Digital Baroque

Digital Baroque: New Media Art and Cinematic Folds

TIMOTHY MURRAY
Volume: 26
Copyright Date: 2008
Edition: NED - New edition
Pages: 320
https://www.jstor.org/stable/10.5749/j.cttttknv
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  • Book Info
    Digital Baroque
    Book Description:

    Making an exquisite and unexpected connection between the old and the new, Digital Baroque analyzes the philosophical paradigms that inform contemporary screen arts. Examining a wide range of art forms, Murray reflects on the rhetorical, emotive, and social forces inherent in the screen arts’ dialogue with early modern concepts.

    eISBN: 978-0-8166-6620-1
    Subjects: Sociology

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. PREFACE
    (pp. ix-xiv)
  4. ACKNOWLEDGMENTS
    (pp. xv-xviii)
  5. introduction: BAROQUE FOLDS AND DIGITAL INCOMPOSSIBILITIES
    (pp. 1-32)

    A few years ago I helped to pen a grant for a U.S./UK initiative in digital libraries. My charge was to articulate the digital transformation of the library in terms of its impact on the humanities. For this purpose I turned to tropes from visual studies to characterize the library’s role in humanistic research and contemplation. I chose to emphasize the trope of the “dark cabinet” partly in response to a poster for a Cornell University Renaissance conference, “Making the Text,” that featured Holbein’s portrait of Erasmus huddled over his writing in the privacy of his cell. Here we have...

  6. I. From Video Black to Digital Baroque
    • chapter 1 DIGITAL BAROQUE: PERFORMATIVE PASSAGE FROM HATOUM TO VIOLA
      (pp. 35-57)

      Consider the technological intensification of cinema as it moves into the twenty-first century. Advances in digital technology have spawned a sharp increase in the quantity and quality of multimedia production: video and digital installations, sound and light shows, multimedia dance, virtual reality performances, interactive CD/DVD-ROMs, Internet art. Enhanced by the dazzling images of computer wizardry and the magical resonance of digitized sound, the public appeal of spectacle might never have been stronger. As a result, the scene of performance now extends far afield from the theater of the movie palace to the fluid spaces of the museum, the gallery, the...

    • chapter 2 ET IN ARCADIA VIDEO: POUSSIN’ THE IMAGE OF CULTURE WITH THIERRY KUNTZEL AND LOUIS MARIN
      (pp. 58-82)

      Those readers familiar with Louis Marin’s extensive writings on the semiology of art will recognize my title’s pun on one of his favorite images, Nicolas Poussin’s pastoral elegyEt in Arcadia Ego, a painting that Marin analyzes in detail inTo Destroy Paintingand throughout his extensive oeuvre. Marin is partial to this painting of the specters of death because its tombstone materializes the powerful role of the sign by representing the two things, death and utopia, that are never perceptible as anything other than representations. Arcadia and death can be known only through the signs of their ephemerality, through...

  7. II. Digital Deleuze:: Baroque Folds of Shakespearean Passage
    • chapter 3 THE CRISIS OF CINEMA IN THE AGE OF NEW WORLD-MEMORY: THE BAROQUE LEGACY OF JEAN-LUC GODARD
      (pp. 85-110)

      We have seen throughout the preceding chapters how Gilles Deleuze borrows inThe Foldfrom the late twentieth century to visualize the curvilinear patterns of thought that distinguish Leibniz’s “folds” from Descartes’ “lines.” For a rather simple comparison, Deleuze turns to the cinematic apparatus to contrast the illumination of its projections with those “lines with infinite inflection” that are characteristic of numerical images. The code of the latter highlights a radical structural change that Deleuze attributes initially to the thought of Leibniz. The shift occurs when “the surface stops being a window on the world and now becomes an opaque...

    • chapter 4 YOU ARE HOW YOU READ: BAROQUE CHAO-ERRANCY IN GREENAWAY AND DELEUZE
      (pp. 111-134)

      As if the epitome of the Baroque,The Tempestby Shakespeare has been cited as a case history of the negative legacy of capitalism. Postcolonial readings situate the play’s “brave new world” on the fold of the rise of the new economic order. Being the first dramatic text in the folio of 1623 and the “last” play written by Shakespeare,The Tempestis lamented by postcolonial critics for its self-replicating vision of patriarchal duplicity and colonial conquest fueled by the absolutism of knowledge and the economy of the same in which Prospero and his books stand in for Shakespeare and...

  8. III. Present Past:: Digitality, Psychoanalysis, and the Memory of Cinema
    • chapter 5 DIGITALITY AND THE MEMORY OF CINEMA: BEARING THE LOSSES OF THE DIGITAL CODE
      (pp. 137-158)

      Two overlapping curatorial projects in the late 1990s catalyzed this section’s reflections on the “return” of cinema in the digital age. For the 1997 Flaherty Seminar, I cocurated with Patricia R. Zimmermann a selection of work by film and video artists who were experimenting with digital technology on platforms other than film. In addition to sessions dedicated to the CD-ROM and digitized video work by Muntadas, Reginald Woolery, Leah Gilliam, and Daniel Reeves, participants were presented with the first Flaherty salon of works on CD-ROM and the Internet that challenged the conventions of screening and spectatorship that have been nurtured...

    • chapter 6 WOUNDS OF REPETITION IN THE AGE OF THE DIGITAL: CHRIS MARKER’S CINEMATIC GHOSTS
      (pp. 159-177)

      The dead are expunged from the memory of those who live on. While such a theorization of ghosting does not represent the artistic strategies of either Daniel Reeves or Grace Quintanilla, it is a fitting description of at least one cinematic and psychiatric approach to trauma and its aftermath. A dominant method utilized by the U.S. Army for treating post–World War II shock syndrome could be described by the formula of “speak and you shall remember in order to forget.” You might recall the memorable scene in John Huston’s filmLet There Be Light(1944) when a voice recounts...

    • chapter 7 PHILOSOPHICAL TOYS AND KALEIDOSCOPES OF THE UNFAMILIAR: THE HAUNTING VOICES OF TONI DOVE AND ZOE BELOFF
      (pp. 178-194)

      When Verena Andermatt Conley published these words in 1993, she couldn’t have foreseen the extensive developments in new media art through which viewers might be haunted by the loops and fades of works such as Viola’sGoing Forth by Dayand Piper’sRelocating the Remains. But her introduction to the clairvoyant collection onRethinking Technologies, produced by the Miami Theory Collective, lays out the terms for understanding such haunting inscriptions and energizing sublimations of machinic art. Most particular to Conley’s interests, which remain somewhat cloaked in this introductory epigraph, is how the poesis of techne performs the corporeal plenitude of...

    • chapter 8 DIGITAL INCOMPOSSIBILITY: CRUISING THE AESTHETIC HAZE OF NEW MEDIA
      (pp. 195-214)

      The “interactivity” of digital aesthetics is commonly understood to shift the ground of the artistic project away from “representation” and toward “virtualization,” away from “resemblance” and toward “simulation.” Rather than celebrate the art object’s imitation of nature, its adherence to well-established artistic genres such as still life, landscape, or portraiture that set the parameters of “resemblance,” or even its perspectival solicitation of spectatorial attention and wonder (consciousness and taste), digital aesthetics can be said to position the spectator on the threshold of the virtual and actual. As put succinctly by Pierre Lévy, the image thereby “abandons the exteriority of spectacle...

  9. IV. Scanning the Future
    • chapter 9 PSYCHIC SCANSION: THE MARKER OF THE DIGITAL IN-BETWEEN
      (pp. 217-237)

      Wedged between two wars, Chris Marker passed his youth like a proppedup tome crushed by the weight of two historical bookends. This was a period that marked not only the representational trauma of youthful passage for a boy who later moved so fluidly between photography, cinema, and new media, but also, we might say, the traumatic passage, the end, of the dominant allure of the book and its nineteenth-century realist narratives. The bookends of the two world wars also ushered in the dawn of a new medium of technological artistry, cinema. It was through the wedge of cinema that Antonin...

    • chapter 10 TIME @ CINEMA’S FUTURE: NEW MEDIA ART AND THE THOUGHT OF TEMPORALITY
      (pp. 238-260)

      We need only position the imprint of new media on the future of cinema to appreciate the depth of the maxim voiced by that philosophical icon of American pop culture, Yogi Berra. While Yogi isn’t likely to have had the ontology of cinema in mind when he mused about the paradox of time’s traveling, his famous quotation certainly seems like an apt epigraph for this concluding chapter on the temporal folds of Digital Baroque. Whether we think of the transfer of light from Lacan to Kuntzel, the crisis caused by the growth of new computing machines in the cinematic field,...

  10. NOTES
    (pp. 261-290)
  11. PUBLICATION HISTORY
    (pp. 291-292)
  12. INDEX
    (pp. 293-309)
  13. Back Matter
    (pp. 310-311)