Enfoldment and Infinity

Marks, Laura U.

Published by MIT Press Ltd
ISBN 10: 0262014211 / ISBN 13: 9780262014212
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2010. Hardcover. Tracing the connections--both visual and philosophical--between new media art and classical Islamic art. Series: Leonardo Book Series. Num Pages: 408 pages, 140 figures. BIC Classification: 1QFM; ACG; ACXJ. Category: (G) General (US: Trade). Dimension: 235 x 178 x 28. Weight in Grams: 952. . . . . . Books ship from the US and Ireland. Bookseller Inventory #

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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.

About the Author:

Laura U. Marks is Dena Wosk University Professor in Art and Culture Studies in the School for the Contemporary Arts at Simon Fraser University. She is the author of The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses and Touch: Sensuous Theory and Multisensory Media.

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Title: Enfoldment and Infinity
Publisher: MIT Press Ltd
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Book Description MIT Press Ltd, United States, 2010. Hardback. Book Condition: New. 229 x 183 mm. Language: English . Brand New Book. 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. Bookseller Inventory # AAC9780262014212

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Book Description MIT Press Ltd, United States, 2010. Hardback. Book Condition: New. 229 x 183 mm. Language: English . Brand New Book. 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. Bookseller Inventory # AAC9780262014212

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Book Description MIT Press Ltd, 2010. Book Condition: New. 2010. Hardcover. Tracing the connections--both visual and philosophical--between new media art and classical Islamic art. Series: Leonardo Book Series. Num Pages: 408 pages, 140 figures. BIC Classification: 1QFM; ACG; ACXJ. Category: (G) General (US: Trade). Dimension: 235 x 178 x 28. Weight in Grams: 952. . . . . . . Bookseller Inventory # V9780262014212

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Book Description MIT Press Ltd, United States, 2010. Hardback. Book Condition: New. 229 x 183 mm. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. 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. Bookseller Inventory # BTE9780262014212

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