Digital Baroque New Media Art and Cinematic Folds Timothy Murray Table of Contents PRESS: M/C Reviews		$25.00 paper ISBN: 978-0-8166-3402-6 $75.00 cloth ISBN: 978-0-8166-3401-9
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. “Any reader interested in new media art and a state of the art overview of philosophical thinking on the subject will find Digital Baroque a sure guide to what to see and what to read in today’s screen art.” —Leonardo Reviews Timothy Murray is director of the Society for the Humanities, curator of the Rose Goldsen Archive of New Media Art, and professor of comparative literature at Cornell University. He is the coeditor of Repossessions: Psychoanalysis and the Phantasms of Early Modern Culture (Minnesota, 1998). 320 pages | 22 b&w photos | 6 x 9 | 2008 Electronic Mediations Series, volume 26 TABLE OF CONTENTS Preface Acknowledgments Introduction: Baroque Folds and Digital Incompossibilities I. From Video Black to Digital Baroque 1. Digital Baroque: Performative Passage from Hatoum to Viola 2. Et in Arcadia Video: Poussin’ the Image of Culture with Thierry Kuntzel and Louis Marin II. Digital Deleuze: Baroque Folds of Shakespearean Passage 3. The Crisis of Cinema in the Age of New World-Memory: The Baroque Legacy of Jean-Luc Godard 4. You Are How You Read: Baroque Chao-Errancy in Greenaway and Deleuze III. Present Past: Digitality, Psychoanalysis, and the Memory of Cinema 5. Digitality and the Memory of Cinema: Bearing the Losses of the Digital Code 6. Wounds of Repetition in the Age of the Digital: Chris Marker’s Cinematic Ghosts 7. Philosophical Toys and Kaleidoscopes of the Unfamiliar: The Haunting Voices of Toni Dove and Zoe Beloff 8. Digital Incompossibility: Cruising the Aesthetic Haze of New Media IV. Scanning the Future 9. Psychic Scansion: The Marker of the Digital In-Between 10. Time @ Cinema’s Future: New Media Art and the Thought of Temporality Notes Publication History Index

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