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Books on the topic 'Visual abstraction'

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Published: 4 June 2021
Last updated: 28 January 2023

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1

Shakespeare's visual theatre: Staging the personified characters. Cambrdige, England: Cambridge University Press, 2003.

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2

Visual dynamics in Jackson Pollock's abstractions. Ann Arbor, Mich: UMI Research Press, 1987.

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3

1937-, Harrison Andrew, ed. Philosophy and the visual arts: Seeing and abstracting. Dordrecht: Reidel Pub. Co., 1987.

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4

Gertsman, Elina, ed. Abstraction in Medieval Art. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462989894.

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Abstraction haunts medieval art, both withdrawing figuration and suggesting elusive presence. How does it make or destroy meaning in the process? Does it suggest the failure of figuration, the faltering of iconography? Does medieval abstraction function because it is imperfect, incomplete, and uncorrected-and therefore cognitively, visually demanding? Is it, conversely, precisely about perfection? To what extent is the abstract predicated on theorization of the unrepresentable and imperceptible? Does medieval abstraction pit aesthetics against metaphysics, or does it enrich it, or frame it, or both? Essays in this collection explore these and other questions that coalesce around three broad themes: medieval abstraction as the untethering of the image from what it purports to represent; abstraction as a vehicle for signification; and abstraction as a form of figuration. Contributors approach the concept of medieval abstraction from a multitude of perspectives-formal, semiotic, iconographic, material, phenomenological, epistemological.
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5

Yang, Sherry. Generalizing abstractions in form-based visual programming languages: From direct manipulation to static representation. Corvallis, OR: Oregon State University, Dept. of Computer Science, 1996.

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6

Jörgensen, Corinne. Image attributes: An investigation. Ann Arbor, Mich: UMI, 2000.

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7

Utilisation des images d'archives dans l'audiovisuel. Paris]: Hermès sciences publications, 2012.

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8

Drabenstott, Karen Markey. Subject access to visual resources collections: A model for computer construction of thematic catalogs. New York: Greenwood Press, 1986.

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9

Markey, Karen. Subject access to visual resources collections: A model for computer construction of thematic catalogs. New York: Greenwood, 1986.

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10

Nakov, Svetlin. Fundamentals of Computer Programming with C#: The Bulgarian C# Book. Sofia, Bulgaria: Svetlin Nakov, 2013.

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11

Koffman. Abstraction Java with Microsoft Visual J# Set. John Wiley and Sons, 2003.

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12

Chipperfield, David. Aspects of Abstraction (Pidgeon Audio Visual Library). World Microfilms Publications Ltd, 1992.

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13

Friedman, Frank, Frank L. Friedman, Elliot B. Koffman, and Elliot Koffman. Problem Solving, Abstraction, & Design Using C++: Visual C++ Edition. Addison Wesley, 2001.

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14

Dohoney, Ryan. Saving Abstraction. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190948573.001.0001.

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Saving Abstraction takes up the conflicted history of Morton Feldman’s most important collaboration—his work with Dominique and John de Menil on music for the Rothko Chapel in Houston. These collaborators struggled over fundamental questions about the emotional efficacy of artistic practice and its potential translation into religious feeling. At the center of this study is the question of ecumenism—that is, in what terms can religious encounters be staged for fruitful dialog to take place? And how might abstraction (both visual and musical) be useful to achieving it? This was a dilemma for Feldman, whose music sought to produce sublime “abstract experience,” as well as for the de Menils, who envisioned the Rothko Chapel as a space for spiritual intervention into late modernity. Saving Abstraction develops two central concepts: “abstract ecumenism” and “agonistic universalism.” The former characterizes a broad spiritual orientation within postwar musical modernism and experimentalism that aspired to altered states of ego-loss. This emerged as a renewed religious sensibility in late modernist experimentalism. The latter concept describes the particular religious form that Feldman’s music achieves within Rothko Chapel—an ascetic mode of existence that endures hopefully the aporia of postwar modernization’s destructiveness and modernism’s failure to effectively counter it.
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15

Friedman, Frank L., and Elliot B. Koffman. Problem Solving, Abstraction and Design Using C++, Visual C++.NET Edition. 4th ed. Addison Wesley, 2003.

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16

Mercer, Kobena. Discrepant Abstraction (Annotating Art's Histories: Cross-Cultural Perspectives in the Visual Arts). The MIT Press, 2006.

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17

Stoneham, Tom. Berkeley on Abstraction, Universals, and Universal Knowledge. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190608040.003.0012.

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This chapter includes three claims. The first is that while Berkeley treated the metaphysical problem of universals as unproblematically resolved in favor of nominalism (which he interpreted in an extreme form), he recognized the epistemic problem as a separate issue he needed to engage with and this is the primary positive contribution of his attack on abstraction. The second is that his solution to the epistemic problem is semiotic, but his semantics here is anthropocentric and pragmatic (in contrast to the semantics of visual language). The third is that this semantic theory, while it emphasizes the role of signs and thus has some affinities with formalism, has no special role for formal properties of signs and in fact makes formalism hard to achieve.
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18

Battey, Bret, and Rajmil Fischman. Convergence of Time and Space. Edited by Yael Kaduri. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.002.

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This chapter considers the historical lineage and conceptual origins of visual music, addressing the turn to abstraction and absolute film in visual arts, particularly in the first half of the twentieth century, and the turn to mimesis and spatialization in music, particularly through the acousmatic tradition after World War II. The chapter proposes a convergence between visual artists and musicians that prompted the former to embrace time through a shift away from mimesis toward abstraction, and the latter to adopt greater focus on space in shifting from abstraction toward mimesis. Together, these historical shifts prefigure the development of audiovisual art, revealing underlying theoretical commonalities in the articulation of time and space that suggest fundamental dynamics of theaudiovisual contractand strategies available to the visual music creator to establish a synergy of sound and image. Some of these strategies are demonstrated in two original case studies.
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19

Envisioning Worlds in Late Antique Art: New Perspectives on Abstraction and Symbolism in Late-Roman and Early-Byzantine Visual Culture. De Gruyter, Inc., 2018.

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20

Olovsdotter, Anna Cecilia. Envisioning Worlds in Late Antique Art: New Perspectives on Abstraction and Symbolism in Late-Roman and Early-Byzantine Visual Culture. de Gruyter GmbH, Walter, 2018.

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21

Olovsdotter, Anna Cecilia. Envisioning Worlds in Late Antique Art: New Perspectives on Abstraction and Symbolism in Late-Roman and Early-Byzantine Visual Culture. de Gruyter GmbH, Walter, 2018.

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22

Weinel, Jonathan. Abstractions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0009.

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The concluding chapter of Inner Sound: Altered States of Consciousness in Electronic Music and Audio-Visual Media consolidates the main arguments of the book. The journey taken is recapitulated, from shamanic rituals to psychedelic rock shows and raves; and from outdoor electroacoustic concerts to synaesthetic films and hallucinatory video games. Across these examples, similar underlying principles can be identified, revealing a continuity from ancient shamanism to modern ‘technoshamanism’. Yet while some imperatives have remained consistent, the technologies have evolved, yielding ever-more accurate and sophisticated representations of altered states in electronic music and audio-visual media. This finds us on the brink of ‘Altered States of Consciousness Simulations’, which replicate the sensory experience of altered states using immersive technologies such as fulldomes and virtual reality headsets. Looking forwards, the possible uses and ethical implications of these simulations are explored, at the frontiers of electronic music and art.
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23

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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24

Harrison, Andrew. Philosophy and the Visual Arts: Seeing and Abstracting. Springer, 2011.

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25

Philosophy and the Visual Arts: Seeing and Abstracting. Springer, 2011.

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26

ARTE. La guia visual definitiva 1945 - Actualidad expresionismo abstracto . DK Publishing , 2009.

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27

Nardelli, Matilde. Antonioni and the Aesthetics of Impurity. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444040.001.0001.

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Michalangelo Antonioni’s 1960s films are widely recognized as both exemplars of cinema and key texts in ushering in cinema’s ‘modern’ incarnation. Reconnecting Antonioni’s aesthetically audacious films of the 1960s to the ferment of their historical time, Antonioni and the Aesthetics of Impurity addresses these works’ crucial, yet overlooked, affinity with the new ‘impure’ art practices that emerged in the period. At the same time, the book also offers a novel reading of the films’ dialogue with postwar pictorial abstraction. Revealing an Antonioni who embraced both mixed and mass media and reflected on them via his cinema, the book, through both an intermedial and a transnational focus, replaces auteuristic accounts of the director’s work with a new understanding of its critical significance in late-twentienth century cinema and visual culture.
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28

Visual Thinking: The Hidden Gifts of Thinking in Pictures, Patterns, and Abstractions. Penguin Publishing Group, 2022.

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29

Brazil, Kevin. Art, History, and Postwar Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824459.001.0001.

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Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.
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30

Walden, Joshua S. Musical Portraits. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653507.001.0001.

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This book explores the wide-ranging but underexamined genre of musical portraiture. It focuses in particular on contemporary and experimental music created between 1945 and the present day, an era in which conceptions of identity have changed alongside increasing innovation in musical composition as well as in the uses of abstraction, mixed media, and other novel techniques in the field of visual portraiture. In the absence of physical likeness, an element typical of portraiture that cannot be depicted in sound, composers have experimented with methods of constructing other attributes of identity in music, such as character, biography, and profession. By studying musical portraits of painters, authors, and modern celebrities, in addition to composers’ self-portraits, the book considers how representational and interpretive processes overlap and differ between music and other art forms, as well as how music is used in the depiction of human identities. With focus on a range of musical portraits by composers including Peter Ablinger, Pierre Boulez, Morton Feldman, Philip Glass, György Ligeti, and Virgil Thomson, and through studies of director Robert Wilson’s ongoing series of video portraits of modern-day celebrities and his “portrait opera” Einstein on the Beach, Musical Portraits offers to contribute to the study of music since 1945 through a detailed examination of contemporary understandings of music’s capacity to depict identity, and of the intersections between music, literature, theater, film, and the visual arts.
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31

Yen, Brandon C. 'The Excursion' and Wordsworth's Iconography. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941336.001.0001.

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This book considers William Wordsworth’s use of iconography in his long poem The Excursion (1814). Through this iconographical approach, it steers a middle course between The Excursion’s two very different interpretative traditions, the one focusing upon the poem’s abstraction, the other upon its touristic realism. The author explores Wordsworth’s iconography in The Excursion by tracing cultural and political allusions and correspondences in an abundance of post-1789 and earlier verbal and pictorial sources, as well as in Wordsworth’s own prose and poetry, especially The Prelude. Particular attention is paid to the complex ways in which The Excursion’s iconographical images contribute to – and also impose limitations upon – the overarching preoccupations of Wordsworth’s writings: the themes of paradise lost and paradise regained in the post-revolutionary context. This study thus revises New Historicist accounts of Wordsworth’s evasion of history by investigating the capacity of apparently ‘collateral’ images to respond to weighty arguments. In elucidating this vital aspect of Wordsworth’s poetic method, it reveals the visual etymologies – together with the nuances and rhetorical capacities – of five categories of images: envisioning, rooting, dwelling, flowing, and reflecting.
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32

Lerner, Betsy, and Temple Grandin. Visual Thinking: The Hidden Gifts of People Who Think in Pictures, Patterns, and Abstractions. Penguin Publishing Group, 2022.

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33

Harrison, Andrew. Philosophy and the Visual Arts: Seeing and Abstracting (Royal Institute of Philosophy Conferences). Springer, 1987.

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34

López, Marissa K. Racial Immanence. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479807727.001.0001.

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Racial Immanence is about how and why artists use the body in contemporary Chicanx cultural production. The book explores disease, disability, abjection, and sense experience in Chicanx visual, verbal, and performing arts from the late 1980s to the early 1990s in order to ask whether it is possible to think of race as something other than a human quality. This attention to the body is a way to push back against two distinct modes of identity politics: first, the desire for art to perform or embody an idealized abstraction of oppositional ethnicity; and second, the neoliberal commodification of identity in the service of better managing difference and dissent. While these two modes seem mutually exclusive, the resistance the artists in Racial Immanence exert toward both suggests a core similarity. By contrast, the cultural objects examined in the book assert human bodies as processes, as agents of change in the world rather than as objects to be known and managed. Within Chicanx cultural production the author locates an articulation of bodily philosophies that challenge the subject/object dualism leading to a global politics of dominance and submission. Instead, she argues, Chicanx cultural production fosters networks of connection that deepen human attachment to the material world, a phenomenon the author terms “racial immanence” that creates the possibility of progressive social change.
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35

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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36

Holloway, Ian D., and Daniel Ansari. Numerical Symbols. Edited by Roi Cohen Kadosh and Ann Dowker. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199642342.013.56.

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Human culture is founded upon an understanding of mathematics. Mathematics, in turn, is built upon a basic competency for abstracting and symbolizing numerical information. Although cognitive science has made great strides in the characterization of human knowledge, the understanding and use of numerical symbols remains largely unexplored. In this chapter we synthesize the current scientific understanding of numerical symbol processing using a synthesis of behavioral and neuroscientific findings. In particular, the chapter focuses on two interrelated topics: the processing of the semantics of numerical symbols and the processing of numerical symbols as audio-visual percepts. We conclude by proposing several avenues of inquiry about numerical symbols that can be traversed by future researchers.
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37

Propuesta de integración de la presunción de inocencia: con la carga de la prueba y la configuración de los delitos de peligro abstracto. Sello Editorial Universidad de Medellín, 2022. http://dx.doi.org/10.22395/9789585180338.

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Propuesta de integración de la presunción de inocencia como regla de prueba con delitos de peligro abstracto, es un intento por buscar un punto de encuentro entre las garantías procesales y la teoría del delito. Es un mensaje a la comunidad jurídica, que tiene como fin analizar los estándares de prueba en aquellas conductas delictivas que desde el punto de vista objetivo, no encierran un resultado objetivo, pero aún así, ofrecen represión por comportar un peligro potencial para bienes jurídicos en la colectividad. Se busca a través de este libro, generar un escenario de reflexión sobre la necesidad de llevar al ámbito de la prueba el peligro potencial, abstracto o presunto de algunas conductas. Se quiere también mitigar los odiosos efectos que algunos comportamientos delictivos y sus fórmulas de imputación penal representan para la presunción de inocencia en su faceta de regla probatoria.
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38

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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39

Subject Access to Visual Resources Collections: A Model for the Computer Construction of Thematic Catalogs (New Directions in Information Management). Greenwood Press, 1986.

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40

Mora Forero, Cira Inés, ed. Diseño, pensamiento y creación: encuentros reflexivos. Universidad de Bogotá Jorge Tadeo Lozano, 2021. http://dx.doi.org/10.21789/9789587252996.

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Este libro es el resultado de reflexiones académicas que han caracterizado a la Escuela de Diseño de Producto y son espejo de su sistema democrático de organización y gestión en torno a los campos de estudio declarados, los cuales son objeto de nuestro enfoque en los asuntos de formación, investigación e investigación-creación, proyectos que inciden sobre el desarrollo social y comunidades locales e internacionales con las cuales apalancamos nuestro pensamiento y perspectiva del y sobre el diseño. La Escuela y sus diversidades consagradas en los perfiles de profesoras y profesores resultan en temáticas sobre las cuales profundizamos. Igualmente, ponen en evidencia las sensibilidades sociales, culturales y políticas que resaltan nuestra apuesta educativa, la cual consideramos amplifica el pensamiento de la Universidad Jorge Tadeo Lozano, más específicamente al construido en la Facultad de Artes y Diseño, pensamiento que como mecanismo discursivo genera una identidad y contexto propicio para las diferentes conexiones que desarrollamos con las realidades del país y nuestro compromiso con su abordaje. En este libro, los lectores podrán hacer un viaje por teorías, prácticas y laboratorios que, desde el punto de vista abstracto, se convierten en experiencias pedagógicas particulares, que finalmente se consolidan en dispositivos de formación que integran comunidades distintas y que proyectan a través de lo curricular, modos y formas de acción directa. Por lo anterior, con este texto nos complace ampliar el panorama académico del diseño con los acentos propuestos en él; para que nuestra huella permita ser camino, opción y discusión en las cuestiones propias del diseño en un tiempo en el que reconocemos la permeabilidad de las fronteras disciplinares, profesionales, de creación e investigación que nos permiten andar apoyados por territorios más complejos de pensamiento, emoción y formación.
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