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.

Due to the fast growth in multimedia applications including transport of video over limited bandwidth capacity and error-prone networks (such as the Internet and wireless networks), a high degree of flexibility from video compression systems has become necessary. Scalable video coding is a popular technology for providing an efficient representation of video and a robust method of transmitting video over a heterogeneous environment. However, although several scalable coding algorithms have been proposed in the literature and the international standards over the past decade, these schemes can accommodate relatively limited decoding flexibility at a significant loss in compression efficiency. Therefore, this book aims to address two issues related to scalable video coding. These are: i) how to reduce the bit rate overhead associated with the existing scalable schemes, especially video coding standards, and ii) to develop a highly scalable coding system. To achieve these goals, a new-layered video coding scheme based on MC-DCT pyramid is proposed. The proposed scheme should be especially useful to professionals in the field of Video Coding and Communications.

A catalog of an exhibition at the Khaki Gallery, Boston, MA, consisting of two very large diptychs on canvas, 12 prints, and a series of silk scarves.

Exploring the life and work of avant-garde film's most influential and intriguing figure Between 1950 and his death, the artist and impresario Jonas Mekas (1922-2019) made more than one hundred radically innovative, often diaristic films and video works. He also founded film festivals, cooperatives, archives, and magazines and wrote film criticism and poetry. Jonas Mekas: The Camera Was Always Running is the first major publication in English on this pivotal member of the New York avant-garde scene, presenting an extensively illustrated, in-depth exploration of his radical art and restless life. Born in rural Lithuania, Mekas made his way to New York, where he became a central figure in the overlapping realms of experimental theater, music, poetry, performance, and film. This book brings his work alive on the page with sequences of stills from film and video, photographic series and installations, and archival documents. Leading scholars examine his work and influence, and a timeline expands our understanding of his life. Published in association with the Jewish Museum, New York, and the Lithuanian National Museum of Art, Vilnius Published in association with the Jewish Museum, New York, and the Lithuanian National Museum of Art, Vilnius Exhibition Schedule: Lithuanian National Museum of Art, Vilnius (November 19, 2021-February 27, 2022) Jewish Museum, New York (February 18-June 5, 2022)

Art integration and display of visual, audio and kinaesthetic data.

Events of the past decade have dramatically rewritten the American national narrative, bringing to light an alternate history of nation, marked since the country's origins by competing geopolitical interests, by mobility and migration, and by contending ethnic and racial groups. In this revised and expanded edition of "Film Nation," Robert Burgoyne analyzes films that give shape to the counternarrative that has emerged since 9/11--one that challenges the traditional myths of the American nation-state. The films examined here, Burgoyne argues, reveal the hidden underlayers of nation, from the first interaction between Europeans and Native Americans ("The New World"), to the clash of ethnic groups in nineteenth-century New York ("Gangs of New York"), to the haunting persistence of war in the national imagination ("Flags of Our Fathers" and "Letters from Iwo Jima") and the impact of the events of 9/11 on American identity ("United 93" and "World Trade Center"). "Film Nation" provides innovative readings of attempts by such directors as Martin Scorsese, Clint Eastwood, and Oliver Stone to visualize historical events that have acquired a mythical aura in order to open up the past to the contemporary moment.

"Literary Art in Digital Performance" examines a dozen works of digital literature, a category comprising creative works that are principally (but not exclusively) textual in character, and which includes interactive poetry, narrative computer games, projective digital art, among other creative classifications specific to digital media. Electronic art in all its forms has presented a need for approaching its mechanism as new aesthetic. The historical change in digital literature centers on the fact that part of the creative content and the conditions for its reception are now produced by machine structures rather than exclusively through manual means and materials. With this new factor, in which the creative impetus is embedded in algorithmic decisions, the aesthetic practices and strategies of digital literature are not approachable in the same way that literature is understood. However, the rise of highly commercialized and popular fascination with media has not incorporated significant discussion about the degree to which art and literature remain as before, or are altered by this kind of widespread mediation.

Lucia Grossberger Morales weaves together her bicultural roots using the personal computer. She was born in Bolivia in 1952, emigrated to the United States when she was three and returned for a visit at sixteen. Since that visit, Bolivia has been her inspiration. Lucia is a pioneer in computer art. In 1979, she bought her first computer, the Apple II. For the next seven years, she collaborated on several software packages, including The Designers Toolkit, published by Apple Inc. In 1987, she began telling her stories of Bolivia, emigrating, and issues of identity in her multimedia installations and CD-ROMs. Her interactive installations and CD-ROMs have been shown in galleries and museums around the world.

Recoded considers digital media from day to day experiences to wider political frameworks in their legal, military and economic aspects. The exhibition and series of events explored digital data, the relationship of embodied experience and digital media, and the scope and significance of surveillance technologies. Recoded features works by Alexander Egger, Anna Jermolaewa, Caleb Larsen, Manu Luksch, David Valentine/MediaShed, Trevor Paglen, plan b, RYbN, skuta and Jens Strandberg, and films by Rebecca Baron, Harun Farocki, Peter Galison and Robb Moss, and Manu Luksch. Presented by Peacock Visual Arts in collaboration with the Centre for Modern Thought at the University of Aberdeen in conjunction with their conference .

An illustrated study of performance and video artist Joan Jonas's 1974 video, an elliptical narrative that moves between the countryside of Nova Scotia and the artists's New York City studio. Joan Jonas approaches video as a drawing tool, a mirror, and a framing device. Since 1968, she has used video and performance to explore ways of seeing, the rhythms of ritual, and the archetypal authority of objects and gestures. With her influential 1976 work, I Want to Live in the Country (And Other Romances) Jonas nimbly structures an elliptical narrative that unmistakably establishes her voice and visual lexicon. I Want to Live in the Country features two locations-the untamed landscape of Nova Scotia and an artist's studio in New York City-as it examines themes of loss, displacement, time, and memory through still life compositions and Super-8 footage. Jonas creates a meditation of frames within frames, monitors within monitors, overlaid with poetic musings-a murmured story of the unconscious. Jonas's influences have included the writing of Samuel Beckett, the films of Yasujiro Ozu, Japanese Noh theater, and the work of John Cage. Stripped down to intimate, indelible gestures, I Want to Live in the Country (And Other Romances) explores a Beckettian dilemma: "I am both the observer and the object that I observe. Which of the two is the real 'I'?" In this richly illustrated Afterall book, Susan Morgan examines the emergence of Jonas's original work from this synthesis of influences and ideas.

In recent years the use of film and video by British artists has come to widespread public attention. Jeremy Deller, Douglas Gordon, Steve McQueen and Gillian Wearing all won the Turner Prize (in 2004, 1996, 1999 and 1997, respectively) for work made on video. This fin-de-siecle explosion of activity represents the culmination of a long history of work by less well-known artists and experimental filmmakers.
Ever since the invention of film in the 1890s, artists have been attracted to the possibilities of working with moving images, whether in pursuit of visual poetry, the exploration of the art form's technical challenges, the hope of political impact, or the desire to reinvigorate such time-honored subjects as portraiture and landscape. Their work represents an alternative history to that of commercial cinema in Britain--a tradition that has been only intermittently written about until now.
This major new book is the first comprehensive history of artists' film and video in Britain. Structured in two parts ('Institutions' and 'Artists and Movements'), it considers the work of some 300 artists, including Kenneth Macpherson, Basil Wright, Len Lye, Humphrey Jennings, Margaret Tait, Jeff Keen, Carolee Schneemann, Yoko Ono, Malcolm Le Grice, Peter Gidal, William Raban, Chris Welsby, David Hall, Tamara Krikorian, Sally Potter, Guy Sherwin, Lis Rhodes, Derek Jarman, David Larcher, Steve Dwoskin, James Scott, Peter Wollen and Laura Mulvey, Peter Greenaway, Patrick Keiller, John Smith, Andrew Stones, Jaki Irvine, Tracy Emin, Dryden Goodwin, and Stephanie Smith and Ed Stewart.
Written by the leading authority in the field, "A History of Artists' Film and Video in Britain, 1897-2004" brings to light the range and diversity of British artists' work in these mediums as well as the artist-run organizations that have supported the art form's development. In so doing it greatly enlarges the scope of any understanding of "British cinema" and demonstrates the crucial importance of the moving image to British art history.

The experience of digital art and how it is relevant to information technology. In Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency, Jay David Bolter and Diane Gromala argue that, contrary to Donald Norman's famous dictum, we do not always want our computers to be invisible "information appliances." They say that a computer does not feel like a toaster or a vacuum cleaner; it feels like a medium that is now taking its place beside other media like printing, film, radio, and television. The computer as medium creates new forms and genres for artists and designers; Bolter and Gromala want to show what digital art has to offer to Web designers, education technologists, graphic artists, interface designers, HCI experts, and, for that matter, anyone interested in the cultural implications of the digital revolution. In the early 1990s, the World Wide Web began to shift from purely verbal representation to an experience for the user in which form and content were thoroughly integrated. Designers brought their skills and sensibilities to the Web, as well as a belief that a message was communicated through interplay of words and images. Bolter and Gromala argue that invisibility or transparency is only half the story; the goal of digital design is to establish a rhythm between transparency-made possible by mastery of techniques-and reflection-as the medium itself helps us understand our experience of it. The book examines recent works of digital art from the Art Gallery at SIGGRAPH 2000. These works, and their inclusion in an important computer conference, show that digital art is relevant to technologists. In fact, digital art can be considered the purest form of experimental design; the examples in this book show that design need not deliver information and then erase itself from our consciousness but can engage us in an interactive experience of form and content.

Offering historical and theoretical positions from a variety of art historians, artists, curators, and writers, this groundbreaking collection is the first substantive source book on abstraction in moving-image media. With a particular focus on art since 2000, Abstract Video addresses a longer history of experimentation in video, net art, installation, new media, expanded cinema, visual music, and experimental film. Editor Gabrielle Jennings - a video artist herself - reveals as never before how works of abstract video are not merely, as the renowned curator Kirk Varnedoe once put it, "pictures of nothing," but rather amorphous, ungovernable spaces that encourage contemplation and innovation. In explorations of the work of celebrated artists such as Jeremy Blake, Mona Hatoum, Pierre Huyghe, Ryoji Ikeda, Takeshi Murata, Diana Thater, and Jennifer West, alongside emerging artists, this volume presents fresh and vigorous perspectives on a burgeoning and ever-changing arena of contemporary art.

Using collage and montage as a medium and always in connection with his own biography, Marcel Odenbach investigates politically and culturally relevant topics of his time, such as for example the process of coming to terms with Nazi crimes, remembrance culture, the effects and after-effects of European colonialism in Africa, racism and time and time again the relationship between the individual and society. The artist Marcel Odenbach (*1953) lives in Cologne, Berlin and intermittently in Ghana. Since 1976 he has worked with video. His filmic collages and installations have contributed to the fact that today video art is a central medium in contemporary international art. Parallel to this he has created a wide-ranging graphic oeuvre. In the joint consideration of his video and paper works it becomes clear that Odenbach regards art and culture under a socio-political perspective and at the same time relies on the strength of the sensuous-aesthetical experience of images.

Acoustic signals, voice, sound, articulation, music and spatial networking are dispositifs of radiophonic transmission which have brought forth a great number of artistic practices. Up to and into the digital present radio has been and is employed and explored as an apparatus-based structure as well as an expanded model for performance and perception. This volume investigates a broad range of aesthetic experiments with the broadcasting technology of radio, and the use of radio as a means of disseminating artistic concepts. With exemplary case studies, its contributions link conceptual, recipient-response-related, and sociocultural issues to matters of relevance to radio art's mediation.

Andrea Kloss geht vor dem Hintergrund der zunehmenden gesellschaftlichen Polarisierung der Frage nach, welchen Beitrag fiktionale Unterhaltungsmedien leisten koennen, um bei ihrem Publikum Empathie und deliberative Offenheit im Diskurs mit Andersdenkenden zu foerdern.In zwei experimentellen Studien mit Teilnehmern unterschiedlicher Bildungsniveaus kann die Autorin zeigen, dass Transformationsgeschichten, die eine versoehnliche Annaherung zwischen zwei Filmcharakteren mit gegensatzlichen UEberzeugungen darstellen, bei den Rezipienten das gleichzeitige Erleben von Empathie fur beide Charaktere begunstigen und dadurch ihre Offenheit fur andere Ansichten starken.

Film Manifestoes and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European "waves" and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme '95); Latin American Third Cinemas (Birri, Sanjines, Espinosa, Solanas); radical art and the avant-garde (Bunuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollain, Debord, Hermosillo, Isou, Kieslowski, Painleve, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.

A multigenre investigation of the personal and cultural annals of memory, identity, and spectatorship, both on and off the screen. In exchange for studying what each fraudulent cell looks like under a merciless commercial and commodified lens, viewers enable late-capitalism to run more smoothly by calling in with their votes, as is the case with Reality TV. From the inside, secrecy appears eradicated, as though secrets or coded transparencies comprise the totality of injustice, rather than just one part. Justice is reduced to a vantage point. We see and we see and we see ad infinitum. -from Picture Cycle With her debut collection Beauty Talk & Monsters (2007), Masha Tupitsyn established a new genre of hybrid writing that melded film criticism, philosophy, and autobiography. Picture Cycle continues Tupitsyn's multigenre investigation of the personal and cultural annals of memory, identity, and spectatorship, both on and off the screen. Composed over a ten-year period, Picture Cycle is a pioneering collection whose sharp and knowing vignette-like essays form a critical autobiography of the daily images in our lives. Deftly covering a range of theoretical and cinematic frameworks, Tupitsyn traces here the quickly vanishing line between onscreen and offscreen, predigital and postdigital. The result is a unique intellectual study of the uncanny formation of our life's biographies through images.

Since Ursula Andress's white-bikini debut in Dr No, 'Bond Girls' have been simultaneously celebrated as fashion icons and dismissed as 'eye-candy'. But the visual glamour of the women of James Bond reveals more than the sexual objectification of female beauty. Through the original joint perspectives of body and fashion, this exciting study throws a new, subversive light on Bond Girls. Like Coco Chanel, fashion's 'eternal' mademoiselle, these 'Girls' are synonymous with an unconventional and dynamic femininity that does not play by the rules and refuses to sit still; far from being the passive objects of the male gaze, Bond Girls' active bodies instead disrupt the stable frame of Bond's voyeurism. Starting off with an original re-assessment of the cultural roots of Bond's postwar masculinity, the book argues that Bond Girls emerge from masculine anxieties about the rise of female emancipation after the Second World War and persistent in the present day. Displaying parallels with the politics of race and colonialism, such tensions appear through sartorial practices as diverse as exoticism, power dressing and fetish wear, which reveal complex and often contradictory ideas about the patriarchal and imperial ideologies associated with Bond. Attention to costume, film and gender theory makes Bond Girls: Body, Gender and Fashion essential reading for students and scholars of fashion, media and cultural studies, and for anyone with an interest in Bond.

Trailblazing women working in digital arts media and education established the Midwest as an international center for the artistic and digital revolution in the 1980s and beyond. Foundational events at the University of Illinois and the School of the Art Institute of Chicago created an authentic, community-driven atmosphere of creative expression, innovation, and interdisciplinary collaboration that crossed gender lines and introduced artistically informed approaches to advanced research. Interweaving historical research with interviews and full-color illustrations, New Media Futures captures the spirit and contributions of twenty-two women working within emergent media as diverse as digital games, virtual reality, medicine, supercomputing visualization, and browser-based art. The editors and contributors give voice as creators integral to the development of these new media and place their works at the forefront of social change and artistic inquiry. What emerges is the dramatic story of how these Midwestern explorations in the digital arts produced a web of fascinating relationships. These fruitful collaborations helped usher in the digital age that propelled social media. Contributors: Carolina Cruz-Niera, Colleen Bushell, Nan Goggin, Mary Rasmussen, Dana Plepys, Maxine Brown, Martyl Langsdorf, Joan Truckenbrod, Barbara Sykes, Abina Manning, Annette Barbier, Margaret Dolinsky, Tiffany Holmes, Claudia Hart, Brenda Laurel, Copper Giloth, Jane Veeder, Sally Rosenthal, Lucy Petrovic, Donna J. Cox, Ellen Sandor, and Janine Fron.