{'fraction_non_alphanumeric': 0.021822849807445442, 'fraction_numerical': 0.005134788189987163, 'mean_word_length': 5.24, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
An archaeology of abstraction: Ollantaytambo

Abstract This paper examines the deep history of abstraction in the literature of Inca studies. The author wants to hold a lens up to the problem, though not to clarify what pre-contact Inca artworks achieved as cultural discourse in antiquity. Instead, the paper is concerned with examining the ways the interpretative discourse of abstraction emerges from certain conditions and tensions in the West's comprehension of the pre-contact Inca and their visual expression. This essay examines Edward Ranney's Ollantaytambo, a large-format photo in black and white taken in the early 1975; and the work is employed as an optic to address abstraction's deep-historiographic stratigraphy in the literature of the Incas' Western reception.