====== Feb 20, 2018: The Cannibal from Brazil ======


 
Oswald de Andrade, 1928.[[https://www.academia.edu/1424345/Cannibalist_Manifesto|Cannibalist Manifesto]]  transl. Leslie BarySource:
Latin American Literary Review, Vol. 19, No. 38 (Jul. - Dec., 1991), pp. 38-47


Dunn, Christopher 1996. [[https://www.jstor.org/stable/2935353|The Tropicalista Rebellion. Interview with Caetano Veloso]]. Transition(70): 116.

Caetano Veloso, [[https://genius.com/Caetano-veloso-tropicalia-lyrics|Tropicalia]], 1968

Hélio Oiticica. [[http://www.tate.org.uk/art/artworks/oiticica-tropicalia-penetrables-pn-2-purity-is-a-myth-and-pn-3-imagetical-t12414|Tropicália]], 1966/67 ([[https://media.wmagazine.com/photos/597b8bb23902e22681154a39/master/pass/xlarge_Helio_Oiticica-To_Organize_Delirium-3.jpg|Installation View,]] [[https://www.wmagazine.com/story/helio-oiticica-whitney-museum-exhibition-instagram|Whitney Museum]] 2017)

Democracy Now! [[https://www.democracynow.org/2008/6/25/from_political_prisoner_to_cabinet_minister|From Political Prisoner to Cabinet Minister: Legendary Brazilian Musician Gilberto Gil on His Life, His Music and the Digital Divide]]. JUNE 25, 2008


====== Mar 6, 2018: Cutting and Recombining ======

William Burroughs. 1962. [[http://omeka.wustl.edu/omeka/items/show/9535|The Invisible Generation]] ([[http://asounder.org/resources/burroughs_invisible.pdf|PDF)]], 

**ALL:** William Burroughs. 1961/178. [[htp://creative.colorado.edu/atlas2200/pdf/burrough.pdf|The Cut-Up Method of Brion Gysin]]. Reprint New Media Reader.

Mark America. 2011. RemixtheBook. University of Minnesota Press (Chapter[[http://www.remixthebook.com/the-course/cut-ups| Literary Cut-ups]]) 

Calvino, Italo. 1967/1986. [[https://www.scribd.com/document/36431641/Italo-Calvino-Cybernetics-and-Ghosts|Cybernetics & Ghost]]. In: The Uses of Literature. San Diego, New York,London. Harcourt Brace & Company pp. 3 to 27

Raymond Queneau:  Cent mille milliards de poèmes. Gallimard, Paris 1961 [[https://www.youtube.com/watch?v=2NhFoSFNQMQ | Arte Segment]]

http://www.bevrowe.info/Queneau/QueneauRandom_v4.html
http://x42.com/active/queneau.html

**Student presentation:**: Gabriele & <del>Ivana</del>

====== Mar 20, 2018 Music Concrète and Found Footage ======

Halim El-Dabh (1921-2017). The Expression of Zaar/The Wire Piece. 1944

John Cage. [[http://www.medienkunstnetz.de/works/williams-mix/audio/1/|William's Mix.]] 1952

Pierre Schaeffer: Etude aux chemins de fer, 1948

Pierre Schaeffer, Pierre Henry: [[https://vimeo.com/34209212 |Symphonie pour un Homme Seul]], 1949

Holmes, Thom. 2008.// Electronic and Experimental Music: Technology, Music, and Culture.// 3rd ed. New York: Routledge. (Chapter: Music Concrete in France. S. 46-56)

Hausheer, Celilia und Christoph Settele (1992): //Found footage film//, Luzern: VIPER/Zyklop-Verlag.

Charles A. Ridley. [[https://www.youtube.com/watch?v=gYdmk3GP3iM | Lambeth Walk: Nazi Style]], 1941, 2:18 Min.

Burce Conner: A Movie, 1958, 12 Min

Dara Birnbaum. Technology/Transformation: Wonder Woman, 1978. 5 Min.

Martin Arnold. Piece Touchée, 1989, 15 Min.

Rick Prelinger: [[https://archive.org/details/ThisIsPr2001# | This is Prelinger Archive]]. 2001

Christian Marclay. Telephones, 1995 


**Student presentation:** Tim 

====== Apr 3, 2018 Analog & Postmodern: Appropriation Art ======

Crimp, Douglas. 1977 [[https://monoskop.org/images/1/10/Pictures_1977_catalogue.pdf | Pictures]], New York: [[http://artistsspace.org/exhibitions/pictures | Artists Space]], 1977, 30 pp
  * Jack Goldstein [[http://ubu.com/film/goldstein_jump.html | The Jump]], 1979, 00:52
  * Joan Jonas [[http://ubu.com/film/jonas_disturbances.html | Disturbances]], 1974, 11:00

Crimp, Douglas. 1982/1993 [[https://monoskop.org/images/a/af/Crimp_Douglas_1982_Appropriating_Appropriation.pdf | "Appropriating Appropriation"]], in Image Scavengers: Photography, ed. Paula Marincola, Institute of Contemporary Art/University of Pennsylvania Press, 1982, pp 27-34; repr. in Crimp, On the Museum's Ruins, 1993, pp 126-137. 
  * Michael Graves, [[https://en.wikipedia.org/wiki/Portland_Building | Portland Municipal Services Building]], 1982
  * Frank Gehry [[https://www.archdaily.com/67321/gehry-residence-frank-gehry Gehry | Residence]], 1978
  * [[http://www.mapplethorpe.org | Robert Mapplethorpe]]
  * [[http://magazine.art21.org/2011/04/15/how-to-explain-sherrie-levine-to-your-grandmother/ | How to Explain Sherrie Levine to Your Grandmother]], Art21, 2011


Buskirk, Martha. 1994. “Interviews with Sherrie Levine, Louise Lawler, and Fred Wilson.” October 70(Autumn): 98–112 {{ ::buskirk1994.pdf |}}

Michael Mandiberg. [[http://www.aftersherrielevine.com/index.html|AfterSherryLevine.com]]  2001

Metropolitan Museum of Art, [[https://www.metmuseum.org/exhibitions/listings/2009/pictures-generation | The Pictures Generation, 1974–1984]], 2009
  * Jerry Saltz [[http://www.artnet.com/magazineus/features/saltz/saltz5-18-09.asp | Great Artists Steal]], ArtNet, 2009

Richard Prince: 
  * [[https://www.guggenheim.org/arts-curriculum/topic/cowboys |Cowboys, 1989]] ,[[https://www.youtube.com/watch?v=bxySP5R-IWs |Untitled (Cowboy): Behind Richard Prince's Photographs & Appropriation]], Time Magazine, 2016, 14 Min
  * "Canal Zone." Prince vs. Carriou, The question of fair use [[http://www.herrick.com/publications/the-transformation-of-fair-use-after-prince-v-cariou |The ‘Transformation’ of Fair Use After Prince v. Cariou]] 2014
  * "New Portraits." Prince & Instagram [[Law Suit), [[https://www.theguardian.com/artanddesign/2015/may/27/suicide-girls-richard-prince-copying-instagram| Suicide Girls' reaction]] [[https://news.artnet.com/market/art-flippers-suicide-girls-richard-prince-prints-324580 | reselling re-appropriation]]

 **Student presentation:** Alexander & Marc

====== Apr 17, 2018 Digital Condition ======

Stalder, Felix. 2018. The Digital Condition. Cambridge, UK ; Medford, MA: Polity Press. Section: Referentiality p. 59-79

Sonvilla-Weiss, Stefan. 2015. „Good Artists Copy, Great Artists Steal. Reflections on Cut-Copy-Paste Culture“, in: Navas, Eduardo, Owen Gallagher und Xtine Burrough (Hrsg.): The Routledge companion to remix studies, New York: Routledge, Taylor & Francis Group, S. 54–67.

Stalder, Felix (2009) [[https://irights.info/artikel/neun-thesen-zur-remix-kultur/5767 | Neun Thesen zur Remix-Kultur]]. 


**Student presentation:** Glary & Jonas

====== Apr 24, 2018 From Net.art to Meme Culture ======

[[http://art.teleportacia.org | Olia Liania]], Ausstellung, [[http://www.roehrsboetsch.com/exhibitions/detail/olia-lialina-lossless/about/ | Lossless]] ROEHRS & BOETSCH GALLERY, ZH, 26.4 — 23.6 2018 N

[[http://www.hek.ch/projekte/net-based-award-2018.html | net-based art award, 2018]]

[[https://www.britannica.com/topic/meme|Meme (cultural concept]]). Britannica

Patrick Davison, 2012 [[http://veryinteractive.net/library/the-language-of-internet-memes|The Language of Internet Memes]]. from The Social Media Reader edited by Michael Mandiberg, 2012

Jackson, Laur M., 2016 [[https://modelviewculture.com/pieces/the-blackness-of-meme-movement | The Blackness of Meme Movement]] modelviewculture.com

«[[http://www.kunsthallesanktgallen.ch/en/exhibition/the-darknet-in-zusammenarbeit-mit-mediengruppe-bitnik-c280fb8c.html|The Darknet – From Memes to Onionland. An Exploration]]» In cooperation with !Mediengruppe Bitnik and :digital brainstorming18th Kunsthall St. Gallen. October 2014 – 11th January 2015

[[http://knowyourmeme.com/memes nowyourmeme.com]]

[[https://vimeo.com/140265561 | The Story of Technoviking]], Matthias Fritsch, 2016, [[https://www.youtube.com/watch?v=-8H4GKg-mYQ | Kneecam No.1]]  Matthias Fritsch, 2000

[[http://nkhstudio.com/ | Nate Harrison]] Can I Get An Amen?, 2004


**Student presentation:** Tim Li & Many Ma & Max


====== May 8, 2018 Reinactment as artistic strategy ======

Arns, Inke, and Horn Gabriele. 2007. History Will Repeat Itself. Frankfurt a.M.: Revolver, Archiv für aktuelle Kunst


  * [[http://en.inkearns.de/files/2011/05/HWRI-Arns-Kat-2007-engl.pdf | Curatorial Text]]
  * [[https://www.hmkv.de/programm/programmpunkte/2007/Ausstellungen/History2007.php | exhibition website]]

Mike Figgins. The Battle of Ogreave, GB, 2001, 63 Min

Fondazione Prada.[[http://www.fondazioneprada.org/project/when-attitudes-become-form/?lang=en| WHEN ATTITUDES BECOME FORM: BERN 1969/VENICE 2013]]

**Student presentation:** Claudia 

====== May 22, 2018 Limits Appropriation ======

Young, James O. 2008. Cultural Appropriation and the Arts. Malden, MA: Blackwell Publishing.

Reading: Introduction (p.1-9, 18-31), Chapter 4:  Cultural Appropriation as Assault (p. 106-120), Conclusion (p.152-153)

**Controversy: Dana Schutz “Open Casket”, 2016**

  * [[https://www.youtube.com/watch?v=4V6ffUUEvaM | The Body Of Emmett Till | 100 Photos | TIME]]

  * [[https://news.artnet.com/art-world/dana-schutz-painting-emmett-till-whitney-biennial-protest-897929 | Dana Schutz’s Painting of Emmett Till at Whitney Biennial Sparks Protest]] Artnet News, March 21, 2017

  * [[https://news.artnet.com/art-world/dana-schutz-responds-to-the-uproar-over-her-emmett-till-painting-900674 | Dana Schutz Responds to the Uproar Over Her Emmett Till Painting at the Whitney Biennial]] Artnet News, March 23, 2017

  * Speidel, Klaus. 2017. “[[https://www.spikeartmagazine.com/en/articles/dana-schutzs-open-casket-controversy-around-painting-symptom-art-world-malady | Dana Schutz’s ‘Open Casket’: A Controversy around a Painting as a Symptom of an Art World Malady.]]” Spike Art Magazine. March 24, 2017. 

  * Michaels, Walter Benn. 2018. “Who Gets Ownership of Pain and Victimhood?” Le Monde Diplomatique, May 2018. https://mondediplo.com/2018/05/14race-class.



**Student presentation:** Demian & Desiree