The modernist, the marvellous and the ontologically flat: on Barbara Guest’s aesthetics

Looking at concrete representations of mathematical problems from an isomorphic perspective, this article suggests that every concrete representation of a mathematical concept is understood by reference to an underlying abstract representation in the mind of the comprehender. The complex form of every abstract representation of a problem is created by the gradual development of its elementary form. Throughout the process of cognitive development, new features are added to the elementary form of abstract representation, which leads to gradual formation of a fully developed abstract representation in the mind. Every developed abstract representation of a problem is the underlying source for understanding an infinite number of concrete isomorphic representations. Deep or abstract representations of a problem are shared by the concrete realizations or concrete forms of that problem. In other words, concrete representations of a problem are the realizations of a single abstract representation. This discussion is extended to mind-brain relationship and the possible isomorphism that could exist between mind and brain.

Were the urbane, avant-garde poets of the New York School secretly nature lovers like Edward Abbey, Wendell Berry, and Annie Dillard? In Urban Pastoral, Timothy Gray urges us to reconsider our long-held appraisals of Frank O Hara, John Ashbery, Barbara Guest, and their peers as celebrants of cosmopolitan culture and to think of their more pastoral impulses. As Gray argues, flowers are more beautiful in the New York School s garden of verse because no one expects them to bloom there. Along with the poets whose careers he chronicles, Gray shows us that startlingly new approaches to New York City art and literature emerge when natural and artificial elements collide kaleidoscopically, as when O Hara likens blinking stars to a hairnet, when painter Jane Freilicher places a jar of irises in her studio window to mirror purple plumes rising from Consolidated Edison smokestacks, or when poet Kathleen Norris equates rooftop water towers with grain silos as she plans her escape route to the Great Plains. The New York School poets and their coterie have become a staple of poetics, literary criticism and biography, cultural studies, and art criticism, but Urban Pastoral is the first study of the original New York School poets to offer sustained discussion of the pastoral and natural imagery within the work of these renowned city poets and also consider poets from the second generation of the New York School Diane di Prima, Jim Carroll, and Kathleen Norris. Moving beyond the traditional boundaries of literary criticism to embrace the creative spirit of New York poets and artists, Gray s accessible, lively, and blithely experimental book will shape future discussions of contemporary urban literature and literary nature writing, offering new evidence of avant-garde poetry s role within those realms.

The article is devoted to the problem of the representation of the gender picture of the world in Dina Rubina's trilogy People of the Air . Gender conceptualization unfolds in the context of the representations, characretistic to performative theory of gender. Therefore the heterotopy of the body, which is the main form of the artistic representation of the gender theory, in one case represents the process of producing female subjectivity ( Leonardo's Handwriting ), and in another case the form of problematization of male discourse ( White Dove of Cordoba ), ( Syndrome of Punch ). It is emphasized that the heterotopies of the circus ( Leonardo's Handwriting ), painting ( White Dove of Cordoba ) and the puppet theater ( Syndrome of Punch ) become a reflection of this type of transgressive spaces. Dedicated heterotopies play a different role in the construction of female and male subjectivity. If the heterotopy of the circus demonstrates the process of performative deployment of female subjectivity, the heterotopies of painting and puppet theater represent substitution / compensation heterotopies. So the resolution of the problematization of male discourse is connected with their destruction. In conclusion, the authors of the article state that the heterotopies of the puppet theater and painting provoke the appereance of the body that tries to embody soul, but becomes a kind of cell for it. So overcoming the heterotopy boundaries is the basis for overcoming the duality, getting rid of the phantom of a “split body”. In contrast, the heterotopy of the circus, which acts as a kind of low analogue of life, accented by a bodily expression, turns out to be a kind of mirror of the world, allowing the character of Leonardo's Writing to “look at herself”. The consequence of this is the involvement in the flow of life while maintaining an external distance from it.

Art has to be constantly re-begun, or, as the Red Queen noted, one has to run very hard in order to remain in the same place. (John Ashbery, 'Paris Letter')1 In I949, during his junior year at Harvard, Frank O'Hara submitted some poems to the Harvard Advocate. John Ashbery, then a senior, was on the editorial board and liked O'Hara's work. So began a friendship between two poets that lasted until O'Hara's untimely death in 1966. For fifteen years, the poetic careers of Ashbery and O'Hara ran a parallel course, and yet no one, reading their poetry today, would be likely to mistake an O'Hara poem for one by Ashbery. To compare and contrast the achievement of these two poets is to get some sense of the excitement and diversity characteristic of 'New York Poetry' in the fifties and sixties, but such comparison also makes clear that the label 'New York School', still regularly applied to O'Hara, Ashbery, Kenneth Koch, James Schuyler, Barbara Guest, and a score of younger poets like Ted Berrigan, Ron Padgett, and Anne Waldman, has become a rather meaningless term.2 Let me begin with the more obvious parallels. Both O'Hara and Ashbery earned Master's degrees in English literature, Ashbery at Columbia, O'Hara, a year later, at the University of Michigan. But neither poet ever contemplated an academic career; both turned to the world of the visual arts, drawing their central inspiration from the Abstract Expressionist painters then coming into prominence in New York: Jackson Pollock, Willem de Kooning, Robert Motherwell, Helen Frankenthaler, Franz Kline, and their followers. In I95I, O'Hara got a temporary job at the Museum of Modern Art: it was the year of the great Matisse exhibition, and extra help was needed at the front desk. Before long he was organizing travelling exhibitions and, by the time of his death, he had been named Curator. In the sixties he was responsible for some of the most important shows at the

Barbara Guest. Rocks on a Platter: on Literature. Hanover, NH: University Press of New England, 1999. Rocks on a Platter contains some of Barbara Guest's most obscure and compelling lines since Defensive Rapture (1993). It has been interpreted by other reviewers as one long poem that examines the implacable poet as subject and vector in the process of creative production. While that may be the case, these poems are also literally notes on literature, as its subtitle suggests. The book can be seen as Guest's own jottings in response to her inspiring and eclectic research, with texts dissected and arranged to become poetic objects resonating as in a still-life painting. Guest was one of the central members of the New York School, though David Lehman (in The Last Avant-Garde) omits her in favor of an unnecessarily reductive, masculine view of the group. It could be argued that Guest's work, and perhaps Guest herself, is more radically individual, and less easily summarized. Canonical practices have typically excluded such writers in favor of more homogenous categorization. While this tendency has long been under critical scrutiny, the practice of dropping particularly influential, but often more clairvoyant poets from critical schema persists (see, for instance Alan Kaufman's omission of Edward Dorn and his connections to Black Mountain and the Beats from The Outlaw Bible of American Poetry). But what critics fail to recognize or like to forget is how different kinds of poets still speak to each other, still have friendships and discussions that are crucial to artistic germination whether or not they share the same aesthetics. The best poetry demonstrates this kind of complex engagement with different kinds of poetry and with a greater, interdisciplinary community. Most recently, Guest's work has been noted as one of the foundational influences for what could be considered a feminist wing of postL=A=N=G=U=A=G=E poets such as Kathleen Fraser, Brenda Hillman, Meimei Berssenbrugge, Lisa Jarnot, Juliana Spahr, and Jena Osman. Intrinsic to the New York School's poetics was a fundamental crossfertilization with the visual arts. Painters such as Motherwell, Freilicher, and Rivers were just a few of those whose work and ideas coalesced with those of the poets. Frank O'Hara worked at MOMA and Ashbery worked as an art critic, as did Guest. Her own work often achieves a kind of poetic equivalent to Abstract Expressionism, forcing the literary critic to work with the vocabulary of the art critic: abstraction replaces representation, patina replaces simple imagery, chiaroscuro, diction. Her poetry reveals a primacy of page as canvas that draws from modernist sources, yet achieves a texture which is distinctly postmodern in its absence of a central, controlling ego. That Guest is the artist of the collage on the cover of Rocks on a Platter confirms that her close relationship to the visual arts and to artists is one of the fertile resources of her work. The collage is composed of several subtle, textured surfaces in nearly indistinguishable tones of gray, black, white, and beige. The collage, like the poetry, appears to be composed of shadows, of water and sand as much as of paper. Placement here is as imbued with meaning as the weighty rocks. This cover evokes sculpture: nature placed on a created surface. Rocks on a Platter is concerned with nature and the natural world, from the flotsam of the world of appearances to its wet earth. One vision which emerges from these Notes is that of the natural world as element and object, as force and life, animate and inanimate. Land is both ship's destiny or conquest and the very limits of language, ground is earth and page: The book begins with the aqueous beginnings of earth, with Dreams set by / typography like a ship in an immense sea. …

1 8 6 Y P O E T R Y I N R E V I E W R I C H A R D D E M I N G In 1961, the year that John Bernard Myers, owner of the Tibor de Nagy Gallery, bestowed upon a particular band of writers the label ‘‘the New York School of poets,’’ Frank O’Hara – who in five years would su√er the group’s first and most untimely death – published ‘‘For the Chinese New Year & for Bill Berkson.’’ In that poem, O’Hara writes, ‘‘It’s a strange curse my ‘generation’ has we’re all / like the flowers in the Agassiz Museum perpetually ardent.’’ In the fifty years since O’Hara wrote those lines the force of the simile has recontexualized as four of the five figures of that first, defining generation of the New York School are gone: O’Hara was killed in an accident in 1966, James Schuyler died of a stroke in 1991, Kenneth Koch succumbed to leukemia in 2002, and Barbara Guest su√ered a series of strokes in 2006. Only John Ashbery is still alive, and he has become arguably the most celeT i b o r d e N a g y G a l l e r y P a i n t e r s a n d P o e t s : C e l e b r a t i n g S i x t y Ye a r s , by Douglas Crase and Jenni Quilter (Tibor de Nagy Gallery, 94 pp., $40) O t h e r F l o w e r s : U n c o l l e c t e d P o e m s , by James Schuyler, edited by James Meetze and Simon Pettet (Farrar, Straus and Giroux, 240 pp., $18 paper) H o w L o n g , by Ron Padgett (Co√ee House Press, 91 pp., $16 paper) 1 8 7 R brated, most influential poet of our time. Still, what is somewhat prophetic about O’Hara’s lines describing his peers as flowers in a museum is the fact that the New York School increases in influence and importance with every passing year. Each year there are more and more articles, essays, dissertations, and monographs devoted to O’Hara and Ashbery specifically, and to this group of writers as a whole. The School has become an institution. But what is the curse that O’Hara mentions? Is it because the flowers are not wild or transient but are representations made of delicate and precise glass and on display, kept vivid artificially, at Harvard’s Museum of Comparative Zoology that makes being like them a curse? Given that Koch, O’Hara, and Ashbery all were undergraduates at Harvard, there is a specific and prevailing nostalgia encoded in O’Hara’s metaphor, as if the poem suggests that their passion and joie de vivre reified at the moment of inception. The possibility of being always already imbued with nostalgia would be a horror. As di√erent as each of the poets was, as dissimilar as their work is in terms of form, content, and poetics, they all prized a certain immediacy and wrote (or in Ashbery’s case, still write) poems that seek to maintain a vivid, complex sanguinity, an intensity open to the flow of daily life, poems that do manifest, at their best, a kind of ardor. Yet that ardor, like any ardor, is often fraught, complicated – is never assured. In that sense, the curse O’Hara’s generation wrestled with is the possibility that in work striving for spontaneity, the emotional life, by being on display, becomes in reality an exquisite representation , ever fragile, and ever pointing to some other thing. Ut pictura poesis. The joy that is so often seen as the defining characteristic of the poets of the New York School needs to be measured against their sadness or even anxiety that the time for immediacy and its corresponding necessary intimacy is always just past. To miss that gap between the ideal and the art is to miss that...

The Brink of Continuity (on Ashbery) Charles Bernstein (bio) On September 5, 2017, a few days after John Ashbery died, Le Monde published an obituary for him by Olivier Brossard: “Pour le poète américain, l’écriture était ouverture, fuite ou fugue, le refus d’une identité ou d’un poème qui soient clos ou définis à jamais”: For this American poet, writing was an opening, flight or fugue, the refusal of an identity for a poem that is closed or defined forever. I appreciate that Brossard addresses the identity of the poem in this opening paragraph, something sometimes lost in America, where there is so much attention given to the identity of the poet that the identity of the poem is eclipsed. Not that a poem can ever be separated from the person who wrote it. It’s just that with a poem you start with the flight and fugue of the words, not with what the poem represents. The day Ashbery died, the New York Times posted an obituary by its official obituary writer, the talented Dinitia Smith (with “Maggie Astor and David Orr contributed reporting” appended at the end). The oddest thing about Smith’s obit (O-1) was a paragraph on Ashbery’s relation to his parents: When I was about 3 or 4 years old, [my father] said to me one day, ‘Who do you love more, me or your mother?’ and I said, ‘My mother.’” No doubt the bored masses of Times readers could find at least this something they could relate to. I might have said the same to my father when I was three, but I hope it doesn’t land in any obituaries. Smith had the historical sense to mention Barbara Guest as one of the company of poets most closely associated with Ashbery, even if she called “Frank O’Hara” John, which I am sure Ashbery and O’Hara would have found amusing: Mr. Ashbery was originally associated with the New York school of poetry of the 1950s and ’60s, joining Kenneth Koch, Barbara Guest, John O’Hara and others as they swam in the currents of modernism, surrealism and Abstract Expressionism then coursing through the city, drawing from and befriending artists like Jackson Pollock, Willem de Kooning and Jane Freilicher. When David Orr’s byline was added to Smith’s the next morning (O-2), “Frank” was back and the poets were no longer “swimming in the currents of modernism” but, less aptly, reveling. And alas! Guest was out and the New York School was just guys: Mr. Ashbery was originally associated with the New York school of poetry of the 1950s and ’60s, joining Kenneth Koch, James Schuyler, Frank O’Hara and others as they reveled in the currents of modernism. The anecdote about the poet’s mother was also excised, making way for a bit more ideological clean-up. David Orr is most notable for his April 2, 2006, front-page Times Book Review rave for a favorite of Ashbery’s, Elizabeth Bishop. The piece begins: You are living in a world created by Elizabeth Bishop. Granted, our culture owes its shape to plenty of other forces — Hollywood, Microsoft, Rachael Ray — but nothing matches the impact of a great artist, and in the second half of the 20th century, no American artist in any medium was greater than Bishop (1911–79). This claim is so wacky that it can only be understood as a fetish for Bishop and her patron Robert Lowell, two of the central ideological icons of Cold War Official Verse Culture. And like all such fetishes, it reduces the poetry to propaganda. Ashbery and his New American Poetry comrades were the proponents of an alternative to the “cooked” (a.k.a. half-baked) poetry of Official Verse Culture – sometimes called “raw,” meaning grounded in process. (Lowell makes the deceptive distinction between open-form “raw” poems and closed-form “cooked” poems in his 1960 National Book Award acceptance speech.) So Brossard’s elegant Ashberian phrase, “clos ou définis à jamais,” is quite specific and delightfully so. O-1 mentions a key issue of Cold War aesthetic ideology – But [Ashbery’s] most significant artistic...

The New American Poetry anthology delineated “schools” of North American poetry which have become seminal: The Black Mountain School (Charles Olson, Robert Creeley, Denise Levertov), the New York School (John Ashbery, Barbara Guest, Frank O’Hara), the San Francisco Renaissance (Robert Duncan, Robin Blaser, Jack Spicer), and the Beats (Allen Ginsberg, Gary Snyder, Michael McClure). The word seminal is used in a traditional way, from the root: “of seed or semen … full of possibilities”, but here also because the work is dominated by men and the omission of poets like Diane di Prima and Joanne Kyger seems especially egregious now. As compared to the whiteness of academic verse of the time, the New American Poetry was radical and more diverse, but could be seen as quite inadequate in those aspects from a contemporary perspective. Of course culture must always be judged in proper context, including its era and the anthology has had a powerful impact on the poetry of the continent from which it came. This paper posits that The New American Poetry, had it looked even slightly off the shore of North America, could have included the Neo-Barroco school of Latin American poetry. The affinities are almost endless and the limited scope of even the most radical poets of the post-war generation is exposed.

In popular critical and readerly reception, the New York School of poetry was shaped mostly by what Marjorie Perloff calls the tradition of indeterminacy. This was started by Arthur Rimbaud and, a few decades later, developed by Dadaists and Surrealists. Therefore, the tradition of French modernism seems to have been vital for John Ashbery, Frank O’Hara, James Schuler, and Barbara Guest, and the poets themselves appeared to confirm this fact. They often visited France privately and as scholars, and lived there for extended periods of time. In the case of John Ashbery, his year-long Fulbright fellowship was prolonged to a decade. Moreover, the New York School poets contributed to the propagation of French literature, being translators, critics and editors of French authors. However, as John Ashbery’s late works prove, literary genealogies are far more complex. German Romantic tradition always exerted an important influence on John Ashbery, and it inspired the New York experimenter to contribute two major poems to the twenty-first century American literature: “Where Shall I Wander” and “Hölderlin Marginalia”.

This paper explains the concepts that deal with integrating and managing different levels of abstraction of spatial data within GIS and Web Services; “Distributing geospatial Information on the Internet is an motivating factor for Information providers”, and also it presents the applications of web services utilizing a multiple representations database, which could be described as a spatial database, and can also be used to store the same real world phenomenon at different levels of semantic and geometric details. Certain spatial phenomena are represented more than once in different databases, while the content depends on the intention of the data Collector. Different applications and situations require alternative information and also visualizations of the data that the user should be able to choose within the alternative representations. This paper will also focus on web services, which will be used to solve the problems in the spatial representation of archeological objects. The widespread architectural system for accessing and serving spatial Data includes standard interfaces that is published by the Open Geospatial Consortium (OGC), like Web Feature Service (WFS) and Web Map Service (WMS) which is designed for single represented data that include only one single representation per object, and also this paper will point out how to use a multiple representation of spatial data into web architecture.

In this paper we consider the problems of finding stochastic representations of functionals $F=F(\omega)$ of a random walk. We obtain both single and multiple representations of functionals $F_{N}=\max_{k\le N} S_{k},$ $F_{\tau_{-a}}=\max_{k\le \tau_{-a}} S_{k},$ where $\tau_{-a}$ is the time of the first reaching the level $-a$, $a\in{\bf N}$, by a random walk. Also we obtain a single representation of functional $F_{g_{N}}=\max_{k\le g_{N}} S_{k},$ where $g_{N}$ is the time of the last zero of a random walk on $(0,N]$.

We address the problem of extracting structured representations of economic events from a large corpus of news articles, using a combination of natural language processing and machine learning techniques. The developed techniques allow for semi-automatic population of a financial knowledge base, which, in turn, may be used to support a range of data mining and exploration tasks. The key challenge we face in this domain is that the same event is often reported multiple times, with varying correctness of details. We address this challenge by first collecting all information pertinent to a given event from the entire corpus, then considering all possible representations of the event, and finally, using a supervised learning method, to rank these representations by the associated confidence scores. A main innovative element of our approach is that it jointly extracts and stores all attributes of the event as a single representation (quintuple). Using a purpose-built test set we demonstrate that our supervised learning approach can achieve 25% improvement in F1-score over baseline methods that consider the earliest, the latest or the most frequent reporting of the event.

This paper presents a design optimization problem reformulation method based on singular value decomposition, dimensionality reduction, and unsupervised clustering. The method calculates linear approximations of associative patterns of symbol co-occurrences in a design problem representation to induce implicit coupling strengths between variables and constraints. Unsupervised clustering of these approximations is used to heuristically identify useful reformulations. In contrast to knowledge-rich Artificial Intelligence methods, this method derives from a knowledge-lean, unsupervised pattern recognition perspective. We explain the method on an analytically formulated decomposition problem, and apply it to various analytic and nonanalytic problem forms to demonstrate design decomposition and design “case” identification. A single method is used to demonstrate multiple design reformulation tasks. The results show that the method can be used to infer multiple well-formed reformulations starting from a single problem representation in a knowledge-lean manner.

Mathematics literacy is the ability of students to formulate, use and interpret mathematics in various contexts and hone reasoning. This helps the person to recognize the role of mathematics in life and to make judgments and decisions in a real and systematic way. This research aims to describe the Mathematics Literacy Ability of Climbers Type Students in High School Students. This school is one of the schools that applies PISA (Lesson from PISA) questions so that students at that school are familiar with such questions. This research is a descriptive research with a qualitative approach designed to determine the mathematics literacy ability of Climbers Type students based on their mathematics ability. Based on the results of the research, both subjects have the same mathematical literacy skills at levels 1 to 3, namely at level 1 both male and female subjects (a) Answer according to the relevant context and all relevant information, (b) Identify information and perform common ways based on clear instructions, (c) Shows an action according to the given stimulation. At level 2 both subjects were able (a) Interpret, (b) Choose relevant information, (c) Working on basic algorithms, using formulas, executing procedures or agreements, (d) Give proper reasons. At level 3 both subjects were able, (a) Carry out procedures clearly, (b) Solve the problem, (c) Interpret and use representations based on different sources of information, (d) Communicate the result of their interpretations and reasons. The difference in the ability of the two subjects lies in the steps in solving the problem. Female subjects answered in their own way and the settlement procedure used was incomplete while male subjects solved the problem in more detail according to the procedure.

The informational and facilitative effects of an audience upon expression and the evaluation of humorous stimuli