http://de.evo-art.org/index.php?action=history&feed=atom&title=Algorithmic_Aesthetics%3A_Redefining_Traditional_Islamic_Art 2026-05-23T05:44:46Z Versionsgeschichte dieser Seite in de_evolutionary_art_org MediaWiki 1.27.4 http://de.evo-art.org/index.php?title=Algorithmic_Aesthetics:_Redefining_Traditional_Islamic_Art&diff=33269&oldid=prev 2017-12-07T09:58:58Z

<p>Die Seite wurde neu angelegt: „ == Referenz == Carol Bier: <a href="/index.php?title=Algorithmic_Aesthetics:_Redefining_Traditional_Islamic_Art" title="Algorithmic Aesthetics: Redefining Traditional Islamic Art">Algorithmic Aesthetics: Redefining Traditional Islamic Art</a>. In: <a href="/index.php?title=Bridges_2017" title="Bridges 2017">Bridges 2017</a>, Pages 419–422. == DOI == == Abstract ==…“</p> <p><b>Neue Seite</b></p><div><br /> == Referenz == <br /> Carol Bier: [[Algorithmic Aesthetics: Redefining Traditional Islamic Art]]. In: [[Bridges 2017]], Pages 419–422. <br /> <br /> == DOI ==<br /> <br /> == Abstract ==<br /> The recent exhibition, ”Reverberating Echoes: Contemporary Art Inspired by Traditional Islamic Art,” organized by the Center for the Arts &amp; Religion at the Graduate Theological Union afforded an opportunity for me as curator to reconsider the definition of ‘traditional Islamic art.’ This effort led to the identification of an algorithmic aesthetic of pattern that characterizes artistic production in all media from the 9th through the 12th centuries in what were then Islamic lands, centered in Baghdad, but extending from Spain across North Africa through the Middle East and Iran to Central Asia and the Indian Subcontinent. <br /> <br /> == Extended Abstract ==<br /> <br /> == Bibtex == <br /> @inproceedings{bridges2017:419,<br /> author = {Carol Bier},<br /> title = {Algorithmic Aesthetics: Redefining Traditional Islamic Art},<br /> pages = {419--422},<br /> booktitle = {Proceedings of Bridges 2017: Mathematics, Art, Music, Architecture, Education, Culture},<br /> year = {2017},<br /> editor = {David Swart, Carlo H. S\&#039;equin, and Krist\&#039;of Fenyvesi},<br /> isbn = {978-1-938664-22-9},<br /> issn = {1099-6702},<br /> publisher = {Tessellations Publishing},<br /> address = {Phoenix, Arizona},<br /> note = {Available online at \url{http://archive.bridgesmathart.org/2017/bridges2017-419.pdf}}<br /> }<br /> <br /> == Used References == <br /> [1] C. Bier, Reverberating Echoes: Contemporary Art Inspired by Traditional Islamic Art. Berkeley:<br /> Graduate Theological Union, 2017.<br /> <br /> [2] C. Bier, Symmetry and Pattern: The Art of Oriental Carpets, hosted by The Math Forum on-line at<br /> http://mathforum.org/geometry/rugs/ (1997-2012).<br /> <br /> [3] C. Bier, “The Decagonal Tomb Tower at Maragha and Its Architectural Context: Lines of<br /> Mathematical Thought,” in Persian Architecture and Mathematics, ed. R. Sarhangi, Nexus Network<br /> Journal 41/2 (2012), pp. 251-73.<br /> <br /> [4] C. Bier, “Geometry Made Manifest: Reorienting the Historiography of Ornament on the Iranian<br /> Plateau and Beyond,” in The Historiography of Persian Architecture, ed. M. Gharipour, pp. 41-79.<br /> London: Routledge, 2016.<br /> <br /> [5] J. Bloom, “The Introduction of the Muqarnas into Egypt,” Muqarnas 5 (1988), pp. 21-28.<br /> <br /> [6] E. Broug, Islamic Geometric Design. London: Thames &amp; Hudson. 2013.<br /> <br /> [7] R. W. Hamilton, Khirbat al-Mafjar: An Arabian Mansion in the Jordan Valley. Oxford: Clarendon<br /> Press, 1959.<br /> <br /> [8] E. Kheirandish, tr. and ed., The Arabic Version of Euclid’s Optics. New York: Springer, 1999.<br /> <br /> [9] H. Koliji, In-Between: Architectural Drawing and Imaginative Knowledge in Islamic and Western<br /> Traditions. Burlington VT: Ashgate, 2015.<br /> <br /> [10] H. Koliji, “Revisiting the Squinch: From Squaring the Circle to Circling the Square,” in Persian<br /> Architecture and Mathematics, ed. R. Sarhangi, Nexus Network Journal 41/2 (2012), pp. 291-305.<br /> <br /> [11] G. Necipoğlu, The Topkapı Scroll: Geometry and Ornament in Islamic Architecture. Santa Monica,<br /> CA: Getty Center for the History of Art and the Humanities, 1995.<br /> <br /> [12] G. Necipoğlu, ed. The Arts of Ornamental Geometry: A Persian Compendium on Similar and<br /> Complementary Interlocking Figures. Commemorating Alpay Özdural. Leiden: Brill, 2017.<br /> <br /> [13] C. K. Palmer, Shadowfolds: Selected Works 1993-2009, n.d. http://ckpalmer.magcloud.com<br /> <br /> [14] R. Rashed, The Development of Arabic Mathematics: Between Arithmetic and Algebra.<br /> Dordrecht/Boston: Kluwer, 1994.<br /> <br /> [15] R. Rashed, “Al-Qūhī and al-Sijzī on the Perfect Compass and the Continuous Drawing of Conic<br /> Sections,” Arabic Sciences and Philosophy 13/1 (2003), pp. 9–43.<br /> <br /> [16] F. Rosen, tr. The Algebra of Muḥammad ibn Mūsā al-Khwārezmī. London: Oriental Translating<br /> Fund, 1831.<br /> <br /> [17] A. I. Sabra, tr. and ed., The Optics of Ibn al-Haytham. Books I-II-III: On Direct Vision. 2vol.<br /> London: Warburg Institute, 1989.<br /> <br /> [18] Y. Tabbaa, “The Muqarnas Dome: Its Origins and Meaning,” Muqarnas 3 (1985), pp. 61-74.<br /> <br /> [19] Y. Tabbaa, The Transformation of Islamic Art during the Sunni Revival. Seattle and London:<br /> University of Washington, 2001.<br /> <br /> <br /> == Links == <br /> <br /> === Full Text === <br /> http://archive.bridgesmathart.org/2017/bridges2017-419.pdf<br /> <br /> [[internal file]] <br /> <br /> <br /> === Sonstige Links ===</div>

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