Sentences with phrase «subject and object self»

Not exact matches

Most important is the overcoming of the subject - object and self - other dualisms.

I will note here that Catherine Keller's analysis of hetero - reality in terms of the separate self - hood of men and the soluble selfhood of women corroborates the stunted character of relations within the dominant patriarchal worldview, which diminishes both relationality and individuality with its dualistic patterning of subject - object in male - female relationships.

Tillich suggests several criteria for evaluating religious symbols, in addition to this capacity for self - negation.30 A symbol of the ultimate must transcend the subject - object division, for the characteristics of being - itself are equally present in human life and beyond it; the symbol must express the basic unity of all things, of which man is aware in the depths of his own being.

He had long explored the complexities of human nature in history and society, but in this book he turned the problem around and looked at the subject which was involved, turning from the objective self which most analysts look at to the subjective self behind the object.

«Individuation», taken alone, makes God and man separate beings under the sway of the subject - object distinction, but «participation» alone leads to the loss of self - hood and freedom.25

The subject and object of this Gnosticism is not God as God but God as or of or in the self.

We are a religiously mad culture, furiously searching for the spirit, but each of us is subject and object of the one quest, which must be for the original self, a spark of breath in us that we are convinced preceded Creation.

And this is so, I contend, precisely when, on both constructions, it is taken in its fullest sense — as meaning that God is both the subject and the object of experience, not only reflexively in relation to self, but also nonreflexively in relation to otheAnd this is so, I contend, precisely when, on both constructions, it is taken in its fullest sense — as meaning that God is both the subject and the object of experience, not only reflexively in relation to self, but also nonreflexively in relation to otheand the object of experience, not only reflexively in relation to self, but also nonreflexively in relation to others.

Third, in our situation today, the specific requirements of these two criteria are such that no theology can be adequate unless it makes the assertion of the experience of God, by which I mean that it must assert, in some formulation or other, that the strictly ultimate reality termed «God» is the object as well as the subject of experience, and this in relation to others as well as to self.

In expressing his naturalism Piaget kept his theory on a level of pure immanence, unlike Whitehead, who appealed to a timeless transcendent realm of ideas («eternal objects»), Piaget saw «forms» only as the constructions of natural subjects, and he wanted to explain this construction as a process of self - regulation.

Ricoeur thinks away naive, subject - object oriented, assumptions about willing, to explore the way both «self» and «world» are constituted in acts of decision, action, and consent.

We can sympathize with David's journey and link it with our own: whatever the tokens, subject - object matters we find our self wrestling against.

Rather than tackle in detail the thorny problem of drawing a firm lines between selves and objects, the authors propose that a subject exists when there is the possibility of intersubjective recognition between us and that subject.

A thoroughly self - aware object, full of unexpected marvels one might not consider for eternal display, it was on my mind throughout Todd Haynes's Wonderstruck, which, like all of Haynes's films, is a thoroughly self - aware object, full of unexpected marvels, and which takes both museums and film itself as its subjects.

That being said, the main function of the female gaze is to perceive female characters as self - defined subjects and not merely as sexualized objects of male desire.

The artist's own printmaking also takes everyday objects as subject matter and combines boldly defined outline with vivid colouring, an approach which the artist also applies to his own self - image: the defined, linear drawing style combined with complete freedom and openness in the choice of colours.

This sentiment is echoed by Antenna Space director Simon Wang, who notes that Guan's works «study the internal equivalence between the object and the subject, the old and the new, and the self and the other in a viewpoint that appears to be counterintuitive.»

There is a fascinatingly unique temporality and often seemingly blasé self - possession in each subject and object that survives the storm.

Examining the relationship between self and others, seer and the seen, subject and the object, Byrne subverts our expectations and associations of this timeless genre.

The exhibition seeks to map the positions from which art - historical assertions — about the continuities between objects and subjects, institutions and selves, pasts and present — are made.

Plakidas explores the bi-polarities of the profane and the sacred; of the circus tent and the church, with self portraits and a number of additional props such as a circus wagon and flying geese, The artists writes: «The devotional object becomes the exhibitionist subject and the site of worship becomes the enclosed space of a child's fantasy».

EXHIBITIONS 2016 «Growth / Decay», Antler Gallery - Portland, OR 2016 «Growth / Decay», Paradigm Gallery - Philadelphia, PA 2016 «Year Two», Sweet As Studios - Pittsburgh, PA 2016 «Photobook 2015 Exhibition», Griffin Museum of Photography - Winchester, MA 2015 «Photobook 2015 Exhibition», Davis Orton Gallery - Hudson, NY 2015 «Art All Day», Artworks Trenton - Trenton, NJ 2014 «Works by Nick Pedersen», Paradigm Gallery - Philadelphia, PA 2014 «Pratt Digital Arts» Art Basel Miami Beach - Miami, FL 2014 «Virtual Vision», Auguste Clown Gallery - Melbourne, Australia 2014 «Art All Night», Artworks Trenton - Trenton, NJ 2013 «Story of the Creative», Angel Orensanz Foundation - New York City, NY 2013 «Superstition», San Francisco Center for the Book - San Francisco, CA 2013 «Graphique Noir», Orange County Center for Contemporary Art, CA 2012 «Electron Salon», Los Angeles Center for Digital Art - Los Angeles, CA 2012 «Daylight Savings», The Banff Centre - Alberta, Canada 2011 «Object / Self / Subject», Museum of Russian Art - Jersey City, NJ 2011 «Devoción por un ídolo», Bastardo Gallery — Bogotá, Colombia 2011 «Pratt Show», The Manhattan Center - New York City, NY 2011 «Digital Print Exhibition», D&D Building - New York City, NY 2010 «Art and Sustainability», Schafler Gallery - Brooklyn, NY 2009 «Politics and Media», Schafler Gallery - Brooklyn, NY

In constructing traps and lures, Rantanen explicates his interest in duplicitous objects; the sculptures are, in this respect, self - reflexive, drawing skeptical attention to their own status as artworks — a designation which, while superficially arbitrary, enacts an intrinsic transformation upon the cultural and monetary value of its subjects.

Using banal objects as subjects for his paintings and prints, Dine displayed a growing sense of self - awareness.

Here, Minter's subjects pose frontally and self - confidently, as empowered objects of desire.

His multifaceted career ranges from early photographic works, recreating historical subjects (self - portraits, still - lives, mythological scenes, etc.), to empty frames and bases without objects.

Thus the landscape becomes the subject, as well as the object - it represents and is simultaneously self - represented, lying on a carpet or hanging on wallpaper.

Each piece in the collection of self - portraits, abstract compositions and object - based landscapes tackles the same subject: paintingart itself, its inspiration, its production, and the way it pushes out boundarieshow its boundaries can be pushed.

Blurring the distinction between object and subject, concrete and abstract, real and imaginary, Thomas constructs complex portraits, landscapes, and interiors in order to examine how identity, gender, and sense of self are informed by the ways women are represented in art and popular culture.

However, the Supreme Court of Canada has held religion to be about «sincere and deeply held personal convictions or beliefs connected to an individual's spiritual faith and integrally linked to his or her self - definition and spiritual fulfilment, the practices of which allow individuals to foster a connection with the divine or with the subject or object of that spiritual faith».

In essence, religion is about freely and deeply held personal convictions or beliefs connected to an individual's spiritual faith and integrally linked to one's self - definition and spiritual fulfilment, the practices of which allow individuals to foster a connection with the divine or with the subject or object of that spiritual faith.»