Syllabus INTRODUCTION: READING CONCEPTS OF

INTERMEDIALITY
Instructors: Prof Dr G!n"tt" #"rstra"t" $coor%!nator&' Dr S("n
L)tt!c*"n
Cont"nt:
This course offers an introduction to concepts and practices of intermediality. It offers a
survey of the major concepts used in historical and contemporary debates on the
synergy between the arts and the media, and teaches the students not only to get a grip
on those terms, but also to understand them in relation to each other. On the basis of
these key terms, students acquire a good understanding of the theoretical debates on
intermediality, while learning to analyze concrete objects and practices. tudents are
asked to relate the terms and theoretical issues discussed to their own disciplinary
backgrounds. ! close reading of installations, art works, te"ts, will be part of the training.
Goals:
!t the end of the course the student
#as a general understanding of the historically developed relationships between
various arts and media and the way critics have defined these.
#as some understanding of the cultural and historical conte"ts in which cross$
media developments and intermediality play a major role and is able to critically
reflect on these.
#as a sound theoretical background and the capacity to relate that to an analysis
of concrete objects or cases.
Is able to hold an academic discussion individually and in larger groups% to
present a sophisticated argument orally% and to sustain an academic analysis of
a certain length in writing.
L!t"ratur":
&iterature listed under 'background( is intended to provide a further conte"t for and)or
contrast to the primary te"ts. The background literature is not compulsory, but highly
recommended. It is obligatory, however, for students preparing a discussion, a
presentation, or a final paper on the concept or theory in question.
Sc+"%ul":
,"%n"s%ay - S".t"/b"r' 0-u' 1G 23A02: Intro%uct!on

#ans *agnus +nzensberger. ',onstituents of a Theory of the *edia.( New Left Review
I)-. /0ovember$1ecember 23456. 27$7-. /819 provided.6
:ens chr;ter. 'the 8olitics of Intermediality.( Intermedialities: Theory, History, Practice.
Issue of Acta Universitatis Sapientiae !ilm and "edia St#dies. <ol =, =525. 254$2=..
www.acta.sapientia.ro)acta$film),=)film=$-.pdf
>ackground?
1
@aymond Ailliams. "ar$ism and Literat#re /chapter '9rom *edium to ocial 8ractice(6.
O"ford? O"ford Bniversity 8ress, 2344. 2CD$2-.. /819 provided6
,"%n"s%ay 00 S".t: M"%!a Mo%al!t!"s an% Int"r/"%!al!t!"s
Aerner Aolf. The "#sicali%ation of !iction: A St#dy in the Theory and History of
Intermediality !msterdam? @odopi, 2333. 7C$C5. /On reserve 3th floor% 819 provided6
&ars +llestr;m. 'The *odalities of *edia? ! *odel for Bnderstanding Intermedial
@elations.( "edia &orders, "#ltimodality and Intermediality. +d. &ars +llestr;m.
>asingstoke? 8algrave *acmillan, =525. 22$.D. /On reserve 3th floor.6
http?))www.palgrave.com)819s)34D5=75=7D-5=.pdf
Irina @ajewsky. 'Intermediality, Interte"tuality, and @emediation? ! &iterary 8erspective
on Intermediality.( Interm'dialit's 0o. -. 9all =55C.
http?))cri.histart.umontreal.ca)cri)fr)intermedialites)p-)pdfs)p-ErajewskyEte"t.pdf
>ackground?
Finette <erstraete. 'Introduction. Intermedialities? ! >rief urvey of ,onceptual Issues.(
Intermedialities: Theory, History, Practice. Issue of Acta Universitatis Sapientiae !ilm
and "edia St#dies. <ol =, =525. 4$2.. http?))www.acta.sapientia.ro)acta$film),=)film=$
2.pdf
,"%n"s%ay 04 S".t: Int"r/"%!a an% t+" N"o5A(ant5Gar%"
1ick #iggins. 'Intermedia( /23-C6. In foeweom&whnw. 0ew Gork? omething +lse 8ress,
23-3. 22$=3. /819 will be provided.6 ee also the 23D2 postscript /819 provided6.
1ick #iggins, 'tatement on Intermedia( /23--6.
http?))www.artpool.hu)9lu"us)#iggins)intermedia=.html
!llan Haprow. '0otes on the ,reation of a Total !rt( /23CD6. (ssays on the )l#rrin* of
Art and Life. +d. :eff Helley. >erkeley etc.? Bniversity of ,alifornia 8ress, 2337. 25$2=.
/On reserve 3th floor.6
!llan Haprow. '#appenings in the 0ew Gork cene( /23-26. (ssays on the )l#rrin* of
Art and Life. +d. :eff Helley. >erkeley etc.? Bniversity of ,alifornia 8ress, 2337. 2C$=-.
/On reserve 3th floor.6
>ackground?
Fuy 1ebord. '8erspectives for ,onscious !lterations in +veryday &ife( /23-26, +nglish
translation at? http?))library.nothingness.org)articles)I)en)display)D3
1onald :udd. 'pecific Objects( /23-C6. +omplete ,ritin*s -./.0-.1/. #alifa"? 8ress of
the 0ova cotia ,ollege of !rt and 1esign, 234C.2D2ID3. /819 provided6
2
0am :une 8aik. '+"panded +ducation for the 8aperless ociety.( Radical Software 2.2.
pring 2345. 4$D. http?))www.radicalsoftware.org)e)volume2nr2.html
!nd some videos?
:ohn ,age, 'Aater Aalk( /23-26. http?))www.youtube.com)watchJvKulycqL#$B
0am :une 8aik, video of :ohn ,age performing is 'silent( composition .M77MM?
http?))www.youtube.com)watchJvKE.&3NCmTH"5
,"%n"s%ay 67 S".t: Cas" Stu%!"s by t+" Stu%"nts
,"%n"s%ay 6 Octob"r: R"/"%!at!on
:ay 1avid >olter and @ichard Frusin. Remediation: Understandin* New "edia.
,ambridge, *ass? *IT, 2333. /espec. ch 2, =, 7, -6. /On reserve 3th floor.6
>ackground?
&ars +llestr;m. 'The *odalities of *edia? ! *odel for Bnderstanding Intermedial
@elations.( "edia &orders, "#ltimodality and Intermediality. +d. &ars +llestr;m.
>asingstoke? 8algrave *acmillan, =525. 22$.D. /On reserve 3th floor.6
http?))www.palgrave.com)819s)34D5=75=7D-5=.pdf
*atthew Hirschenbaum. O*edia, Fenealogy, #istory.' @eview.
http?))www.alt".com)ebr)reviews)rev3)r3kir.htm
,"%n"s%ay 8 Octob"r: Un%"rstan%!n9 M"%!a: Mars+all McLu+an
*arshall *c&uhan. Understandin* "edia: The ($tensions of "an. &ondon? @outledge,
23-.. 8art 2 /seven chapters6. /On reserve 3th floor, and via amazon or at <B
>oekhandel.6
'The 8layboy Interview? *arshall *c&uhan.( http?))www.ne"tnature.net)JpK25=C
>ackground?
Fuy 1ebord. +"tracts from +omments on the Society of the Spectacle /23DD6. /Aord
document provided.6
:ean >audrillard,.'@equiem for the *edia( /23446. @eprinted in New "edia Reader /*IT
8ress, =5576. =44$D4. /819 provided.6
,"%n"s%ay 03 Octob"r: Cas" Stu%!"s by t+" Stu%"nts
,"%n"s%ay 6: Octob"r: ;r"a*
3
,"%n"s%ay :2 Octob"r' 0-u' ,N P3-<: G"sa/t*unst="r*
Theodor A. !dorno. In Search of ,a*ner /237D6. &ondon)0ew Gork? <erso, =55C. D-$
22D. /On reserve 3th floor.6
*atthew Ailson mith. The Total ,or2 of Art: !rom )ayre#th to +y&erspace 0ew
Gork)&ondon? @outledge, =554. D$.4. /On reserve 3th floor.6
>ackground?
@ichard Aagner, 3pera and 4rama /2DC=6, +nglish translation at?
http?))users.belgacom.net)wagnerlibrary)prose)wlpr55-7.htm
9riedrich 0ietzsche. The )irth of Tra*edy from the Spirit of "#sic /2D4=6, +nglish
translation at? http?))records.viu.ca)Pjohnstoi)0ietzsche)tragedyEall.htm
ven &Qtticken. 'Interzone? On Three Aorks by wendelien van Oldenborgh.( !fterall no.
=3. pring =52=. http?))www.afterall.org)journal)issue.=3)interzone$on$three$works$by$
wendelien$van$oldenborgh
,"%n"s%ay 3 No("/b"r: Gu"st l"ctur" by Dr I(o ;lo/
Theodor A. !dorno and #anns +isler. +omposin* for the !ilms /23.46. &ondon?
,ontinuum, =554. .=$C3. /On reserve 3
th
floor6
Thomas +lsaesser)*alte #agener. !ilm Theory: An Introd#ction Thro#*h the Senses
0ew Gork)&ondon? @outledge, =553. 2=3$2.D /',inema as +ar. !coustics and pace(6.
/819 provided.6
>ackground?
*ichel ,hion. A#dio56ision: So#nd on Screen 0ew Gork? ,olumbia Bniversity 8ress,
233.. pp. 2=7$274. /819 provided.6
Fraham *c,ann, '0ew Introduction.( +omposin* for the !ilms. vii$"""i" /On reserve 3
th

floor6
@obert tam. !ilm Theory: An Introd#ction O"ford? >lackwell, =555. =2=$==7. /819
provided.6
,"%n"s%ay 0: No("/b"r: Cas" Stu%!"s by Stu%"nts
,"%n"s%ay 62 No("/b"r: Mo%"rn Laoco>ns
4
,lement Freenberg. 'Towards a 0ewer &aocoon( /23.56. The +ollected (ssays and
+riticism 6ol - Perceptions and 7#d*ments -.885-.99 +d. :ohn OM>rian. ,hicago?
Bniversity of ,hicago 8ress, 23D-. =7$7D. /On reserve 2=
h
floor.6
@udolf !rnheim. '! 0ew &aoco;n? !rtistic ,omposites and the Talking 9ilm( /237D6.
!ilm as Art. &ondon? 9aber and 9aber, 23CD. 2-.$2D3. /On reserve 3th floor.6
>ackground?
,lement Freenberg. 'Intermedia.( Arts "a*a%ine. C-.=. October 23D2. 3=$37. /819
provided.6
Theodor A. !dorno. '!rt and the !rts( /23-4: +an one Live After A#schwit%; A
Philosophical Reader +d. @olf Tiedemann. tanford? tanford Bniversity 8ress, =557.
7-D$7D4. /On reserve 3th floor.6
,"%n"s%ay 6< No("/b"r: T+" Post5M"%!u/ Con%!t!on
@osalind Hrauss. <A 6oya*e on the North Sea= Art in the A*e of the Post5"edi#m
+ondition. &ondon? Thames R #udson, 2333. /On reserve 3th floor.6
&ev *anovich. '8ost$*edia !esthetics( /=5526.
http?))www.manovich.net)1O,)8ostEmediaEaesthetics2.doc
>ackground?
@osalind Hrauss, '! <iew of *odernism( /234=6. Perpet#al Inventory ,ambridge *!?
*IT 8ress, =525. 22C$2=D. /On reserve 3th floor.6
@osalind Hrauss, '@einventing the *edium.( +ritical In>#iry. =C. Ainter 2333. =D3$75C.
/819 provided.6
,"%n"s%ay - D"c"/b"r: Gu"st l"ctur" by Prof Dr ?at@a ?=ast"* AMus!c an% t+"
#!sual Arts: Int"rs"ct!ons an% Int"ract!onsB

cott ona nibbe and Folan &evin. 'Interactive 1ynamic !bstraction(, Proceedin*s of
Non5photorealistic Animation and Renderin*, !nnecy, =555 /819 provided6

imon haw$*iller. 'eparation and ,onjunction? *usic and !rt, circa 2D55$=525(, See
This So#nd A#diovis#olo*y ? (ssays +d. 1ieter 1aniels and andra 0aumann. H;ln?
<erlag der >uchhandlung Aalther H;nig, =522, pp. =3$C2 /819 provided6

>ackground?

ee This ound Aebarchive? http?))www.see$this$sound.at)en

Tmema /Folan &evin and Lachary &ieberman6? The *anual Input Aorkstation /=55.$
=55-6, 1ocumentary ,ollection? http?))www.fondation$langlois.org)html)e)page.phpJ
0um8ageK===5
5

1avid @okeby, <ery 0ervous ystem /23D7$6, 1ocumentary
,ollection, http?))www.fondation$langlois.org)html)e)page.phpJ0um8ageK=2D-

,"%n"s%ay 00 D"c"/b"r: Cas" Stu%!"s by Stu%"nts
Gra%"s:
9inal grades will be based equally on?
26 Gour participation in class, particularly your chairing of a discussion or your
presentation. /0o more than 2 absence during class is allowed6.
=6 Gour final essay. Gou have to fulfill the in$class obligations before handing in your
essay.
1eadline essays? 2C :anuary.
Pr"s"ntat!ons:
1uring the run of the class, each student will either a& l"a% %!scuss!ons or b& .r"s"nt a
cas" stu%y
The disc#ssions will be held in the second half of one of the sessions on a specific
segment of the literature on intermediality. !fter an introduction by the instructors,
students will discuss the te"t and lead the discussion with their fellow$students. The
focus is in the te"t% e"amples of artworks should serve the analysis and critique of the
te"t.
The case st#dies are short talks /2C minutes6 in which the student discusses a specific
object /film, te"t, photograph, installation, etc.6 in relation to the literature of the previous
two weeks. #ere the artworks, rather than the te"ts, are the point of departure.
For t+os" l"a%!n9 a %!scuss!on' .l"as" .ay att"nt!on to t+" follo=!n9:
$In the case of discussions, you are of course not e"pected to present a complete
analysis, but rather to delineate the problem in such a way that others can engage with
it, and ask them a number of direct and stimulating questions for clarification, critique or
further analysis.
$Those in charge of the discussion must have read both the primary te"ts !01 the
background literature in advance. They also have prepared the focus, statements,
questions, assignments, in short the means of stimulating the group discussion together.
! good division of roles is necessary. One person has to coordinate the process in class?
keep an eye on the clock, the structure, and on the amount of interaction with the whole
/S6 group. This person can also intervene when things get repeated too often, or become
too abstract or unfocused.
$Ahen trying to involve the group? !void vague questions or statements that lead to
nowhere /or just anywhere6. tay focused on the te"ts. !lways make sure the elicited
debate adds to the understanding of the literature read. lides may be useful here.
6
$There are many ways in which to initiate R then structure the debate? put =$7 clear
questions)statements before the class. Or start from an interesting quote or e"ample in
the te"ts I or from an e"ample of your own $ and use that to raise questions. Gou can
also divide the class in smaller groups and give about 25 minutes to prepare the answer
to the questions /members of the panel can join a group6. Or you can have a split$room
debate /people on the left are asked to argue something, the others on the right have to
challenge that6. The panelists can do some role playing to warm up R show the
comple"ity of a topic /eg. in the form of an interview, a quiz, a debate on tv..6. 9eel free
to e"periment, as long as the aim is? to understand the te"ts under discussion.
For t+" ot+"r .r"s"ntat!ons' .l"as" .ay att"nt!on to t+" follo=!n9:
$elect a limited pro&lem Ahich question does a te"t or artwork trigger in youJ
$Ahen presenting in the classroom, announce the object of study, the problem and the
conceptual framework at the beginning. Then proceed with the elaboration of your
arguments and analysis, making sure you stay focused on your case)problem)concept.
$Ahen you give quotes, or show visuals, you have to do something with them. !nalyze
them, tell us why they are important, what is in them that is relevant to the argument you
are making.
$!void powerpoint presentations in which you just read what is on the slides. 8owerpoint
is a support, not the central means, of your analysis. It should be used selectively.
$!void presentations in which you just read what you have written in advance. peak to
us loud and clear, donMt go too fast. tay within the amount of time given to you. Try out
your talk at home, keeping an eye on the clock.
$+nd your talk with a brief summary of your argument, telling us how the conceptual
frame has helped you to 'solve( the problem and better understand what intermediality
entails. One or more questions to the audience may be added to this I and in the case
of discussions, these questions are of course crucial.
R"s.on% act!("ly an% "n9a9" !n %!scuss!ons =+"n"("r you f""l you +a("
so/"t+!n9 to say' or to as* As*!n9 for clar!f!cat!on !s not s+a/"ful Many of t+"
t"Cts ar" %"ns" an% far fro/ trans.ar"nt G"tt!n9 lost !n t+"/ !s .art of t+"
a%("ntur" of t+ou9+t
F!nal "ssay:
9or the final essay students are asked to elaborate the presentation into a short essay of
ca. =555$=C55 words. 8lagiarism /Kcopying te"ts and ideas without acknowledging
reference6 will not be tolerated and may lead to e"clusion from the course. Nuotes,
acknowledged as such, can be no more than 25T of your te"t. +ssays are to be
submitted by 2C :anuary =52.. 9or format and style, please follow the thesis guidelines
published on blackboard. There will &e a final -5day <conference= d#rin* which st#dents
respond to each other@s papers "ore details d#rin* the semester
7
Contact !nfor/at!on:
g.e.e.verstraeteUvu.nl% room 3!75 /until end of October6. Office hours? one hour after
the class just taught% or by appointment
.&QttickenUvu.nl% room 3!$7C /until end of October6. Office hours? one hour after the
class just taught% or by appointment.
Cours" /at"r!al:
*ost of the material is available as a book />6 in the 'onderwijskast( on the 3th floor of
the library, or in the /online6 bookstore. 819s are only temporarily on >lackboardVso
please download asapS Gou are strongly advised to borrow as early as possible any
additional books needed for your presentation.
Poss!bl" bac*9roun% r"sourc"s to t+" cours":
On Intermediality /on reserve6?
Hunstlicht. 7=.7 /=5226. Themed issue on *ediality /with contributions by our own *!
studentsS6
:oachim 8aech und :ens chr;ter, hrsg. IntermedialitAt Analo*B4i*ital Theorien5
"ethoden5Analysen *Qnchen? Ailhelm 9ink, =55D.
0oWl ,arrol. Theori%in* the "ovin* Ima*e ,ambridge? ,ambridge B8, 233-.
9reda ,happle and ,hiel Hattenbelt. Intermediality in Theater and Performance
!msterdam? @odopi, =55-.
:Qrgen +. *Qller. IntermedialitAt !ormen moderner 2#lt#reller Comm#ni2ation. *Qnster?
0odus, 233-.
1.0. @odowick. The 6irt#al Life of !ilm ,ambridge, *ass.? #arvard B8, =554.
Irinina O. @ajewsky. IntermedialitAt. TQbingen? 9rancke, =55=.
#enk Oosterling, #enk lager, @enXe van de <all, red.. Intermediale reflecties:
2r#is&est#ivin*en en dwarsver&anden in de hedendaa*se 2#nst @otterdam 1!9
,ahiers 2. =554.
Gvonne pielmann. IntermedialitAt: 4as System Peter Dreenaway *Qnchen? Ailhelm
9ink, 233D.
Aerner #uber, +velyne Heitel, Funter QY, hersg. Intermedialities Trier?
Aissenschaftliches <erlag, =554.
:;rg #elbig. IntermedialitAt: Theorie #nd Pra$is eines interdis%iplinAren
!orsch#n*s*e&iet. >erlin? chmidt 233D.
8
8eter Aagner. Icons5Te$ts5Iconote$ts (ssays on (2phrasis and Intermediality >erlijn?
Aalter de Fruyter 233-.
8hilippe 1espoi" and Gvonne pielmann, eds. pecial Issue Rem'dierBRemediation of
the journal Interm'dialit's. *ontrXal =55C.
8eter Lima. Literat#r intermedial "#si2, "alerei, Photo*raphie, !ilm. 1armstadt?
Aissenschaftliche >uchgesellschaft, 233C.
Feneral @esources?
A.:.T. *itchellMs glossary of key terms in media theory at
http?))csmt.uchicago.edu)glossary=55.)navigation.htm
!rt images and concepts in art theory at http?))www.o"fordartonline.com)public)
*ontevideoMs online collection of media art at http?))catalogue.montevideo.nl)
age +ncyclopedia of 0ew *edia at http?))www.sage$ereference.com)newmedia)
Ro#tled*e (ncyclopedia of Narrative Theory. +d. 1avid #erman, *anfred :ahn and
*arie$&aure @yan. @outledge, =55C.
(ncyclopedia of Aesthetics. +d. *ichael Helly. O"ford? O"ford B8, 233D.
*artin &ister et al. New "edia: A +ritical Introd#ction =557
"#ltimedia: !rom ,a*ner to 6irt#al Reality. +d. @andall 8acker and Hen :ordan. =552.
*arie Fillespie and :ason Toynbee, eds. Analysin* "edia Te$ts =55-
:essica +vans and tuart #all, eds. 6is#al +#lt#re: The Reader 2333
8eter >Qrger. Theory of the Avant5Darde 23D.
0icholas *irzoeff. The 6is#al +#lt#re Reader 233D
8aul Aood. The +hallen*e of the Avant5Darde 2333
+oin 1evereu". "edia St#dies: Cey Iss#es and 4e&ates =554
9