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Books on the topic 'Interface of abstraction and representation'

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Published: 10 December 2022
Last updated: 28 January 2023

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1

Damerow, Peter. Abstraction and Representation. Dordrecht: Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-015-8624-5.

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2

Visualising the Neolithic: Abstraction, figuration, performance, representation. Oakville, CT: Oxbow Books, 2012.

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3

Anderson, Susan M. Roger Kuntz: The shadow between representation and abstraction. Laguna Beach, Calif: Laguna Art Museum, 2009.

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4

Damerow, Peter. Abstraction and representation: Essays on the cultural evolution of thinking. Dordrecht: Kluwer Academic Publishers, 1996.

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5

Toward a grammar of abstraction: Modernity, Wittgenstein, and the paintings of Jackson Pollock. University Park, Pa: Pennsylvania State University Press, 1992.

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6

1953-, Roth Wolff-Michael, ed. Mathematical representation at the interface of body and culture. Charlotte, NC: IAP, 2009.

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7

Matthews, Graeme Lewis. User interface techniques for controlling a generative concept representation language. Manchester: University of Manchester, 1996.

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8

Glenn, George. George Glenn: Between abstraction and representation, May 8-June 18, 1989, Mackenzie Art Gallery. Regina, Sask: Mackenzie Art Gallery, University of Regina, 1989.

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9

Annabel, Rosholt, ed. Moving in time and space: Shifts between abstraction and representation in post-war South African art. Cape Town: Michael Stevenson Contemporary, 2003.

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10

Meyers, Michelle. Sean Scully, Donald Sultan: Abstraction, representation : paintings, drawings, and prints from the Anderson Collection : exhibition in the Stanford University Art Gallery, February 20-April 22, 1990. Edited by Stanford Art Gallery. [Stanford, Calif.]: The Gallery, 1990.

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11

Design Representation Programming Interface: Electrical Connectivity. C a D Framework Initiative, 1993.

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12

Thomas, C. Joshua, and Sukalpa Bhattacharjee. Society, Representation and Textuality: The Critical Interface. SAGE Publications India Pvt, Ltd., 2021.

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13

Thomas, C. Joshua, and Sukalpa Bhattacharjee. Society, Representation and Textuality: The Critical Interface. SAGE Publications India Pvt, Ltd., 2013.

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14

Thomas, C. Joshua, and Sukalpa Bhattacharjee. Society, Representation and Textuality: The Critical Interface. SAGE Publications, Incorporated, 2013.

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15

Damerow, Peter. Abstraction and Representation: Essays on the Cultural Evolution of Thinking. Springer London, Limited, 2013.

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16

Media and Monotheism: Presence, Representation, and Abstraction in Ancient Judah. Mohr Siebeck GmbH & Company KG, 2019.

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17

Damerow, Peter. Abstraction and Representation: Essays on the Cultural Evolution of Thinking. Springer, 2010.

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18

Roth, Wolff-Michael. Mathematical Representation at the Interface of Body and Culture. Information Age Publishing, Incorporated, 2009.

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19

Damerow, P. Abstraction and Representation: Essays on the Cultural Evolution of Thinking (Boston Studies in the Philosophy of Science). Springer, 1995.

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20

George Glenn: Between abstraction and representation, may 8-june 18, 1989, Mackenzie Gallery. Saskatchewan: Mackenzie Art Gallery, 1989.

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21

Winther, Rasmus Grønfeldt. When Maps Become the World. University of Chicago Press, 2019.

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22

Winther, Rasmus Grønfeldt. When Maps Become the World. University of Chicago Press, 2019.

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23

Lykke, Marianne, Tanja Svarre, Mette Skov, and Daniel Martínez-Ávila, eds. Knowledge Organization at the Interface. Ergon – ein Verlag in der Nomos Verlagsgesellschaft, 2020. http://dx.doi.org/10.5771/9783956507762.

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The proceedings explore knowledge organization systems and their role in knowledge organization, knowledge sharing, and information searching. The papers cover a wide range of topics related to knowledge transfer, representation, concepts and conceptualization, social tagging, domain analysis, music classification, fiction genres, museum organization. The papers discuss theoretical issues related to knowledge organization and the design, development and implementation of knowledge organizing systems as well as practical considerations and solutions in the application of knowledge organization theory. Covered is a range of knowledge organization systems from classification systems, thesauri, metadata schemas to ontologies and taxonomies.
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24

Xu, Wei. Externalizing a work domain structure on a hypertext interface using an abstraction hierarchy: Supporting complex search tasks and problem-solving activities. 1996.

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25

illustrator, Marley Alea, ed. Everybody's somewhere. 2017.

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26

United States. National Aeronautics and Space Administration., ed. GRASP/Ada: Graphical representation of algorithms, structures, and processes for Ada : GRASP/Ada reverse engineering tools for Ada : final report. Auburn, Ala: Dept. of Computer Science and Engineering, Auburn University, 1995.

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27

United States. National Aeronautics and Space Administration., ed. GRASP/Ada: Graphical representation of algorithms, structures, and processes for Ada : GRASP/Ada reverse engineering tools for Ada : final report. Auburn, Ala: Dept. of Computer Science and Engineering, Auburn University, 1995.

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28

United States. National Aeronautics and Space Administration., ed. GRASP/Ada: Graphical representation of algorithms, structures, and processes for Ada : update of GRASP/Ada reverse engineering tools for Ada : final report. Auburn, Ala: Dept. of Computer Science and Engineering, Auburn University, 1992.

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29

United States. National Aeronautics and Space Administration., ed. GRASP/Ada: Graphical representation of algorithms, structures, and processes for Ada : update of GRASP/Ada reverse engineering tools for Ada : final report. Auburn, Ala: Dept. of Computer Science and Engineering, Auburn University, 1993.

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30

United States. National Aeronautics and Space Administration., ed. GRASP/Ada: Graphical representation of algorithms, structures, and processes for Ada : update of GRASP/Ada reverse engineering tools for Ada : final report. Auburn, Ala: Dept. of Computer Science and Engineering, Auburn University, 1993.

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31

GRASP/Ada: Graphical representation of algorithms, structures, and processes for Ada : update of GRASP/Ada reverse engineering tools for Ada : final report. Auburn, Ala: Dept. of Computer Science and Engineering, Auburn University, 1992.

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32

Mason, Arthur, ed. Arctic Abstractive Industry: Assembling the Valuable and Vulnerable North. Berghahn Books, 2022. http://dx.doi.org/10.3167/9781800734685.

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Through diverse engagements with natural resource extraction and ecological vulnerability in the contemporary Arctic, contributors to this volume apprehend Arctic resource regimes through the concept of abstraction. Abstraction refers to the creation of new material substances and cultural values by detaching parts from existing substances and values. The abstractive process differs from the activity of extractive industries by its focus on the conceptual resources that conceal processes of exploitation associated with extraction. The study of abstraction can thus help us attune to the formal operations that make appropriations of value possible while disclosing the politics of extraction and of its representation.
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33

United States. National Aeronautics and Space Administration., ed. GRASP/Ada: Graphical representation of algorithms, structures, and processes for Ada : the development of a program analysis environment for Ada, reverse engineering tools for Ada : task 2, phase 2 report. Auburn, Ala: Dept. of Computer Science and Engineering, Auburn University, 1990.

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34

Lancaster, Lex Morgan. Dragging Away. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478023296.

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In Dragging Away Lex Morgan Lancaster traces the formal and material innovations of contemporary queer and feminist artists, showing how they use abstraction as a queering tactic for social and political ends. Through a process Lancaster theorizes as a drag—dragging past aesthetics into the present and reworking them while pulling their work away from direct representation—these artists reimagine midcentury forms of abstraction and expose the violence of the tendency to reduce abstract form to a bodily sign or biographical symbolism. Lancaster outlines how the geometric enamel objects, grid paintings, vibrant color, and expansive installations of artists ranging from Ulrike Müller, Nancy Brooks Brody, and Lorna Simpson to Linda Besemer, Sheila Pepe, and Shinique Smith offer direct challenges to representational and categorical legibility. In so doing, Lancaster demonstrates that abstraction is not apolitical, neutral, or universal; it is a form of social praxis that actively contributes to queer, feminist, critical race, trans, and crip politics.
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35

Walden, Joshua S. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653507.003.0001.

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The introduction offers an overview of the history of visual and musical portraiture and an exploration of the role of abstraction in visual portraiture in the twentieth century. It continues with a discussion of modes of representation in music, and the role played by metaphor in the generation and interpretation of musical representation and meaning. It then examines contemporary notions of identity to develop an understanding of how the musical portrait operates in the narrative construction of the individual self in the contemporary era. Finally, it closes with a description of the chapter structure of the book’s exploration of musical portraiture.
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36

Birtwistle, Andy. Meaning and Musicality. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0009.

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The chapter critically reappraises the work of the British experimental filmmaker John Smith, drawing on analyses of key films and interview material to explore his use of sound, music and voice. Smith’s films often engage self-reflexively with how sound creates or accepts meaning within an audiovisual context. Influenced by structural film practice of the 1960s and 1970s, and underpinned by a Brechtian concern with the politics of representation, Smith’s often humorous work both foregrounds and deconstructs the sound-image relations at work in dominant modes of cinematic representation. This analysis of Smith’s work identifies the political dynamic of the filmmaker’s use of sound, and addresses what is at stake—for both Smith and his audience—in the self-reflexive concern with audiovisual modes of representation. Examined within this context are Smith’s creative focus on the production of meaning and how this relates to aspects of musicality and abstraction in his work.
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37

Stevenson, Jane. Chinese Wallpaper. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0009.

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In England modern taste was more often expressed by decorators than by architects. Thus interior decoration is the context in which new trends in art are absorbed and understood. A difficult concept which is visually expressed (this includes cubism, abstraction, and surrealism) can be and, if it is genuinely expressive of the moment, will be, reinterpreted as fashion and decor. The interface between interior decoration and fine art is further complicated between the wars by the number of artists who worked as designers. Women who needed to earn money tended to practise the applied and decorative arts, out of genuine affinity, or realism, or a combination of both. Undiluted modernism was very rare in England. Smart style was eclectic: baroque elements (e.g. Venetian mirrors, blackamoor torchères) were put together with eighteenth-century furniture and modern pictures.
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38

Morrison, Margaret. Models and Theories. Edited by Paul Humphreys. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199368815.013.32.

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This chapter discusses the relation between models and theories as characterized by the syntactic and semantic views, as well as how that relation is understood in the more scientifically oriented or practice-based accounts of models. It also addresses epistemic issues concerning the model-world relationship and the importance of representation and explanation in assessing how abstract models deliver concrete information. The chapter claims that similarity and isomorphism, construed as general criteria, are often insufficient to characterize the way models relate to their target systems. Although no general theory of modeling can address these issues in a systematic way it is still possible to provide an in-depth philosophical analyses of how the abstraction and idealization present in models can nevertheless tell us important things about the physical world.
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39

Scott, Charlotte. The Child in Shakespeare. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828556.001.0001.

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This book examines the child on Shakespeare’s stage. As a life force, an impassioned plea for justice, a legacy, history, memory, or image of love or violence, children are everywhere in Shakespeare’s plays. Focusing on Shakespeare’s unique interest in the young body, the life stage, the parental and social dynamic, this book offers the first sustained account of the role and representation of the child in Shakespeare’s dramatic imagination. Drawing on a vast range of contemporary texts, including parenting manuals, household and pedagogic texts, as well as books on nursing and maternity, childbirth and child rearing, Shakespeare’s Children explores the contexts in which the idea of the child is mobilized as a body and image on the early modern stage. Understanding the child, not only as a specific life stage, but also as a role and an abstraction of feeling, this book examines why Shakespeare, who showed little interest in writing for children in the playing companies, wrote so powerfully about them on his stage.
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40

Lappin, Shalom. Semantics. Edited by Ruslan Mitkov. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199276349.013.0005.

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This article introduces some of the basic concepts and issues of computational semantics and briefly compares two models of semantic representation, which have been proposed in the literature, and considers the ways in which each of them deals with the syntax-semantics interface. It then shows the contrast between the general approach to the syntax-semantics interface, which is common to most systems of computational semantics, and an alternative view that characterizes Chomsky's derivational view of syntax on the other. Furthermore, it focuses on the possibility of using underspecified representations of meaning while still sustaining a systematic relation between the meaning of an expression and the meanings of its constituents. It briefly looks at the move from static to dynamic theories of meaning in an attempt to model the interpretation of utterances in discourse and dialogue.
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41

Smith, Matthew J., and Julia Reinhard Lupton, eds. Face-to-Face in Shakespearean Drama. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474435680.001.0001.

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This book celebrates the theatrical excitement and philosophical meanings of human interaction in Shakespeare. On stage and in life, the face is always window and mirror, representation and presence. Essays examine the emotional and ethical surplus that appears between faces in the activity and performance of human encounter on stage. By transitioning from face as noun to verb – to face, outface, interface, efface, deface, sur-face – chapters reveal how Shakespeare's plays discover conflict, betrayal and deception as well as love, trust and forgiveness between faces and the bodies that bear them.
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42

Rasula, Jed. Acrobatic Modernism from the Avant-Garde to Prehistory. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198833949.001.0001.

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This is a book about artistic modernism contending with the historical transfigurations of modernity. As a conscientious engagement with modernity’s restructuring of the lifeworld, the modernist avant-garde raised the stakes of this engagement to programmatic explicitness. But even beyond the vanguard, the global phenomenon of jazz combined somatic assault with sensory tutelage. Jazz, like the new technologies of modernity, recalibrated sensory ratios. The criterion of the new as self-making also extended to names: pseudonyms and heteronyms. The protocols of modernism solicited a pragmatic arousal of bodily sensation as artistic resource, validating an acrobatic sensibility ranging from slapstick and laughter to the pathos of bereavement. Expressivity trumped representation. The artwork was a diagram of perception, not a mimetic rendering. For artists, the historical pressures of altered perception provoked new models, and Ezra Pound’s slogan “Make It New” became the generic rallying cry of renovation. The paradigmatic stance of the avant-garde was established by Futurism, but the discovery of prehistoric art added another provocation to artists. Paleolithic caves validated the spirit of all-over composition, unframed and dynamic. Geometric abstraction, Constructivism and Purism, and Surrealism were all in quest of a new mythology. “Making it new” yielded a new pathos in the sensation of radical discrepancy between futurist striving and remotest antiquity. The Paleolithic cave and the USSR emitted comparable siren calls on behalf of the remote past and the desired future. As such, the present was suffused with the pathos of being neither, but subject to both.
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43

Boggs, Colleen Glenney. Patriotism by Proxy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863670.001.0001.

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Patriotism by Proxy develops a new understanding of the connections between American literature and American lives by focusing on a historic moment when the military transformed both. At the height of the Civil War in 1863, the Union instated the first-ever federal draft. Paired with the Emancipation Proclamation, the draft inaugurated new relationships between the nation and its citizens. A massive bureaucratic undertaking, the draft redefined the American people as a population. Equitable as the system was in theory, the draft laid bare social divisions, as wealthy draftees could hire substitutes to serve in their stead. A unique feature of the Civil War draft, substitutes reflect the transformation of how the state governed American life: the draft is the context in which American politics met and also transformed into a new kind of biopolitics. Replicating the core assumption of representative democracy that enables one person to stand in as a political proxy for another, the substitute took the place of the draftee and stood in uneasy relationship to the volunteer. Censorship and the suspension of habeas corpus prohibited free discussions over the draft’s significance, making literary devices and genres the primary means for deliberating over the changing meanings of political representation and citizenship. Assembling an extensive textual and visual archive, Patriotism by Proxy examines the draft as a cultural formation that operated at the nexus of political abstraction and embodied specificity, where the definition of national subjectivity was negotiated in the interstices of what it means to be a citizen-soldier.
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44

Wellwood, Alexis, Susan J. Hespos, and Lance J. Rips. The Object : Substance :: Event : Process Analogy. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815259.003.0009.

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Beginning at least with Bach (1986), semanticists have suggested that objects are formally parallel to events in the way substances are formally parallel to processes. This chapter investigates whether these parallels can be understood to reflect a shared representational format in cognition, which underlies aspects of the intuitive metaphysics of these categories. The authors of this chapter hypothesized that a way of counting (atomicity) is necessary for object and event representations, unlike for substance or process representations. Atomicity is strongly implied by plural but not mass language. The chapter investigates the language–perception interface across these domains using minimally different images and animations, designed either to encourage atomicity (‘natural’ breaks) or to discourage it (‘unnatural’ breaks). The experiments test preference for naming such stimuli with mass or count syntax. The results support Bach’s analogy in perception and highlight the formal role of atomicity in object and event representation.
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45

Colombo, Matteo, Elizabeth Irvine, and Mog Stapleton, eds. Andy Clark and His Critics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190662813.001.0001.

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Andy Clark is a leading philosopher and cognitive scientist. The fruits of his work have been diverse and lasting. They have had an extraordinary impact throughout philosophy, psychology, neuroscience, and robotics. The extended mind hypothesis, the power of parallel distributed processing, the role of language in opening up novel paths for thinking, the flexible interface between biological minds and artificial technologies, the significance of representation in explanations of intelligent behaviour, the promise of the predictive processing framework to unify the cognitive sciences: these are just some of the ideas explored in Clark’s work that have been picked up by many researchers and that have been contributing to intense debate across the sciences of mind and brain. This volume provides the first interdisciplinary, critical engagement with Clark’s work; it includes contributions of authors from several disciplines, offering a fresh perspective on key questions in the sciences of mind and brain.
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46

Dalrymple, Mary, John J. Lowe, and Louise Mycock. The Oxford Reference Guide to Lexical Functional Grammar. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198733300.001.0001.

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This is the most comprehensive reference work on Lexical Functional Grammar (LFG), which will be of interest to graduate and advanced undergraduate students, academics, and researchers in linguistics and in related fields. Covering the analysis of syntax, semantics, morphology, prosody, and information structure, and how these aspects of linguistic structure interact in the nontransformational framework of LFG, this book will appeal to readers working in a variety of sub-fields, including researchers involved in the description and documentation of languages, whose work continues to be an important part of the LFG literature The book consists of three parts. The first part examines the syntactic theory and formal architecture of LFG, with detailed explanation and comprehensive illustration, providing an unparalleled introduction to the fundamentals of the theory. The second part of the book explores nonsyntactic levels of linguistic structure, including the syntax-semantics interface and semantic representation, argument structure, information structure, prosodic structure, and morphological structure, and how these are related in the projection architecture of LFG. The third part of the book illustrates the theory more explicitly by presenting explorations of the syntax and semantics of a range of representative linguistic phenomena: modification, anaphora, control, coordination, and long-distance dependencies. The final chapter discusses LFG-based work not covered elsewhere in the book, as well as new developments in the theory.
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47

Tanaka, Mariko Hori, Yoshiki Tajiri, and Michiko Tsushima, eds. Samuel Beckett and trauma. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526121349.001.0001.

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Samuel Beckett and trauma is a collection of essays that opens new approaches to Beckett’s literary and theoretical work through the lens of trauma studies. Beginning with biographical and intertextual readings of instances of trauma in Beckett’s works, the essays take up performance studies, philosophical and cultural understanding of post-traumatic subjectivity, and provide new perspectives that will expand and alter current trauma studies. Chapter 1 deals with a whole range of traumatic symptoms in Beckett’s personal experiences which find their ways into a number of his works. Chapter 2 investigates traumatic symptoms experienced by actors on stage. Chapter 3 examines the problem of unspeakability by focusing on the face which illuminates the interface between Beckett’s work and trauma theory. Chapter 4 explores the relationship between trauma and skin – a psychic skin that reveals the ‘force and truth’ of trauma, a force that disrupts the apparatus of representation. Chapter 5 considers trauma caused by a bodily defect such as tinnitus. Chapter 6 focuses on the historically specific psychological structure in which a wounded subject is compelled to stick to ordinary life in the aftermath of some traumatic calamity. Chapter 7 provides a new way of looking at birth trauma by using the term as ‘creaturely life’ that is seen in the recent biopolitical discourses. Chapter 8 speculates on how Beckett’s post-war plays, responding to the nuclear age’s global trauma, resonate with ethical and philosophical thoughts of today’s post-Cold War era.
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48

Fojas, Camilla. Border Optics. NYU Press, 2021. http://dx.doi.org/10.18574/nyu/9781479806980.001.0001.

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The US-Mexico border zone is one of the most visualized and imagined spaces in the United States, not just for the mythology of the Southwest as the cornerstone of US identity but as a place under continual crisis, permanent visibility, and territorial defense. Border Optics argues that the border is both a laboratory and an archive that indexes an optical regime and a way of seeing drawn from maps, geographical surveys, military strategic plans, illustrations, photographs, postcards, novels, film, and television—all of which combine fascination with the region with the visual codes of surveillance and survey. Optics signals a complete visual apparatus, from recording and representation to the infrastructure and institutions that support the visual regime. The border optic refers to the expanded vision of the border as a consequence of the interface of militarism, technology, and the media archive of the region. The primary aim of this complex of industry, state, and private endeavors is not simply enforcement but control, particularly of the movement of goods and people in accordance with the split codes of the border-security imaginary. This book explores several related cultural media and apparatuses that have shaped a dominant way of seeing informed by the history of the region. This includes a countervision apparent in revisionist border historical accounts, art, media, architectural design, and activist movements, along with the strains of subversion within the dominant view.
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49

O'Callaghan, Cian, and Cesare Di Feliciantonio, eds. The New Urban Ruins. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781447356875.001.0001.

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This book provides an innovative lens to consider contemporary urban challenges, taking as its point of departure two overlapping claims. The first is that although the topics of ruins and vacant spaces have been widely discussed in the urban studies literature, their role in the production of both urban landscapes and the economic, social and cultural geographies of cities is not adequately understood. The second is that urban vacancy will play an even greater role in urban development, politics and experimentation in the future. Spaces officially designated as ‘vacant’ are the sites of contested activity, use, and representation. Centring urban vacancy as a core feature of urbanisation, the contributors develop new empirical insights that rethink ruination, urban development and political contestation over the re-use of vacant spaces in (post-)crisis cities across the globe. Chapters are organised into three thematic sections. The first section, ‘Rethinking ruination in the post-crisis context’, advances the conceptual linkages between the literatures on ruins and vacant space. The second, ‘The political economy of urban vacant spaces’, centres urban vacancy as a core feature of cities, constituting the interface between urban land markets and cultural understandings of use/exchange value. The third section, ‘Re-appropriating urban vacant spaces’, explores vacant spaces as an important point of political antagonism. Using international case studies from the Global North and Global South, the book sheds important new light on the complexity of forces and processes shaping urban vacancy and its re-use, exploring these as both lived spaces and sites of political antagonism.
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