An unforgettable collection of funny and heartbreaking poems by a remarkable new voice in American poetry

Numbers and other mathematical objects are exceptional in having no locations in space or time or relations of cause and effect. This makes it difficult to account for the possibility of the knowledge of such objects, leading many philosophers to embrace nominalism, the doctrine that there are no such objects, and to embark on ambitious projects for interpreting mathematics so as to preserve the subject while eliminating its objects. A Subject With No Object cuts through a host of technicalities that have obscured previous discussions of these projects, and presents clear, concise accounts, with minimal prerequisites, of a dozen strategies for nominalistic interpretation of mathematics, thus equipping the reader to evaluate each and to compare different ones. The authors also offer critical discussion, rare in the literature, of the aims and claims of nominalistic interpretation, suggesting that it is significant in a very different way from that usually assumed.

What is a thing? What is an object? Tristan Garcia decisively overturns 100 years of Heideggerian orthodoxy about the supposedly derivative nature of objects to put forward a new theory of ontology that gives us deep insights into the world and our place

The Object of the Atlantic is a wide-ranging study of the transition from a concern with sovereignty to a concern with things in Iberian Atlantic literature and art produced between 1868 and 1968. Rachel Price uncovers the surprising ways that concrete aesthetics from Cuba, Brazil, and Spain drew not only on global forms of constructivism but also on a history of empire, slavery, and media technologies from the Atlantic world. Analyzing Jose Marti’s notebooks, Joaquim de Sousandrade’s poetry, Ramiro de Maeztu’s essays on things and on slavery, 1920s Cuban literature on economic restructuring, Ferreira Gullar’s theory of the “non-object,” and neoconcrete art, Price shows that the turn to objects—and from these to new media networks—was rooted in the very philosophies of history that helped form the Atlantic world itself.

Work and Object is a study of fundamental questions in the metaphysics of art, notably how works relate to the materials that constitute them. Issues about the creation of works, what is essential and inessential to their identity, their distinct kinds of properties, including aesthetic properties, their amenability to interpretation, their style, the conditions under which they can go out of existence, and their relation to perceptually indistinguishable doubles (e.g. forgeries and parodies), are raised and debated. A core theme is that works like paintings, music, literature, sculpture, architecture, films, photographs, multi-media installations, and many more besides, have fundamental features in common, as cultural artefacts, in spite of enormous surface differences. It is their nature as distinct kinds of things, grounded in distinct ontological categories, that is the subject of this enquiry. Although much of the discussion is abstract, based in analytical metaphysics, there are numerous specific applications, including a study of Jean-Paul Sartre's novel La Nausée and recent conceptual art. Some surprising conclusions are derived, about the identity conditions of works and about the difference, often, between what a work seems to be and what it really is.

A collection of the most significant contributions to psychoanalytic and psychological understanding of the effect of object loss on adults and children. Annotation copyright by Book News, Inc., Portland, OR

At present, object-oriented programming is emerging from the research labora tories and invading into the field of industrial applications. More and more products have been implemented with the aid of object-oriented programming techniques and tools, usually as extensions of traditional languages in hybrid development systems. Some of the better known examples are OSF-Motif, News, Objective-C on the NeXT computer, the C extension C++, and CLOS an object oriented extension of LISP. All of these developments incorporate interactive graphics. Effective object-oriented systems in combination with a graphics kernel does it mean that the field of computer graphics has now become merely an aspect of the object-oriented world? We do not think so. In spite of interesting individual developments, there are still no sound object-oriented graphics sys tems available. If it is desired to develop a complex graphics application embed ded in a window-oriented system then it is still necessary to work with elemen tary tools. What is to be displayed and interactively modified inside a window must be specified with a set of graphics primitives at a low level, or has to be written with a standardized graphics kernel system such as GKS or PHIGS, i. e. , by kernels specified and implemented in a non-object-oriented style. With the terms GKS and PHIGS we enter the world of international graphics standards. GKS and PHIGS constitute systems, not mere collections of graphics primitives.