Krešimir Purgar is Associate Professor in the Academy of Arts and Culture at J. J. Strossmayer University, Osijek, Croatia.

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• IntroductionShould Abstract Images Have Their "own" Iconology?Krešimir PurgarProlegomena1. Why Pictures are Signs? The Semiotics of (Non)Representational PicturesWinfried NothPart 1: History and Theory of Abstraction2. The Founding of Abstraction: Wilhelm Worringer and the Avant-Garde Anselm Treichler 3. The Iconology of Malevich’s Suprematist Crosses Marie Gaspter-Hulvat 4. Literality and Non-Referentiality in the Abstraction of Objecthood Blaženka Perica5. Representational Abstract Pictures Regina-Nino Mion PART 2: Philosophy of Abstraction6. What is Abstraction in Photography? Diarmuid Costello 7. Abstraction and Transperceptual Space Paul Crowther 8. The Visualization of Temporality in the Abstract Paintings of Barnett Newman Claude Cernuschi 9. Rethinking Abstraction Post-Phenomenologically: Michel Henry and Henri MaldineyBruno Lessard PART 3: Redefining Abstraction—Analog vs. Digital 10. Visual Music and Abstraction: From Avant-Garde Synesthaesia to Digital Technestaesia Michael Betancourt 11. Ecology and Climatology in Modern Abstract Art Linn Burchert 12. Digital Abstraction: Interface between Electronic Media Art and Data Visualization Birgit Mersmann 13. Towards a Transsensorial Technology of Abstraction (Ekstraction) Clemens C. Finkelstein 14. Digital Landscapes of the Internet: Glitch Art, Vaporwave, Spectacular CyberspaceDario VugerPART 4: Abstraction in Science and Technology15. The Material Site of Abstraction: Grid-based Data Visualisation in Brain Scans Silvia Casini16. Reference and Affect: Visual Abstraction in Computation and the Neurosciences Michael Reinsborough 17. Reality Effect of (Abstract) Maps in Post-Digital Era Ana Peraica Coda 18. Visualizing the End of Visibility: M87* Event-Horizon ImageYanai Toister

Krešimir Purgar is Associate Professor in the Academy of Arts and Culture at J. J. Strossmayer University, Osijek, Croatia.

Select Guide Rating

• IntroductionShould Abstract Images Have Their "own" Iconology?Krešimir PurgarProlegomena1. Why Pictures are Signs? The Semiotics of (Non)Representational PicturesWinfried NothPart 1: History and Theory of Abstraction2. The Founding of Abstraction: Wilhelm Worringer and the Avant-Garde Anselm Treichler 3. The Iconology of Malevich’s Suprematist Crosses Marie Gaspter-Hulvat 4. Literality and Non-Referentiality in the Abstraction of Objecthood Blaženka Perica5. Representational Abstract Pictures Regina-Nino Mion PART 2: Philosophy of Abstraction6. What is Abstraction in Photography? Diarmuid Costello 7. Abstraction and Transperceptual Space Paul Crowther 8. The Visualization of Temporality in the Abstract Paintings of Barnett Newman Claude Cernuschi 9. Rethinking Abstraction Post-Phenomenologically: Michel Henry and Henri MaldineyBruno Lessard PART 3: Redefining Abstraction—Analog vs. Digital 10. Visual Music and Abstraction: From Avant-Garde Synesthaesia to Digital Technestaesia Michael Betancourt 11. Ecology and Climatology in Modern Abstract Art Linn Burchert 12. Digital Abstraction: Interface between Electronic Media Art and Data Visualization Birgit Mersmann 13. Towards a Transsensorial Technology of Abstraction (Ekstraction) Clemens C. Finkelstein 14. Digital Landscapes of the Internet: Glitch Art, Vaporwave, Spectacular CyberspaceDario VugerPART 4: Abstraction in Science and Technology15. The Material Site of Abstraction: Grid-based Data Visualisation in Brain Scans Silvia Casini16. Reference and Affect: Visual Abstraction in Computation and the Neurosciences Michael Reinsborough 17. Reality Effect of (Abstract) Maps in Post-Digital Era Ana Peraica Coda 18. Visualizing the End of Visibility: M87* Event-Horizon ImageYanai Toister

Krešimir Purgar is Associate Professor in the Academy of Arts and Culture at J. J. Strossmayer University, Osijek, Croatia.

Select Guide Rating

• IntroductionShould Abstract Images Have Their "own" Iconology?Krešimir PurgarProlegomena1. Why Pictures are Signs? The Semiotics of (Non)Representational PicturesWinfried NothPart 1: History and Theory of Abstraction2. The Founding of Abstraction: Wilhelm Worringer and the Avant-Garde Anselm Treichler 3. The Iconology of Malevich’s Suprematist Crosses Marie Gaspter-Hulvat 4. Literality and Non-Referentiality in the Abstraction of Objecthood Blaženka Perica5. Representational Abstract Pictures Regina-Nino Mion PART 2: Philosophy of Abstraction6. What is Abstraction in Photography? Diarmuid Costello 7. Abstraction and Transperceptual Space Paul Crowther 8. The Visualization of Temporality in the Abstract Paintings of Barnett Newman Claude Cernuschi 9. Rethinking Abstraction Post-Phenomenologically: Michel Henry and Henri MaldineyBruno Lessard PART 3: Redefining Abstraction—Analog vs. Digital 10. Visual Music and Abstraction: From Avant-Garde Synesthaesia to Digital Technestaesia Michael Betancourt 11. Ecology and Climatology in Modern Abstract Art Linn Burchert 12. Digital Abstraction: Interface between Electronic Media Art and Data Visualization Birgit Mersmann 13. Towards a Transsensorial Technology of Abstraction (Ekstraction) Clemens C. Finkelstein 14. Digital Landscapes of the Internet: Glitch Art, Vaporwave, Spectacular CyberspaceDario VugerPART 4: Abstraction in Science and Technology15. The Material Site of Abstraction: Grid-based Data Visualisation in Brain Scans Silvia Casini16. Reference and Affect: Visual Abstraction in Computation and the Neurosciences Michael Reinsborough 17. Reality Effect of (Abstract) Maps in Post-Digital Era Ana Peraica Coda 18. Visualizing the End of Visibility: M87* Event-Horizon ImageYanai Toister