Oswald de Andrade, 1928.Cannibalist Manifesto transl. Leslie BarySource: Latin American Literary Review, Vol. 19, No. 38 (Jul. - Dec., 1991), pp. 38-47

Dunn, Christopher 1996. The Tropicalista Rebellion. Interview with Caetano Veloso. Transition(70): 116.

Caetano Veloso, Tropicalia, 1968

Hélio Oiticica. Tropicália, 1966/67 (Installation View, Whitney Museum 2017)

Democracy Now! From Political Prisoner to Cabinet Minister: Legendary Brazilian Musician Gilberto Gil on His Life, His Music and the Digital Divide. JUNE 25, 2008

William Burroughs. 1962. The Invisible Generation (PDF),

ALL: William Burroughs. 1961/178. The Cut-Up Method of Brion Gysin. Reprint New Media Reader.

Mark America. 2011. RemixtheBook. University of Minnesota Press (Chapter Literary Cut-ups)

Calvino, Italo. 1967/1986. 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 Arte Segment

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

Student presentation:: Gabriele & ~~Ivana~~

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

John Cage. William's Mix. 1952

Pierre Schaeffer: Etude aux chemins de fer, 1948

Pierre Schaeffer, Pierre Henry: 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. 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: This is Prelinger Archive. 2001

Christian Marclay. Telephones, 1995

Student presentation: Tim

Apr 3, 2018 Analog & Postmodern: Appropriation Art

Crimp, Douglas. 1977 Pictures, New York: Artists Space, 1977, 30 pp

Jack Goldstein The Jump, 1979, 00:52
Joan Jonas Disturbances, 1974, 11:00

Crimp, Douglas. 1982/1993 "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, Portland Municipal Services Building, 1982
Frank Gehry Residence, 1978
Robert Mapplethorpe
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. AfterSherryLevine.com 2001

Metropolitan Museum of Art, The Pictures Generation, 1974–1984, 2009

Jerry Saltz Great Artists Steal, ArtNet, 2009

Richard Prince:

Cowboys, 1989 ,Untitled (Cowboy): Behind Richard Prince's Photographs & Appropriation, Time Magazine, 2016, 14 Min
“Canal Zone.” Prince vs. Carriou, The question of fair use The ‘Transformation’ of Fair Use After Prince v. Cariou 2014
“New Portraits.” Prince & Instagram Suicide Girls' reaction reselling re-appropriation

Student presentation: Alexander & Marc

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) Neun Thesen zur Remix-Kultur.

Student presentation: Glary & Jonas

Olia Liania, Ausstellung, Lossless ROEHRS & BOETSCH GALLERY, ZH, 26.4 — 23.6 2018 N

net-based art award, 2018

Meme (cultural concept). Britannica

Patrick Davison, 2012 The Language of Internet Memes. from The Social Media Reader edited by Michael Mandiberg, 2012

Jackson, Laur M., 2016 The Blackness of Meme Movement modelviewculture.com

«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

The Story of Technoviking, Matthias Fritsch, 2016, Kneecam No.1 Matthias Fritsch, 2000

Nate Harrison Can I Get An Amen?, 2004

Student presentation: Tim Li & Many Ma & Max

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

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

Fondazione Prada. WHEN ATTITUDES BECOME FORM: BERN 1969/VENICE 2013

Student presentation: Claudia

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

The Body Of Emmett Till | 100 Photos | TIME

Dana Schutz’s Painting of Emmett Till at Whitney Biennial Sparks Protest Artnet News, March 21, 2017

Dana Schutz Responds to the Uproar Over Her Emmett Till Painting at the Whitney Biennial Artnet News, March 23, 2017

Speidel, Klaus. 2017. “ 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