Author: Chris Meigh-Andrews File Type: pdf A History of Video Art is a revised and expanded edition of the 2006 original, which extends the scope of the first edition, incorporating a wider range of artists and works from across the globe and explores and examines developments in the genre of artists video from the mid 1990s up to the present day. In addition, the new edition expands and updates the discussion of theoretical concepts and ideas which underpin contemporary artists video. Tracking the changing forms of video art in relation to the revolution in electronic and digital imaging that has taken place during the last 50 years, A History of Video Art orients video art in the wider art historical context, with particular reference to the shift from the structuralism of the late 1960s and early 1970s to the post-modernist concerns of the 1980s and early 1990s. The new edition also explores the implications of the internationalisation of artists video in the period leading up to the new millennium and its concerns and preoccupations including post-colonialism, the post-medium condition and the impact and influence of the internet. **Review Meigh-Andrews views his history through the lens of technological development, whilst never losing sight of the many artists creative and subjective visions, which he covers through representative case studies of significant works. The extensive new picture research offers resonant images that evoke memories for some and discovery for new readers. This book is essential reading for all students, scholars, artists and curators who are interested in the subject. -- Professor Stephen Partridge, artist and Principal Investigator for REWIND | Artists Video in the 1970s & 80s, Duncan of Jordanstone College of Art and Design, University of Dundee, UK No other writer on video has Meigh-Andrews grasp of the feeling of working with electronic media, in all their forms since the 1960s the artists perspective on making and showing. With new material expanding the temporal and geographic reach of the book, A History of Video Art is the essential guide to the art form that more than any other defines seeing over the last half century. -- Sean Cubitt, Professor of Film and Television, Goldsmiths, University of London, UK Covering both video art many other related media technologies and art forms of the second part of the 20th century, this book is a fantastic and unique resource. I highly recommend to anybody interested in the history, aesthetics, and social context of media art. -- Lev Manovich, Professor, The Graduate Center, City University of New York, USA and Director, Software Studies Lab Meigh-Andrews own significant contribution to video practice and his obvious familiarity with the British video art scene has resulted in an insightful guide to the development of the medium and the surrounding discourses. The book is an ideal introduction to video for the student or general reader while providing for the historian of contemporary art an effective key for opening up the complexities of the historical and technological nuances of the medium. -- Samantha Lackey, Screen Studies, The Art Book, Vol. 14, Issue 3, August 2007, Blackwell Synergy, pp 63-64. First Edition review An excellent and welcome addition to contemporary writing on video art. It has what a lot of the other books are missing it has much more detail on the technology behind the cameras, editing systems and installations it situates video art in relation to the other art movements and it offers an in-depth discussion of video arts links to experimental music. If you (or your students) have access to the Video Data Bank Surveying the First Decade, this book is a great compliment to many of the videos featured in this collection. It provides detailed accounts of many key works and is particularly strong on figures like Woody and Steina Vasulka, British video art and European video art which a lot of books ignore entirely. I would recommend this in tandem with Illuminated Video. -- Andrew Dimirjian, NYC, US First edition review About the Author Chris Meigh-Andrews is Professor of Electronic & Digital Art and Director of the Electronic and Digital Art Unit at the University of Central Lancashire. He studied Fine Art at Goldsmiths and has a PhD from the Royal College of Art. A practising artist specialising in electronic & digital media, he has been exhibiting his videotapes, projections and installations internationally since 1978. His most recently completed work, The Monument Project (2009-2011) which produces a continuously updated time-lapse panoramic view from the top of the Monument in the City of London was commissioned by Julian Harrap Architects. In 2010 Meigh-Andrews was awarded a Diawa Foundation grant to research early artists video in Japan.

Author: Thomas E. Burman File Type: pdf Selected by Choice magazine as an Outstanding Academic TitleMost of what we know about attitudes toward Islam in the medieval and early modern West has been based on polemical treatises against Islam written by Christian scholars preoccupied with defending their own faith and attacking the doctrines of others. Christian readings of the Quran have in consequence typically been depicted as tedious and one-dimensional exercises in anti-Islamic hostility.In Reading the Quran in Latin Christendom, 1140-1560, Thomas E. Burman looks instead to a different set of sources the Latin translations of the Quran made by European scholars and the manuscripts and early printed books in which these translations circulated. Using these largely unexplored materials, Burman argues that the reading of the Quran in Western Europe was much more complex. While their reading efforts were certainly often focused on attacking Islam, scholars of the period turned out to be equally interested in a whole range of grammatical, lexical, and interpretive problems presented by the text. Indeed, these two approaches were interconnected attacking the Quran often required sophisticated explorations of difficult Arabic grammatical problems.Furthermore, while most readers explicitly denounced the Quran as a fraud, translations of the book are sometimes inserted into the standard manuscript format of Christian Bibles and other prestigious Latin texts (small, centered blocks of text surrounded by commentary) or in manuscripts embellished with beautiful decorated initials and elegant calligraphy for the pleasure of wealthy collectors.Addressing Christian-Muslim relations generally, as well as the histories of reading and the book, Burman offers a much fuller picture of how Europeans read the sacred text of Islam than we have previously had.