TY - JOUR
AU - Walton, Saige
AB - reassess some of those gender roles which press against and threaten to tear that fabric. doi:10.1093/screen/hjq059 Timothy Murray, Digital Baroque: New Media Art and Cinematic Folds (Electronic Mediations Series). Minneapolis, MN: University of Minnesota Press, 2008, 309 pp. SAIGE WALTON Reviled by the eighteenth century for its sensuality, decadence, ornamentation and elevated artifice, the term ‘baroque’ first emerged as a dismissive retroactive designation for the seventeenth-century arts. In its overt foregrounding of physicality and feeling in the arts, the historic baroque typified, for the Enlightenment, an innately sensuous aesthetic that was not concerned ‘with Cartesian clarity and rational distinctness, but with Jesuitical delusion and mystical obfuscation in general’ and was 1 Barbara Maria Stafford, Visual not to be trusted in the new age of reason. Throughout the twentieth and Analogy: Consciousness as the Art twenty-first centuries, however, the baroque has gone on to receive of Connecting (Cambridge, MA: attention from, and be intellectually recuperated by, art historians, cultural MIT Press, 1999), p. 14. critics, philosophers, and film and media scholars. Above and beyond its traditional association with the seventeenth-century arts, the baroque has also ‘shadowed ghostlike’ around much twentieth-century European thought, with Walter Benjamin, Jacques Lacan, Michel Foucault, Michel 
TI - Digital Baroque: New Media Art and Cinematic Folds (Electronic Mediations Series)
JF - Screen
DO - 10.1093/screen/hjq060
DA - 2011-01-01
UR - https://www.deepdyve.com/lp/oxford-university-press/digital-baroque-new-media-art-and-cinematic-folds-electronic-SmUf0ndwL2
SP - 140
EP - 143
VL - 52
IS - 1
DP - DeepDyve
ER -