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Titel och upphov Enfoldment and infinity : an Islamic genealogy of new media art
Utgivning, distribution etc. MIT Press, Cambridge, Mass. : cop. 2010.
Utgivningsår
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning x, 395 p., [16] p. of plates : ill. (some col.) ; 24 cm.
Serietitel - ej biuppslagsform
Seriebiuppslag under titel
Anmärkning: Bibliografi etc. Includes bibliographical references and index.
Anmärkning: Innehåll Getting things unfolded -- Islamic aesthetics and new media art: points of contact -- The haptic transfer and the travels of the abstract line, part I -- The haptic transfer and the travels of the abstract line, part II -- The haptic transfer and the travels of the abstract line, part III -- Baghdad, 830: birth of the algorithm -- Baghdad, 1000: origin of the pixel -- Cairo, 972: ancestor of the morph -- Herat, 1487: early virtual reality -- Karabagh, 1700: seeds of artificial life.
Term
ISBN 978-0-262-01421-2 (hardcover : alk. paper) 0-262-01421-1 (hardcover : alk. paper)
Antal i kö:
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*008091013s2010 mauaf b 001 0 eng c
*020 $a978-0-262-01421-2 (hardcover : alk. paper)
*020 $a0-262-01421-1 (hardcover : alk. paper)
*035 $a(SE-LIBR)11910089
*035 $a(Ko)45185
*040 $aDLC$cDLC$dYDXCP$dUKM$dC#P$dBWX$dKd
*08200$a704.088297$222
*08200$a704/.088297$222
*084 $aIbhd $2kssb/8
*1001 $aMarks, Laura U.,$d1963-
*24510$aEnfoldment and infinity :$ban Islamic genealogy of new media art /$cLaura U. Marks.
*260 $aCambridge, Mass. :$bMIT Press,$ccop. 2010.
*300 $ax, 395 p., [16] p. of plates :$bill. (some col.) ;$c24 cm.
*4901 $aLeonardo
*504 $aIncludes bibliographical references and index.
*5050 $aGetting things unfolded -- Islamic aesthetics and new media art: points of contact -- The haptic transfer and the travels of the abstract line, part I -- The haptic transfer and the travels of the abstract line, part II -- The haptic transfer and the travels of the abstract line, part III -- Baghdad, 830: birth of the algorithm -- Baghdad, 1000: origin of the pixel -- Cairo, 972: ancestor of the morph -- Herat, 1487: early virtual reality -- Karabagh, 1700: seeds of artificial life.
*599 $aDawson
*650 0$aNew media art.
*650 0$aIslam and art.
*650 0$aAesthetics, Arab.
*650 7$aDigital konst$2sao$0https://id.kb.se/term/sao/Digital%20konst
*650 7$aIslamisk konst$xestetik$2sao
*650 0$aDigital art
*830 0$aLeonardo (Series) (Cambridge, Mass.)
*841 $5Ko$ax a$b151005||0000|||||001||||||000000$e1
*852 $5Ko$bKo$cKONST -$hIb-o$lMAR
*950 $aModern konst$wg$uDigital konst
*950 $aDatorkonst$uDigital konst
*950 $aVideokonst$uDigital konst
^
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Tracing the connections--both visual and philosophical--between new media art and classical Islamic art.
In both classical Islamic art and contemporary new media art, one point can unfold to reveal an entire universe. A fourteenth-century dome decorated with geometric complexity and a new media work that shapes a dome from programmed beams of light: both can inspire feelings of immersion and transcendence. In Enfoldment and Infinity , Laura Marks traces the strong similarities, visual and philosophical, between these two kinds of art. Her argument is more than metaphorical; she shows that the "Islamic" quality of modern and new media art is a latent, deeply enfolded, historical inheritance from Islamic art and thought. Marks proposes an aesthetics of unfolding and enfolding in which image, information, and the infinite interact: image is an interface to information, and information (such as computer code or the words of the Qur'an) is an interface to the infinite. After demonstrating historically how Islamic aesthetics traveled into Western art, Marks draws explicit parallels between works of classical Islamic art and new media art, describing texts that burst into image, lines that multiply to form fractal spaces, "nonorganic life" in carpets and algorithms, and other shared concepts and images. Islamic philosophy, she suggests, can offer fruitful ways of understanding contemporary art.