; Mac - 68040, recommended PowerMac, at least 12 MB RAM.
The readymades conceived and selected by Marcel Duchamp be- tween the years 1914–1917 have, with ... more The readymades conceived and selected by Marcel Duchamp be- tween the years 1914–1917 have, with very few exceptions, not survived until the present day as ‘original.’ A variety of forms, in- cluding documentary photos, objects chosen and approved later by Duchamp as well as remakes of the historical objects comprise the readymades’ legacy. Duchamp’s remakes of his readymades as a limited edition of multiples from 1964, commemorating the 50-year anniversary of his selection of the Bottle Dryer in 1914, mark the beginning of the second half of the “Readymade Century.” In contrast to their widespread visibility, the paradoxical ‘construct- edness’ of these objects is rarely discussed. The representational impact and the conceptual specificity of these multiples goes far beyond the oeuvre of Marcel Duchamp, and can be seen as a pre- monition of artistical appropriation strategies from the 1980s to the present day.
In the Weimar Republic in the years between 1920 and 1930, the then “new” media of film and radio... more In the Weimar Republic in the years between 1920 and 1930, the then “new” media of film and radio led to absolute forms of art whose aesthetics were guided by their idiosyncratic technological identities. In particular, abstract (or absolute) film and radiogenic (funkisch) drama, today often referred to as the predecessors of media art, were underpinned by theoretical examination of the relationship between music and moving image, and between sound and visual perception. Musicians such as Kurt Weill, fine artists and filmmakers such as Walther Ruttmann, radio makers such as Hans Flesch and Friedrich W. Bischoff, and authors such as Rudolf Arnheim worked—partially in dialogue and partially independently of one other—on related questions that explored the parallels, differences and interactions between these media. This chapter explores the networks and complex superimpositions that reside among and between these artistic disciplines.
Readymade Century - deutsche Ausgabe (englisch edition --> see books in englisch), 2019
Die drei Teile dieses Buchs widmen sich den Readymades Marcel Duchamps aus unterschiedlichen Pers... more Die drei Teile dieses Buchs widmen sich den Readymades Marcel Duchamps aus unterschiedlichen Perspektiven: Der „Readymade-Index“ untersucht die Genese und Konsistenz von Duchamps Konzept in den ersten 50 Jahren des ‚Readymade Century‘ von 1914 bis 1964. Der zweite Teil „Readymade-Exposition“ beschreibt die weit über Duchamps Lebenszeit hinausreichende Wirkungsgeschichte. Das Scharnier zwischen diesen beiden Hälften des ‚Readymade Century‘ bilden die Edition von Duchamps Readymades als Multiples und die Ausstellung von Andy Warhols Brillo Boxes. Zeitgleich, aber unabhängig voneinander markieren diese beiden Ereignisse im Jahr 1964 einen Wendepunkt in der Mitte des ‚Readymade Century‘, der unmittelbare Relevanz für die heutigen künstlerischen Praktiken des ‚schon Fertigen‘ hat, unabhängig davon, ob diese sich selbst in der Nachfolge von Duchamps Readymades sehen. Dieser Fortschreibung und Auffächerung der Idee des Readymade widmen sich der Epilog „Readymade Contemporary“.
Media → Art / Art → Media
Forerunners of media art in the first half of the twentieth century
T... more Media → Art / Art → Media Forerunners of media art in the first half of the twentieth century
The mutual influences between media and art have started long before the popularization of television. There were technical and conceptual forerunners of media art in the early twentieth century,and there was radio which almost exploded into being in the 1920s -all of this shows the power wielded by these distribution and production instruments. This text unfolds the panorama of the forerunners and early utopias that were linked to the rise of mass media. At the same time, it serves as a historical introduction into the topical field of media art.
Television-Art or anti-art?
Conflict and cooperation between the avant-garde and the mass media i... more Television-Art or anti-art? Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s
Television emerged and developed along tracks that had already been laid by the established mass media of film and radio. There was scarcely a phase when everything was open, allowing creative investigation to define the medium. In the following, three snapshots will provide examples of the developing relationship between art and television over three decades. The conflicts between avant-garde and television as a mass medium in the 1960s and 1970s will be highlighted from an artistic perspective.
Fernsehen Kunst oder Antikunst?
Konflikte und Kooperationen zwischen Avantgarde und Massenmediu... more Fernsehen Kunst oder Antikunst? Konflikte und Kooperationen zwischen Avantgarde und Massenmedium in den 1960er/1970er Jahren
Die Entstehung des Fernsehens verläuft in den durch die fest etablierten Massenmedien Film und Radio vorgeprägten Bahnen. Das mächtigste aller Massenmedien hat bis heute keine eigene Kunstform hervorgebracht. Dennoch haben Künstler immer wieder in Theorie und Praxis eine offenere und experimentelle Nutzung des Fernsehens entworfen. Drei Momentaufnahmen aus den 1960er/1970er Jahren zeigen sowohl die Konflikte wie die Kooperationen zwischen Avantgarde und Massenmedium. Noch vor aller Videokunst erweist sich das Fernsehen dabei als Prüfstein für die Position der gesamten Medienkunst: kann sie die Breitenwirkung der Massenmedien nutzen oder bleibt sie nur im begrenzten Radius der Kunstwelt verständlich?
The relationship between sound and vision in four steps: - Gesamtkunstwerk and audio-visual media... more The relationship between sound and vision in four steps: - Gesamtkunstwerk and audio-visual media technology in the 19th century, - avant-garde film and music in the 1920s, - video art and new music in the 1950s/60sVideokunst und neue Musik der 1950/60er, - techno-culture and today's media artTechnokultur und heutige Medienkunst. The three main themes: - interplay between visual and acoustic arts: composition, work concept, perceptual effects and technology, - transferring technical principles between sound and visual media , - avant-garde concepts as precursors of mainstream culture.
This multimedia documentation covers the many facets of the history of media art. Concentrating o... more This multimedia documentation covers the many facets of the history of media art. Concentrating on Germany, the book deals not just with video, film and television, but also with music, installation, action and painting at the beginning of the 1960s and 1970s. The CD-ROM features reproductions of moving images. System requirements: PC - Windows 95, at le ast 12 MB RAM; Mac - 68040, recommended PowerMac, at least 12 MB RAM.
The readymades conceived and selected by Marcel Duchamp be- tween the years 1914–1917 have, with ... more The readymades conceived and selected by Marcel Duchamp be- tween the years 1914–1917 have, with very few exceptions, not survived until the present day as ‘original.’ A variety of forms, in- cluding documentary photos, objects chosen and approved later by Duchamp as well as remakes of the historical objects comprise the readymades’ legacy. Duchamp’s remakes of his readymades as a limited edition of multiples from 1964, commemorating the 50-year anniversary of his selection of the Bottle Dryer in 1914, mark the beginning of the second half of the “Readymade Century.” In contrast to their widespread visibility, the paradoxical ‘construct- edness’ of these objects is rarely discussed. The representational impact and the conceptual specificity of these multiples goes far beyond the oeuvre of Marcel Duchamp, and can be seen as a pre- monition of artistical appropriation strategies from the 1980s to the present day.
In the Weimar Republic in the years between 1920 and 1930, the then “new” media of film and radio... more In the Weimar Republic in the years between 1920 and 1930, the then “new” media of film and radio led to absolute forms of art whose aesthetics were guided by their idiosyncratic technological identities. In particular, abstract (or absolute) film and radiogenic (funkisch) drama, today often referred to as the predecessors of media art, were underpinned by theoretical examination of the relationship between music and moving image, and between sound and visual perception. Musicians such as Kurt Weill, fine artists and filmmakers such as Walther Ruttmann, radio makers such as Hans Flesch and Friedrich W. Bischoff, and authors such as Rudolf Arnheim worked—partially in dialogue and partially independently of one other—on related questions that explored the parallels, differences and interactions between these media. This chapter explores the networks and complex superimpositions that reside among and between these artistic disciplines.
Readymade Century - deutsche Ausgabe (englisch edition --> see books in englisch), 2019
Die drei Teile dieses Buchs widmen sich den Readymades Marcel Duchamps aus unterschiedlichen Pers... more Die drei Teile dieses Buchs widmen sich den Readymades Marcel Duchamps aus unterschiedlichen Perspektiven: Der „Readymade-Index“ untersucht die Genese und Konsistenz von Duchamps Konzept in den ersten 50 Jahren des ‚Readymade Century‘ von 1914 bis 1964. Der zweite Teil „Readymade-Exposition“ beschreibt die weit über Duchamps Lebenszeit hinausreichende Wirkungsgeschichte. Das Scharnier zwischen diesen beiden Hälften des ‚Readymade Century‘ bilden die Edition von Duchamps Readymades als Multiples und die Ausstellung von Andy Warhols Brillo Boxes. Zeitgleich, aber unabhängig voneinander markieren diese beiden Ereignisse im Jahr 1964 einen Wendepunkt in der Mitte des ‚Readymade Century‘, der unmittelbare Relevanz für die heutigen künstlerischen Praktiken des ‚schon Fertigen‘ hat, unabhängig davon, ob diese sich selbst in der Nachfolge von Duchamps Readymades sehen. Dieser Fortschreibung und Auffächerung der Idee des Readymade widmen sich der Epilog „Readymade Contemporary“.
Media → Art / Art → Media
Forerunners of media art in the first half of the twentieth century
T... more Media → Art / Art → Media Forerunners of media art in the first half of the twentieth century
The mutual influences between media and art have started long before the popularization of television. There were technical and conceptual forerunners of media art in the early twentieth century,and there was radio which almost exploded into being in the 1920s -all of this shows the power wielded by these distribution and production instruments. This text unfolds the panorama of the forerunners and early utopias that were linked to the rise of mass media. At the same time, it serves as a historical introduction into the topical field of media art.
Television-Art or anti-art?
Conflict and cooperation between the avant-garde and the mass media i... more Television-Art or anti-art? Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s
Television emerged and developed along tracks that had already been laid by the established mass media of film and radio. There was scarcely a phase when everything was open, allowing creative investigation to define the medium. In the following, three snapshots will provide examples of the developing relationship between art and television over three decades. The conflicts between avant-garde and television as a mass medium in the 1960s and 1970s will be highlighted from an artistic perspective.
Fernsehen Kunst oder Antikunst?
Konflikte und Kooperationen zwischen Avantgarde und Massenmediu... more Fernsehen Kunst oder Antikunst? Konflikte und Kooperationen zwischen Avantgarde und Massenmedium in den 1960er/1970er Jahren
Die Entstehung des Fernsehens verläuft in den durch die fest etablierten Massenmedien Film und Radio vorgeprägten Bahnen. Das mächtigste aller Massenmedien hat bis heute keine eigene Kunstform hervorgebracht. Dennoch haben Künstler immer wieder in Theorie und Praxis eine offenere und experimentelle Nutzung des Fernsehens entworfen. Drei Momentaufnahmen aus den 1960er/1970er Jahren zeigen sowohl die Konflikte wie die Kooperationen zwischen Avantgarde und Massenmedium. Noch vor aller Videokunst erweist sich das Fernsehen dabei als Prüfstein für die Position der gesamten Medienkunst: kann sie die Breitenwirkung der Massenmedien nutzen oder bleibt sie nur im begrenzten Radius der Kunstwelt verständlich?
The relationship between sound and vision in four steps: - Gesamtkunstwerk and audio-visual media... more The relationship between sound and vision in four steps: - Gesamtkunstwerk and audio-visual media technology in the 19th century, - avant-garde film and music in the 1920s, - video art and new music in the 1950s/60sVideokunst und neue Musik der 1950/60er, - techno-culture and today's media artTechnokultur und heutige Medienkunst. The three main themes: - interplay between visual and acoustic arts: composition, work concept, perceptual effects and technology, - transferring technical principles between sound and visual media , - avant-garde concepts as precursors of mainstream culture.
Breaking new ground as the first transdisciplinary reader in this field, Video Theories is a reso... more Breaking new ground as the first transdisciplinary reader in this field, Video Theories is a resource that will form the basis for further research and teaching. While theories of video have not yet formed an academic discipline comparable to the more canonized theories of photography, film, and television, the reader offers a major step toward bridging this “video gap” in media theory, which is remarkable considering today's omnipresence of the medium through online video portals and social media.
Consisting of a selection of eighty-three annotated source texts and twelve chapter introductions written by the editors, this book considers fifty years of scholarly and artistic reflections on the topic, representing an intergenerational and international set of voices. This transdisciplinary reader offers a conceptual framework for diverging and contradictory viewpoints, following the continuous transformations of what video was, is, and will be.
This book explores the readymades of Marcel Duchamp from different perspectives in three parts: I... more This book explores the readymades of Marcel Duchamp from different perspectives in three parts: In the “Ready- made Index,” we study the origins and consistency of Duchamp’s concept during the first 50 years of the ‘Readymade Century’ from 1914 to 1964. In the second part, “Readymade Exposition,” we follow the reception history of that concept, which still continues long after Duchamp’s death. A hinge between these two halves of the ‘Readymade Century’ is offered by Duchamp’s edition of his readymades as multiples, as well as Andy Warhol’s exhibition of his Brillo Boxes. Simultaneously yet independently, these two events in 1964 mark a turn- ing point midway through the ‘Readymade Century.’ They still have a direct impact on today’s artistic practices of the “already made,” even on artists that may not see themselves in the tradition of Duchamp’s readymades. The development and expansion of the readymade concept is discussed in the book’s epilog, “Readymade Contemporary.”"
This book, Thinking Media Aesthetics, is available as Open Access. It has been selected to be par... more This book, Thinking Media Aesthetics, is available as Open Access. It has been selected to be part of the Knowledge Unlatched Crowdfunding initiative which enables libraries worldwide to invest funds for transforming academic books to Open Access.
Foreword by WJT Mitchell. Contributions by Samuel Weber, Ina Blom, Mary Ann Doane, Eivind Roossak, Susanne Ostby Saether, Liv Hausken, Arild Fetveit, D.N. Rodowick, Dieter Daniels and Sandra Naumann
This book is an exhibition catalogue of <TV Commune> combined with an anthology of papers present... more This book is an exhibition catalogue of <TV Commune> combined with an anthology of papers presented at the symposium <Gift of Nam June Paik 4. Television, de- inter- trans-> held in autumn in 2011. Television is evolving to become like a kind of organism in the current milieu of new media such as YouTube and iPod, which is not a mere communication medium any longer and is essential part of human existence and behaviour. The international exhibition and symposium looked into the ways Paik insightfully explored the changing relationships between television and our perception of the world. What characterizes his artistic experimental televisions is ‘to defamiliarize,’ ‘to interface’ and ‘to transcend.’ Through these three keywords, the exhibition is an art historical examination of Paik’s television art and his contemporary artists of historical significance, and today’s media artists who strive to broaden the horizons of art vis-a-vis TV. This book also contains the in-depth symposium papers written by leading scholars in art history, aesthetics, sociology and communications studies, which will become a platform where the full implications of television in art and society can be investigated from various angles.
100 Jahre Radio in Deutschland. Anybody out there!? D21 Kunstraum, 2021
Schon lange vor dem heutigen Mobilfunk eröffnet sich mit
dem Radio ein akustischer Raum der Gleic... more Schon lange vor dem heutigen Mobilfunk eröffnet sich mit dem Radio ein akustischer Raum der Gleichzeitigkeit und der Allgegenwärtigkeit. Die erste deutsche Testsendung via Radio wurde am 22. Dezember 1920 von Königs Wusterhausen ausgestrahlt, drei Jahre vor dem Beginn des offiziellen Radioprogramms. Das bietet den Anlass 2020 über »Hundert Jahre Radio« nachzudenken. Die Transformationen und Potentiale des immateriellen Sendens und Empfangens werden in diesem Buch anhand von drei Zeitfenstern untersucht: die Anfänge des Rundfunks in den 1920er Jahren, Piratenradios und der Leipziger Stadtfunk in der DDR, sowie das Radio als Medium für Live- Performances heute.
Video Theories. A Transdisciplinary Reader, Bloomsbury, 2022
Breaking new ground as the first transdisciplinary reader in this field, Video Theories is a reso... more Breaking new ground as the first transdisciplinary reader in this field, Video Theories is a resource that will form the basis for further research and teaching. While theories of video have not yet formed an academic discipline comparable to the more canonized theories of photography, film, and television, the reader offers a major step toward bridging this “video gap” in media theory, which is remarkable considering today's omnipresence of the medium through online video portals and social media.
Consisting of a selection of eighty-three annotated source texts and twelve chapter introductions written by the editors, this book considers fifty years of scholarly and artistic reflections on the topic, representing an intergenerational and international set of voices. This transdisciplinary reader offers a conceptual framework for diverging and contradictory viewpoints, following the continuous transformations of what video was, is, and will be.
Uploads
Papers by Dieter Daniels
Mit einem Beitrag von Olaf Nicolai
Grafik Designer: Dan Solbach, http://dansolbach.ch/
Forerunners of media art in the first half of the twentieth century
The mutual influences between media and art have started long before the popularization of television. There were technical and conceptual forerunners of media art in the early twentieth century,and there was radio which almost exploded into being in the 1920s -all of this shows the power wielded by these distribution and production instruments. This text unfolds the panorama of the forerunners and early utopias that were linked to the rise of mass media. At the same time, it serves as a historical introduction into the topical field of media art.
Full text: http://www.medienkunstnetz.de/themes/overview_of_media_art/forerunners/textsummary/
Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s
Television emerged and developed along tracks that had already been laid by the established mass media of film and radio. There was scarcely a phase when everything was open, allowing creative investigation to define the medium. In the following, three snapshots will provide examples of the developing relationship between art and television over three decades. The conflicts between avant-garde and television as a mass medium in the 1960s and 1970s will be highlighted from an artistic perspective.
Full text:
http://www.medienkunstnetz.de/themes/overview_of_media_art/massmedia/textsummary/
Konflikte und Kooperationen zwischen Avantgarde und Massenmedium in den 1960er/1970er Jahren
Die Entstehung des Fernsehens verläuft in den durch die fest etablierten Massenmedien Film und Radio vorgeprägten Bahnen. Das mächtigste aller Massenmedien hat bis heute keine eigene Kunstform hervorgebracht. Dennoch haben Künstler immer wieder in Theorie und Praxis eine offenere und experimentelle Nutzung des Fernsehens entworfen. Drei Momentaufnahmen aus den 1960er/1970er Jahren zeigen sowohl die Konflikte wie die Kooperationen zwischen Avantgarde und Massenmedium. Noch vor aller Videokunst erweist sich das Fernsehen dabei als Prüfstein für die Position der gesamten Medienkunst: kann sie die Breitenwirkung der Massenmedien nutzen oder bleibt sie nur im begrenzten Radius der Kunstwelt verständlich?
Volltext: http://www.medienkunstnetz.de/themen/medienkunst_im_ueberblick/massenmedien/
Full text: http://www.medienkunstnetz.de/themes/image-sound_relations/sound_vision/textsummary/
Mit einem Beitrag von Olaf Nicolai
Grafik Designer: Dan Solbach, http://dansolbach.ch/
Forerunners of media art in the first half of the twentieth century
The mutual influences between media and art have started long before the popularization of television. There were technical and conceptual forerunners of media art in the early twentieth century,and there was radio which almost exploded into being in the 1920s -all of this shows the power wielded by these distribution and production instruments. This text unfolds the panorama of the forerunners and early utopias that were linked to the rise of mass media. At the same time, it serves as a historical introduction into the topical field of media art.
Full text: http://www.medienkunstnetz.de/themes/overview_of_media_art/forerunners/textsummary/
Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s
Television emerged and developed along tracks that had already been laid by the established mass media of film and radio. There was scarcely a phase when everything was open, allowing creative investigation to define the medium. In the following, three snapshots will provide examples of the developing relationship between art and television over three decades. The conflicts between avant-garde and television as a mass medium in the 1960s and 1970s will be highlighted from an artistic perspective.
Full text:
http://www.medienkunstnetz.de/themes/overview_of_media_art/massmedia/textsummary/
Konflikte und Kooperationen zwischen Avantgarde und Massenmedium in den 1960er/1970er Jahren
Die Entstehung des Fernsehens verläuft in den durch die fest etablierten Massenmedien Film und Radio vorgeprägten Bahnen. Das mächtigste aller Massenmedien hat bis heute keine eigene Kunstform hervorgebracht. Dennoch haben Künstler immer wieder in Theorie und Praxis eine offenere und experimentelle Nutzung des Fernsehens entworfen. Drei Momentaufnahmen aus den 1960er/1970er Jahren zeigen sowohl die Konflikte wie die Kooperationen zwischen Avantgarde und Massenmedium. Noch vor aller Videokunst erweist sich das Fernsehen dabei als Prüfstein für die Position der gesamten Medienkunst: kann sie die Breitenwirkung der Massenmedien nutzen oder bleibt sie nur im begrenzten Radius der Kunstwelt verständlich?
Volltext: http://www.medienkunstnetz.de/themen/medienkunst_im_ueberblick/massenmedien/
Full text: http://www.medienkunstnetz.de/themes/image-sound_relations/sound_vision/textsummary/
Consisting of a selection of eighty-three annotated source texts and twelve chapter introductions written by the editors, this book considers fifty years of scholarly and artistic reflections on the topic, representing an intergenerational and international set of voices. This transdisciplinary reader offers a conceptual framework for diverging and contradictory viewpoints, following the continuous transformations of what video was, is, and will be.
With a contribution by Olaf Nicolai
Graphic Designer: Dan Solbach, http://dansolbach.ch/
Available here: https://www.peterlang.com/view/title/16251
Foreword by WJT Mitchell. Contributions by Samuel Weber, Ina Blom, Mary Ann Doane, Eivind Roossak, Susanne Ostby Saether, Liv Hausken, Arild Fetveit, D.N. Rodowick, Dieter Daniels and Sandra Naumann
dem Radio ein akustischer Raum der Gleichzeitigkeit und
der Allgegenwärtigkeit. Die erste deutsche Testsendung
via Radio wurde am 22. Dezember 1920 von Königs Wusterhausen
ausgestrahlt, drei Jahre vor dem Beginn des offiziellen
Radioprogramms. Das bietet den Anlass 2020 über »Hundert Jahre Radio« nachzudenken.
Die Transformationen und Potentiale des immateriellen
Sendens und Empfangens werden in diesem Buch anhand
von drei Zeitfenstern untersucht: die Anfänge des Rundfunks
in den 1920er Jahren, Piratenradios und der Leipziger
Stadtfunk in der DDR, sowie das Radio als Medium für
Live- Performances heute.
Herausgeber:innen:
Dieter Daniels, Frederike Moormann, Constanze Müller,
Angelika Waniek, Ralf Wendt
Consisting of a selection of eighty-three annotated source texts and twelve chapter introductions written by the editors, this book considers fifty years of scholarly and artistic reflections on the topic, representing an intergenerational and international set of voices. This transdisciplinary reader offers a conceptual framework for diverging and contradictory viewpoints, following the continuous transformations of what video was, is, and will be.