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Journal articles on the topic 'Visual abstraction'

To see the other types of publications on this topic, follow the link: Visual abstraction.

Author: Grafiati

Published: 4 June 2021

Last updated: 28 January 2023

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1

Skaggs, Steven. "The visual gamut and syntactic abstraction." Semiotica 2022, no. 244 (January 1, 2022): 1–25. http://dx.doi.org/10.1515/sem-2020-0076.

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Abstract Charles S. Peirce’s second trichotomy, which introduces the concepts of iconicity, indexicality, and symbolicity, is probably the only piece of his semiotic that is familiar to visual artists and designers. Although the concepts have found their way into the academy, their utility in the field has been reduced for a couple of reasons. First, as with all of Peirce’s philosophy, his second trichotomy is a concept that is subtle, fluid, and difficult to fully grasp in a sound bite. Second, there has simply been no bridge concept that would form a working connection between that philosophy in its logical guise and the studio practice in the visual arts. The purpose of this article is to remedy that situation by investigating the subtle ways the second trichotomy functions within the visual sphere, and to then suggest a model that can serve to bridge the divide between pure theory and practice. The article makes four main points: first, using examples from visual identity and the graphic arts, it demonstrates how the modes of icon, index, and symbol tend to be blended; second, examples from fine art are used to illustrate how the concept of abstraction, as used in the art world, can only be partially accounted for within the second trichotomy, but can be modeled by supplying a syntactical supplement; third, it expands on and elaborates a previously sketched model, the visual gamut, which makes it possible to classify visual entities according to their position within a map of semantic and syntactic space; finally, it concludes by suggesting ways this enhanced version of the visual gamut model might be used in the analysis of, or creation of, art and design, presenting suggestions for further study.

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2

Isenberg, Tobias. "Visual Abstraction and Stylisation of Maps." Cartographic Journal 50, no. 1 (February 2013): 8–18. http://dx.doi.org/10.1179/1743277412y.0000000007.

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3

Sacha, D., F. Al‐Masoudi, M. Stein, T. Schreck, D. A. Keim, G. Andrienko, and H. Janetzko. "Dynamic Visual Abstraction of Soccer Movement." Computer Graphics Forum 36, no. 3 (June 2017): 305–15. http://dx.doi.org/10.1111/cgf.13189.

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4

Murphy, Kaitlin M. "Against Precarious Abstraction." Latin American and Latinx Visual Culture 1, no. 1 (January 1, 2019): 7–22. http://dx.doi.org/10.1525/lavc.2019.000003.

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Through analysis of Mexican photojournalist Moysés Zúñiga Santiago’s (b. 1979) series La Bestia (The Beast, ca. 2011–16), this article examines the potential for photographs to challenge how certain bodies enter into visual circulation—the moment at which, and how, they are “allowed” to become seen. Zúñiga’s photographs challenge visual economies that depict migrants as faceless laborers or criminals, and reframe contemporary immigration as a labor of everyday survival. The author reads the photographs alongside other contemporaneous visual culture texts about immigration and the US-Mexico border, and in the context of a dearth of images that document the actual process of Latinx migration toward the United States. Grounded in this analysis, the article argues that the work of the photojournalist is to document and transmit the magnitude of the atrocity in a manner that foments new ways of witnessing contemporary migration. The fundamental question thus becomes: Is it possible (and if so, how) to visually create conditions for viewers to more effectively bear witness to contemporary migration? Furthermore, how does this impact our understanding of what it means to bear witness? RESUMEN A través del análisis de la serie “La Bestia” del fotoperiodista mexicano Moysés Zúñiga Santiago, este artículo examina el potencial de las fotografías para cuestionar cómo ciertos cuerpos entran en circulación visual (cuándo y cómo se permite que se vean) y crean las condiciones para que el público dé testimonio de manera más efectiva de la migración contemporánea como esfuerzo por sobrevivir. Al leer las fotografías de Zúñiga junto a la cultura visual contemporánea sobre la inmigración y la frontera entre Estados Unidos y México, y en el contexto de una clara escasez de imágenes que documentan el proceso actual de la migración de Latinxs hacia Estados Unidos, el autor analiza cómo las fotografías de Zúñiga desafían las economías visuales que representan a los migrantes como trabajadores anónimos o delincuentes y replantean la inmigración contemporánea como un esfuerzo diario por sobrevivir. Basado en el análisis de la serie “La Bestia” de Zúñiga, el autor argumenta que el trabajo del fotoperiodista es documentar y transmitir efectivamente la magnitud de la atrocidad de tal manera que fomente nuevas formas de presenciar la migración contemporánea. La pregunta fundamental es: ¿es posible (y, si es así, de qué manera) crear visualmente las condiciones para que el público dé testimonio de la migración contemporánea de manera más efectiva? Además, ¿cómo afecta esto nuestra forma de entender lo que significa dar testimonio? RESUMO Através de análise da série “La Bestia” (A Besta, circa 2011-2016) do fotojornalista Moysés Zúñiga Santiago (n. 1979), este artigo examina o potencial de fotografias para desafiar como certos corpos entram em circulação visual – o momento quando, e como, “permite-se” que se tornem vistos. As fotografias de Zúñiga desafiam economias visuais que retratam migrantes como trabalhadores sem face ou criminosos e reenquadra a imigração contemporânea como um trabalho de sobrevivência cotidiano. O autor lê as fotografias de Zúñiga em relação à cultura visual contemporânea sobre imigração e a fronteira EUA-México, e no contexto de uma escassez de imagens que documentam o real processo da migração latinx em direção aos Estados Unidos. Fundamentado nesta análise, o artigo argumenta que o trabalho do fotojornalista é documentar e transmitir a magnitude da atrocidade de tal maneira a fomentar novas maneiras de testemunhar a migração contemporânea. A questão fundamental, portanto, se torna a seguinte: é possível (e se sim, como) criar visualmente as condições para espectadores testemunharem mais efetivamente a migração contemporânea? Ademais, como isso impacta nosso entendimento do que significa testemunhar?

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5

Overy, Paul. "PURE ABSTRACTION." Art History 16, no. 1 (March 1993): 190–95. http://dx.doi.org/10.1111/j.1467-8365.1993.tb00520.x.

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6

Burnett, Margaret M., and Allen L. Ambler. "Interactive Visual Data Abstraction in a Declarative Visual Programming Language." Journal of Visual Languages & Computing 5, no. 1 (March 1994): 29–60. http://dx.doi.org/10.1006/jvlc.1994.1003.

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7

Liao, Hongsen, Yingcai Wu, Li Chen, and Wei Chen. "Cluster-Based Visual Abstraction for Multivariate Scatterplots." IEEE Transactions on Visualization and Computer Graphics 24, no. 9 (September 1, 2018): 2531–45. http://dx.doi.org/10.1109/tvcg.2017.2754480.

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8

Saitta, Lorenza, and Jean-Daniel Zucker. "A model of abstraction in visual perception." Applied Artificial Intelligence 15, no. 8 (September 2001): 761–76. http://dx.doi.org/10.1080/088395101317018591.

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9

Zheng, Qi, Chao-Yue Wang, Dadong Wang, and Da-Cheng Tao. "Visual Superordinate Abstraction for Robust Concept Learning." Machine Intelligence Research 20, no. 1 (January 10, 2023): 79–91. http://dx.doi.org/10.1007/s11633-022-1360-1.

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10

Gortais, Bernard. "Abstraction and art." Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 358, no. 1435 (July 29, 2003): 1241–49. http://dx.doi.org/10.1098/rstb.2003.1309.

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In a given social context, artistic creation comprises a set of processes, which relate to the activity of the artist and the activity of the spectator. Through these processes we see and understand that the world is vaster than it is said to be. Artistic processes are mediated experiences that open up the world. A successful work of art expresses a reality beyond actual reality: it suggests an unknown world using the means and the signs of the known world. Artistic practices incorporate the means of creation developed by science and technology and change forms as they change. Artists and the public follow different processes of abstraction at different levels, in the definition of the means of creation, of representation and of perception of a work of art. This paper examines how the processes of abstraction are used within the framework of the visual arts and abstract painting, which appeared during a period of growing importance for the processes of abstraction in science and technology, at the beginning of the twentieth century. The development of digital platforms and new man–machine interfaces allow multimedia creations. This is performed under the constraint of phases of multidisciplinary conceptualization using generic representation languages, which tend to abolish traditional frontiers between the arts: visual arts, drama, dance and music.

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11

Fan, Judith E., Robert D. Hawkins, Mike Wu, and Noah D. Goodman. "Pragmatic Inference and Visual Abstraction Enable Contextual Flexibility During Visual Communication." Computational Brain & Behavior 3, no. 1 (September 5, 2019): 86–101. http://dx.doi.org/10.1007/s42113-019-00058-7.

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12

Copeland, Huey. "One-Dimensional Abstraction." Art Journal 78, no. 2 (April 3, 2019): 116–18. http://dx.doi.org/10.1080/00043249.2019.1626161.

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13

Lupacchini, Rossella. "Ways of Abstraction." Culture and Dialogue 4, no. 1 (July 22, 2016): 83–112. http://dx.doi.org/10.1163/24683949-12340005.

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The invention of “artificial perspective” revealed the ideal character of Euclidean geometry already in the Renaissance Europe of the fifteenth century. To the extent to which it made painting a “science” relying on mathematical rules, it made mathematics an “art” independent of the “geometry of nature.” It was the artistic vision emerging from perspective drawing that paved the way for scientific abstraction. However, it was only in the nineteenth century that the discovery of non-Euclidean geometry compelled mathematics to ponder the visual evidence of its principles and the reliability of its abstract concepts. At that time, it was the mathematical vision that first championed the rights of ideal forms to a higher level of abstraction and, therefore, oriented science and art towards new representational spaces.

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14

Zhou, Zhiguang, Yuming Ma, Yong Zhang, Yanan Liu, Yuhua Liu, Lin Zhang, and Shengchun Deng. "Context-Aware Visual Abstraction of Crowded Parallel Coordinates." Neurocomputing 459 (October 2021): 23–34. http://dx.doi.org/10.1016/j.neucom.2021.05.005.

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15

Chen, Haidong, Wei Chen, Honghui Mei, Zhiqi Liu, Kun Zhou, Weifeng Chen, Wentao Gu, and Kwan-Liu Ma. "Visual Abstraction and Exploration of Multi-class Scatterplots." IEEE Transactions on Visualization and Computer Graphics 20, no. 12 (December 31, 2014): 1683–92. http://dx.doi.org/10.1109/tvcg.2014.2346594.

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16

Min, Kyungha. "An Abstraction Technique for Producing 3D Visual Contents." International Journal of Multimedia and Ubiquitous Engineering 8, no. 5 (September 30, 2013): 353–60. http://dx.doi.org/10.14257/ijmue.2013.8.5.35.

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17

Spicker, Marc, Franz Götz-Hahn, Thomas Lindemeier, Dietmar Saupe, and Oliver Deussen. "Quantifying Visual Abstraction Quality for Computer-Generated Illustrations." ACM Transactions on Applied Perception 16, no. 1 (March 2019): 1–20. http://dx.doi.org/10.1145/3301414.

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18

Fabre-Thorpe, Michèle. "Visual categorization: accessing abstraction in non–human primates." Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 358, no. 1435 (July 29, 2003): 1215–23. http://dx.doi.org/10.1098/rstb.2003.1310.

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Evolution might have set the basic foundations for abstract mental representation long ago. Because of language, mental abilities would have reached different degrees of sophistication in mammals and in humans but would be, essentially, of the same nature. Thus, humans and animals might rely on the same basic mechanisms that could be masked in humans by the use of sophisticated strategies. In this paper, monkey and human abilities are compared in a variety of perceptual tasks including visual categorization to assess behavioural similarities and dissimilarities, and to determine the level of abstraction of monkeys' mental representations. The question of how these abstract representations might be encoded in the brain is then addressed. A comparative study of the neural processing underlying abstract cognitive operations in animals and humans might help to understand when abstraction emerged in the phylogenetic scale, and how it increased in complexity.

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19

Curry, David Park. "Slouching towards Abstraction." American Art 3, no. 1 (January 1989): 48. http://dx.doi.org/10.1086/424069.

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20

Troeller, Jordan. "Against Abstraction: Zoe Leonard'sAnalogue." Art Journal 69, no. 4 (December 2010): 108–23. http://dx.doi.org/10.1080/00043249.2010.10791403.

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21

Sullivan, Megan A. "Regional Abstraction in Translation." Art Journal 79, no. 2 (April 2, 2020): 119–21. http://dx.doi.org/10.1080/00043249.2020.1750855.

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22

Loughery, John. "Archival Abstraction." Hudson Review 54, no. 1 (2001): 117. http://dx.doi.org/10.2307/3852830.

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23

Truett, Brandon. "Materialities of Abstraction." Twentieth-Century Literature 67, no. 2 (June 1, 2021): 191–214. http://dx.doi.org/10.1215/0041462x-9084341.

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This article recovers the 1918 chapbook that the understudied Vorticist poet and visual artist Jessie Dismorr composed for the American sculptor John Storrs and his wife Marguerite. It examines the ways the chapbook reorients the aesthetic criteria by which we recognize abstraction in the early twentieth century. Studying how Dismorr’s divergent and feminist approach to Vorticist practice exploits “the materialities of abstraction,” or the traces of the material world that evince the outside of the abstract art object, it suggests that these material traces lead us to reimagine the boundary between inside and outside, and thus the way an art object indexes and interacts with the material world. Proposing that the recovery of an object as seemingly inconsequential as an individual chapbook in fact raises questions about how we construct the literary- and art-historical field of modernism, the article situates Dismorr’s work in relation to other feminist understandings in British modernism of the socialized space of artistic practice across media exemplified by Virginia Woolf ’s account of sociability within the Bloomsbury Group, and argues for the importance of such unique objects as chapbooks to the study of material culture within literary history and within art history as well.

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24

Holmberg, Sheryl Morang. "Abstracting a Deeper Meaning: How Three Sculptors Use Abstraction in Their Figurative Work." Sculpture Review 67, no. 3 (September 2018): 8–19. http://dx.doi.org/10.1177/074752841806700302.

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25

Bremner, Frederick J., and Steve Gotts. "Comparing two methods of visual abstraction to human data." Behavior Research Methods, Instruments, & Computers 25, no. 2 (June 1993): 212–14. http://dx.doi.org/10.3758/bf03204498.

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26

Daly, Tricia, and Philip Bell. "Visual abstraction and anatomy: pre- and post-modern imagery." Visual Communication 7, no. 2 (May 2008): 183–98. http://dx.doi.org/10.1177/1470357208088758.

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27

Han, Junwei, Kaiming Li, Ling Shao, Xintao Hu, Sheng He, Lei Guo, Jungong Han, and Tianming Liu. "Video abstraction based on fMRI-driven visual attention model." Information Sciences 281 (October 2014): 781–96. http://dx.doi.org/10.1016/j.ins.2013.12.039.

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28

Budiarto, Mega Teguh, Siti Khabibah, and Rini Setianingsih. "Construction of High School Students’ Abstraction Levels in Understanding the Concept of Quadrilaterals." International Education Studies 10, no. 2 (January 30, 2017): 148. http://dx.doi.org/10.5539/ies.v10n2p148.

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The purpose of this study was to examine the abstraction thinking or the vertical reorganization activity of mathematical concepts of high school students while taking account of the abstraction that was constructed earlier, and the socio-cultural background. This study was qualitative in nature with task-based interviews as the method of collecting the data. It involved 62 high school students, and conducted for one year. The study focused on activities related to how the subjects grouped plane figures, recognized the attributes of each two plane figure, recognized the relation among them based on their attributes, defined plane figures, connected their attributes, as well as constructed the relations among plane figures. The results indicates that the abstraction level of high school students in constructing the relations among quadrilaterals consists of concrete visual level, semi-concrete visual level, semi-abstract visual level, and abstract visual level, together with indicators of each level. Therefore, the researchers suggest that it is necessary to design a learning activity that facilitates the four levels of abstraction, so that a student might increase his/her level of abstraction.

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29

Damisch, Hubert. "Remarks on Abstraction." October 127 (March 2009): 133–54. http://dx.doi.org/10.1162/octo.2009.127.1.133.

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30

Pauwels, Erin. "Charles Demuth’s Dramatic Abstraction." American Art 32, no. 3 (September 2018): 86–95. http://dx.doi.org/10.1086/701617.

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31

Scherrer, Noemi. "Sophie Taeuber-Arp: Living Abstraction." Journal of Modern Craft 14, no. 2 (May 4, 2021): 175–86. http://dx.doi.org/10.1080/17496772.2021.1961383.

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32

Ezawa, Kota, and Karen Beckman. "Animation, Abstraction, Sampling." Grey Room 47 (April 2012): 98–109. http://dx.doi.org/10.1162/grey_a_00072.

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33

Yang, Justin, and Judith Fan. "Visual Communication of Object Concepts at Different Levels of Abstraction." Journal of Vision 21, no. 9 (September 27, 2021): 2951. http://dx.doi.org/10.1167/jov.21.9.2951.

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34

Zhou, Zhiguang, Linhao Meng, Cheng Tang, Ying Zhao, Zhiyong Guo, Miaoxin Hu, and Wei Chen. "Visual Abstraction of Large Scale Geospatial Origin-Destination Movement Data." IEEE Transactions on Visualization and Computer Graphics 25, no. 1 (January 2019): 43–53. http://dx.doi.org/10.1109/tvcg.2018.2864503.

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35

Hendrix, T. Dean, James H. Cross, Larry A. Barowski, and Karl S. Mathias. "Visual support for incremental abstraction and refinement in Ada 95." ACM SIGAda Ada Letters XVIII, no. 6 (November 1998): 142–47. http://dx.doi.org/10.1145/301687.289568.

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36

Jones, Matthew. "Metzger’s Women: Gender Representations and Visual Abstraction in ‘60s Sexploitation." Film Matters 4, no. 4 (December 1, 2013): 12–18. http://dx.doi.org/10.1386/fm.4.4.12_1.

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37

Thai, Vinhtuan, Pierre-Yves Rouille, and Siegfried Handschuh. "Visual Abstraction and Ordering in Faceted Browsing of Text Collections." ACM Transactions on Intelligent Systems and Technology 3, no. 2 (February 2012): 1–24. http://dx.doi.org/10.1145/2089094.2089097.

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38

Ejaz, Naveed, Irfan Mehmood, and Sung Wook Baik. "MRT letter: Visual attention driven framework for hysteroscopy video abstraction." Microscopy Research and Technique 76, no. 6 (March 30, 2013): 559–63. http://dx.doi.org/10.1002/jemt.22205.

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39

Key, Joan. "Clyde Hopkins: Abstraction as experience." Journal of Contemporary Painting 5, no. 2 (October 1, 2019): 317–38. http://dx.doi.org/10.1386/jcp_00007_1.

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Hopkins’ painterly abstraction reflects on a universe of disordering contingencies in everyday experience, questioning how painting can refer to such qualities of experience without engaging in representation. The immediate act of placing paint on the canvas extends to metaphorical concerns with process: how to maintain that sensation of immediacy if repetitions occur within a sequence of gestural responses. Hopkins’ work adopts different approaches at different stages; degrees of immediacy remain a consideration while attachment to a variety of motifs develops. Paintings remain continuously open to change as more reflexive approaches to the ironies of maintaining immediacy in re-presentation emerge. Resources are both visual and philosophical: the questioning of logic with ‘associationism’ found in the writings of David Hume and influencing Lawrence Sterne, a fascination with Spanish painting and its influence on Robert Motherwell, who was in turn influenced by A. N. Whitehead.

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40

Wei, Zhi Cheng. "A Video Abstraction Model Using a Genetic Algorithm." Advanced Materials Research 562-564 (August 2012): 2061–64. http://dx.doi.org/10.4028/www.scientific.net/amr.562-564.2061.

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In this paper, we present a standard genetic algorithm (SGA) based video abstraction framework, which can adaptively sample video frames in non-uniform way. We formulate the video abstraction as an optimization problem and apply a SGA in the feature space for video abstraction. The video abstraction is accomplished by applying genetic algorithm to search key frames from similar visual content source so that only a small but meaningful amount of information is retained. Experimental results and comparisons are presented to show good performance of our scheme on video static summarization and video skimming.

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41

Mabry, Wolfgang. "International Intrigue: New Frontiers in Abstraction." Sculpture Review 67, no. 3 (September 2018): 20–31. http://dx.doi.org/10.1177/074752841806700303.

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42

Andrew, Nell. "Dada Dance: Sophie Taeuber's Visceral Abstraction." Art Journal 73, no. 1 (January 2, 2014): 12–29. http://dx.doi.org/10.1080/00043249.2014.918806.

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43

Johnson, Robert. "Ritual and abstraction in Nijinska'sLes Noces." Dance Chronicle 10, no. 2 (January 1986): 147–69. http://dx.doi.org/10.1080/01472528608568943.

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44

Scully, Sean. "On Mythology, Abstraction, and Mystery." American Art 18, no. 3 (September 2004): 78–87. http://dx.doi.org/10.1086/427533.

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45

Stimson, Blake. "For the Love of Abstraction." Third Text 22, no. 5 (September 2008): 639–50. http://dx.doi.org/10.1080/09528820802442421.

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46

Shapiro, Aaron. "Street-level: Google Street View’s abstraction by datafication." New Media & Society 20, no. 3 (January 16, 2017): 1201–19. http://dx.doi.org/10.1177/1461444816687293.

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While aerial photography is associated with vertical objectivity and spatial abstractions, street-level imagery appears less political in its orientation to the particularities of place. I contest this assumption, showing how the aggregation of street-level imagery into “big datasets” allows for the algorithmic sorting of places by their street-level visual qualities. This occurs through an abstraction by “datafication,” inscribing new power geometries onto urban places through algorithmic linkages between visual environmental qualities, geographic information, and valuations of social worth and risk. Though largely missing from media studies of Google Street View, similar issues have been raised in critiques of criminological theories that use place as a proxy for risk. Comparing the Broken Windows theory of criminogenesis with big data applications of street-level imagery informs a critical media studies approach to Google Street View. The final section of this article suggests alternative theoretical orientations for algorithm design that avoid the pitfalls of essentialist equations of place with social character.

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47

DODD, BARBARA, and BETH McINTOSH. "Two-year-old phonology: impact of input, motor and cognitive abilities on development." Journal of Child Language 37, no. 5 (December 7, 2009): 1027–46. http://dx.doi.org/10.1017/s0305000909990171.

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ABSTRACTPrevious research has rarely compared the contributions of different underlying abilities to phonological acquisition. In this study, the auditory-visual speech perception, oro-motor and rule abstraction skills of 62 typically developing two-year olds were assessed and contrasted with the accuracy of their spoken phonology. Measures included auditory-visual speech perception, production of isolated and sequenced oro-motor movements, and verbal and non-verbal rule abstraction. Abilities in all three domains contributed to phonological acquisition. However, the use of atypical phonological rules was associated with lower levels of phonological accuracy and a linear regression indicated that this measure of rule abstraction had greater explanatory power than the measures of input processing and output skill.

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48

Vinker, Yael, Ehsan Pajouheshgar, Jessica Y. Bo, Roman Christian Bachmann, Amit Haim Bermano, Daniel Cohen-Or, Amir Zamir, and Ariel Shamir. "CLIPasso." ACM Transactions on Graphics 41, no. 4 (July 2022): 1–11. http://dx.doi.org/10.1145/3528223.3530068.

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Abstraction is at the heart of sketching due to the simple and minimal nature of line drawings. Abstraction entails identifying the essential visual properties of an object or scene, which requires semantic understanding and prior knowledge of high-level concepts. Abstract depictions are therefore challenging for artists, and even more so for machines. We present CLIPasso, an object sketching method that can achieve different levels of abstraction, guided by geometric and semantic simplifications. While sketch generation methods often rely on explicit sketch datasets for training, we utilize the remarkable ability of CLIP (Contrastive-Language-Image-Pretraining) to distill semantic concepts from sketches and images alike. We define a sketch as a set of Bézier curves and use a differentiable rasterizer to optimize the parameters of the curves directly with respect to a CLIP-based perceptual loss. The abstraction degree is controlled by varying the number of strokes. The generated sketches demonstrate multiple levels of abstraction while maintaining recognizability, underlying structure, and essential visual components of the subject drawn.

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49

Jung, Yaelan, Dirk Walther, and Amy Finn. "Automatic categorical abstraction during visual statistical learning in children and adults." Journal of Vision 18, no. 10 (September 1, 2018): 397. http://dx.doi.org/10.1167/18.10.397.

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50

Cakmak, E., H. Schäfer, J. Buchmüller, J. Fuchs, T. Schreck, A. Jordan, and D. Keim. "MotionGlyphs: Visual Abstraction of Spatio‐Temporal Networks in Collective Animal Behavior." Computer Graphics Forum 39, no. 3 (June 2020): 63–75. http://dx.doi.org/10.1111/cgf.13963.

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