The Iconology of Abstraction: Non-figurative Images and the Modern World

Cover
Half Title
Series Page
Title Page
Copyright Page
Table of Contents
List of figures
List of contributors
Acknowledgments
Introduction: Do Abstract Images Need New Iconology?
	Notes
Chapter 1 Prolegomena: Why Pictures Are Signs: The Semiotics of (Non)representational Pictures
	1.1 Are Pictures Signs?
	1.2 Terminological Findings
	1.3 The Crisis of Representation as a Crisis of the Pictorial Sign?
	1.4 Pictures as Signs According to Peirce
	1.5 Imaginary Maps and Their Objects
	1.6 Nonrepresentational Pictures and Their Objects
	Notes
Part I History and Theory of Abstraction
	Chapter 2 The Founding of Abstraction: Wilhelm Worringer and the Avant-Garde
		2.1 Introduction: The Two Terms of Abstraction
		2.2 Wilhelm Worringer’s Founding of Abstraction
			2.2.1 Empathy and Artistic Volition
			2.2.2 Worringer’s Turn to the Process of Abstraction
		2.3 Worringer and the Art of the Avant-Garde
			2.3.1 The Will to Form
			2.3.2 The Empty Surface as Form
			2.3.3 The Expanded Process of Abstraction
		2.4 Outlook: The Nomadic Line and Geometric Abstraction
		Notes
	Chapter 3 The Iconology of Malevich’s Suprematist Crosses
		3.1 Malevich’s Cruciform Geometry
		3.2 Malevich’s Crosses and the Russian Orthodox Icon
		3.3 Reception of Malevich’s Crosses
		3.4 Malevich’s Crosses as Sincere Signifiers
		3.5 Malevich’s Crosses and Their Beholders’ “Cultural Equipment”
		Notes
	Chapter 4 Anthropomorphism and Presence: (Non)referentiality in the Abstraction of Objecthood
		4.1 From Modernist Formalism to “Art Is Something You Look At”
		4.2 Donald Judd’s Specific Object as Opposed to Abstraction
		4.3 Abstraction without Reduction
		4.4 From Fried to Intersubjectivity: Why Non-theatrical Art Does Not Exist
		4.5 That Which Does (Not) Observe Us
		Notes
	Chapter 5 Representational Abstract Pictures
		5.1 Abstracted Subject Matter
		5.2 Spiritual Subject Matter
		5.3 Produced Subject Matter
		5.4 Concluding Remarks
		Notes
Part II Philosophy of Abstraction
	Chapter 6 What is Abstraction in Photography?
		6.1 The Problem
		6.2 What is Abstraction?
		6.3 What is Photography?
		6.4 What is Abstraction in Photography?
			6.4.1 Proto Abstraction
			6.4.2 Faux Abstraction
			6.4.3 Constructed Faux Abstraction
			6.4.4 Weak Abstraction
			6.4.5 Strong Abstraction
			6.4.6 Constructed Abstraction
			6.4.7 Concrete Abstraction
		Notes
	Chapter 7 Abstraction and Transperceptual Space
		7.1 Between allusive meaning and transperceptual space
		7.2 The levels of transperceptual space
		7.3 Dealing with objections to the theory of transperceptual space
		Notes
	Chapter 8 The Visualization of Temporality in the Abstract Paintings of Barnett Newman
		Notes
	Chapter 9 Rethinking Abstraction Post-phenomenologically: Michel Henry and Henri Maldiney
		9.1 Toward a Phenomenology of Abstraction
		9.2 The Painter of Invisible Life: Michel Henry on Kandinsky
		9.3 Critique of Pure Abstraction: Henri Maldiney on Kandinsky
		9.4 A Missed Encounter and a Rapprochement
		Notes
Part III Redefining Abstraction—Analog vs. Digital
	Chapter 10 Visual Music and Abstraction: From Avant-Garde Synesthesia to Digital Technesthesia
		10.1 Synaesthetic Foundations of Abstraction
		10.2 Making the Metaphysical Reality Perceptually Immanent
		10.3 “Noise” in Early Computer Graphics
		10.4 Digital “Glitches” and the Reality of Machines
		10.5 Conclusion
		Notes
	Chapter 11 Ecology and Climatology in Modern Abstract Art
		11.1 Art and Climatology1
		11.2 Robert Delaunay and the Image as a Sun-Like Presence
		11.3 Wassily Kandinsky, Chromotherapy and Psychophysics
		11.4 Johannes Itten’s Seasonal Cycle
		11.5 Paul Klee and the Image as a “Villeggiatura”
		11.6 Yves Klein’s Concepts of the Pictorial Climate and the Architecture of Air
		11.7 Closing Remarks
		Notes
	Chapter 12 Digital Abstraction: Interface between Electronic Media Art and Data Visualization
		12.1 Abstraction and Information Aesthetics: From Oscillographic to Computer Graphic Abstraction
		12.2 Digital Abstraction and Data Aesthetics
		12.3 Visualizations of the Abstract Computing Machine
		12.4 The Changing Paradigm: Concretizations of Digital Abstraction
		Notes
	Chapter 13 Toward a Transsensorial Technology of Abstraction (Ekstraction)
		13.1 Liminal Conditions
		13.2 Contempor(e)al Iconology of Abstraction
		13.3 Ekstraction
		Notes
	Chapter 14 Digital Landscapes of the Internet: Glitch Art, Vaporwave, Spectacular Cyberspace
		14.1 Beautiful Errors of Glitch Art
		14.2 After Cyberspace: The Spectacular Cyberscape
		14.3 Landscape without the World?
		Notes
Part IV Abstraction in Science and Technology
	Chapter 15 The Material Site of Abstraction: Grid-Based Data Visualization in Brain Scans
		15.1 From Data to Image: The Grid in Biomedical Imaging
		15.2 The Cartesian Coordinate Grid: From a Generative Matrix in Modern Art to Predictive Modeling
		15.3 Practices of Seeing, Uncertainty and “Politics of Possibility”
		Notes
	Chapter 16 Reference and Affect: Abstraction in Computation and the Neurosciences
		16.1 Affective Computing
		16.2 Reference and Affect
		16.3 The Unconscious Representation and Semiotic Theory of Reference
		Notes
	Chapter 17 Reality Effect of (Abstract) Maps in the Post-digital Era
		17.1 Post-digital Photography
		17.2 Split Among Two Representations of Reality
		17.3 Abstract Vision of Photography
		17.4 Aerial Images and Maps
		17.5 In the Assembled World
		17.6 Google Earth Project
		17.7 Where is That Old Harbor of Marseille Today?
		17.8 Conclusion
		Notes
	Chapter 18 Coda: Visualizing the End of Visibility: M87* Event-Horizon Image
		Notes
Index