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    Digital Baroque: New Media Art and Cinematic Folds

    Digital Baroque by Murray, Timothy;

    New Media Art and Cinematic Folds

    Series: Electronic Mediations; 109;

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      • Publisher's listprice GBP 21.99
      • The price is estimated because at the time of ordering we do not know what conversion rates will apply to HUF / product currency when the book arrives. In case HUF is weaker, the price increases slightly, in case HUF is stronger, the price goes lower slightly.

        11 129 Ft (10 599 Ft + 5% VAT)
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      • Discounted price 10 016 Ft (9 539 Ft + 5% VAT)

    11 129 Ft

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    Availability

    Estimated delivery time: In stock at the publisher, but not at Prospero's office. Delivery time approx. 3-5 weeks.
    Not in stock at Prospero.

    Why don't you give exact delivery time?

    Delivery time is estimated on our previous experiences. We give estimations only, because we order from outside Hungary, and the delivery time mainly depends on how quickly the publisher supplies the book. Faster or slower deliveries both happen, but we do our best to supply as quickly as possible.

    Product details:

    • Publisher Univ Of Minnesota Press
    • Date of Publication 16 December 2008
    • Number of Volumes Paperback

    • ISBN 9780816634026
    • Binding Paperback
    • No. of pages320 pages
    • Size 229x152x23 mm
    • Weight 526 g
    • Language English
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    Long description:

    A surprising and original application of theories of new media art

    In this intellectually groundbreaking work, Timothy Murray investigates a paradox embodied in the book’s title: What is the relationship between digital, in the form of new media art, and baroque, a highly developed early modern philosophy of art? 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. Among the works discussed are digitally oriented films by Peter Greenaway, Jean-Luc Godard, and Chris Marker; video installations by Thierry Kuntzel, Keith Piper, and Renate Ferro; and interactive media works by Toni Dove, David Rokeby, and Jill Scott. Sophisticated readings reveal the electronic psychosocial webs and digital representations that link text, film, and computer.

    Murray puts forth an innovative Deleuzian psychophilosophical approach—one that argues that understanding new media art requires a fundamental conceptual shift from linear visual projection to nonlinear temporal folds intrinsic to the digital form.

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