Sentences with phrase «about abstraction as»

The money around abstraction changed it; we lost and forgot about abstraction as a political movement.

Not exact matches

Just as this article said, and my comment above, to solve the divide, we can: (1) Argue about the definition of Race / God (2) Argue about identification in a religion / race (3) Or realize the fundamental problem of prejudice that sneaks into human - made abstractions like «race» and «God».

Liberalism as an abstraction can be criticized at the edges, but never in a way that might raise a doubt about one's being a liberal.

We have very little to say about it to begin with, but we should expect that it would explain the previous orders as abstractions of various kinds, as suggested above.

I am not talking about the corny jokes or funny introductions many preachers use as a lead - in for 30 minutes of platitudes and abstractions, but honest truth from a person who believes what they are saying and has seen how it plays out in everyday life.

I do not argue that the reflexes of abstraction and generalization have no function at all, but we need to be more honest about their derivative quality and about the normalness of narrative or hortatory genres as good theology.

Aristotle and Berry both warn against this dangerous monetary abstraction, but there is nothing new to this insight, and while Berry speaks truthfully about economy as oikonomike, he assumes that piety alone will prevent economic aggrandizement from becoming simple money making.

For Bergson, like many process thinkers (Peirce, James and Dewey come particularly to mind), the entire concept of «necessity» only makes sense when applied internally to abstractions the intellect has already devised.11 Of course, one can tell an evolutionary story about how the human intellect came to be a separable function of consciousness that emphasizes abstraction (indeed, that is what Bergson does in Creative Evolution), but if one were to say that the course of development described in that story had to occur (i.e., necessarily) as it did, then one would be very far from Bergson's view (CE 218, 236, 270).

But to talk about the life of men apart from the societies that shape and constitute them is similarly an abstraction which borders on the reductionist fallacy, which sees social wholes as merely summaries of individual behavior.

Whitehead is right about the abstractions but addresses them (as befits a mathematical logician) abstractly.

He introduced the song not with abstractions about culture or politics but instead as «a song I wrote for my father.»

It is correct that we can not experience as ours wholly unthinking, unmediated physical feelings; it is only by abstraction that we can talk about the mere feeling aspect.

To talk about the «ethical teaching of Jesus» is to talk about something that can only be found by a process of abstraction and deduction from the teaching as a whole.

And, since laws of nature are abstractions from environmental order, the inference provides a context for inferring predictions about entities in the environment E as well.

Thus, «forms of abstraction» become «the way in which the forces and vitalities of nature [are] set before us as positive mysteries, echoing something about nature and about ourselves.»

But the reality is the flow of the film, while the «still» is only an abstraction that is misleading as to what the film is about.

These seem, on the surface, to be forms of foundationalism.16 Whitehead seems to be of two minds about these concepts, usually treating them as abstractions from fully concrete human experience, which includes transmuted contents synthesized from these elements.

It was not a mystical, Wordsworthian communion with nature as a personified abstraction, but a more common, everyday appreciation of natural beauty and awareness of the life about him.

A growing number of Labour MPs are concerned that his sometimes ponderous professorial prognostications about political abstractions are proving a turn - off for the public - concerns that have grown as Labour's poll lead has shrunk.

«A clock is a symbol of continuity; one that lasts a really long time might give people a sense of perspective, help them think about the year 3000 as more than just an abstraction,» Hillis says.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

With his controversial new film Nocturama opening in theaters, French director Bertrand Bonello spoke with us about what inspires him as an artist and how he blurs the line between realism and abstraction.

It also serves as an underlying subversive streak, a unique and nagging abstraction about current war time politics, sandwiched into genre in the glorious tradition of horror films from days past.

«In the future, I hope when people talk about me, it's not as an abstract painter, but that I came to abstraction through the study of very concrete objects,» Zhang said.

Drawing from the art - historical lineage of cubism, cartoons, figurative painting and gestural abstraction, and appropriating subjects from mythology, advertising, print culture and consumerism, Comic Future is as much about the breakdown of the human condition as it is about the absurdities which define the perils of human evolution.

Associated with movements as diverse as Abstract Expressionism, Color Field painting, Minimalism, Op art, and Postmodernism, the artists featured in Rothko to Richter were at the forefront of debates about the changing priorities and imperatives of painting after World War II, each seeking to redefine abstraction for new social and cultural milieus.

When Lisa Freiman, Senior Curator and Chair of the Department of Contemporary Art at the Indianapolis Museum if Art, completed the jurying of our 2012 Midwest Competition, the results of which will be published in August as Issue # 102, we had a discussion about the overwhelming amount of abstraction in the applicant pool; indeed, the book will strongly reflect this.

We were talking about the political implications of continuing to work in abstraction, and she said a very similar thing as you just did, in that it's not necessarily about representing politics, but rather affecting the politics of vision.

Putting a 21st century spin on abstraction, architecture, austerity, and minimalism, while bridging Nature and the handmade, these Bauhaus Babies are as passionate about their craft and materials, as their forebears were.

And as early as 1943 the principal tenet that was to distinguish the new abstraction from earlier, pre-war abstract art was clearly formed, as evidenced in a brief «manifesto» of the rising movement crafted by Mark Rothko, Adolph Gottlieb, and Barnett Newman for The New York Times in response to a negative review of the new style: «There is no such thing as good painting about nothing.

It has often appeared in debates about photography's status as index or trace, in exhibitions about abstraction and the use of impoverished materials, and even in discussions of landscape imagery.

2010 is as much about institutions bumbling through attempts to contain performance in museums as it is about the politics of speech and the languages of body - based abstraction that the artists themselves are concerned with.

The reference to background music in the 1962 work could be read as an appealing joke about the decorative prettiness sometimes risked by colourful abstraction, and about what's in the background of so many Ryman works, deepening and complicating his apparent whites, drawing the eye to something beyond them.

Well, you create a picture that is about as tough and difficult, and against the taste, as you possibly can, like a mustard - colored, hard - edged abstraction.

You often talk about «social abstraction» as compared to the Abstract Expressionists — where those painters turned inward, you turn outward.

But if we look at Guston's abstractions done at about the same time as Carone's paintings in this exhibition, we see mark making and vestiges of mimetic images jostling for ascendancy.

Abstraction is about painting the essence of a subject as the artist interprets it, rather than the visible details.

Mocking the discussion about representation versus abstraction, Reinhardt focused on the American avant - garde scene that marked the abstract art as degenerate and subversive.

Yet, as «Abstraction on the Beach» suggests, Piper's practice was not simply about saving the past, but of redefining it.

The kind of sexually explicit, almost brutally blunt portraiture seems about as far from abstraction as you can get.

The panel will explore the timeliness of this recent iteration of digital abstraction, with three artists who variously work through issues such as: how gesture, expression, and authenticity might continue to be possible in a contemporary image - based culture; whether our digital era truly produces an ahistorical condition in which images and marks have no specific reference and no relevant point of origin; how structures of and interfaces with digital technologies have necessitated new models for thinking about memory, distribution, and reproduction, as well as degradation, rupture, breakdown, and the void; and how the ubiquity of the screen in all aspects of life has given rise to a renewed interest in the relationship between two - dimensional and three - dimensional space, with a refreshed focus on tromp l'oeil and «topographical» painting.

Drawing from the art - historical lineage of cubism, graffiti, cartoons, figurative painting and gestural abstraction, and appropriating subjects from mythology, advertising, print culture and consumerism, Aaron Curry's eagerly awaited survey exhibition at CAPC musée d'art contemporain de Bordeaux next summer is as much about the breakdown of the human condition as it is the absurdities that define the perils of human evolution.

Furthermore, although his paintings are emphatically abstract (in fact, he believes in the historic inevitability of abstraction), they are not about the relationships of formal elements such as color, shape and line.

The artists represented in the exhibition come from all over the U.S., with rooms devoted to groups such as AfriCOBRA, based in Chicago in the late 1960s, or East Coast Abstraction, which challenged the idea that art had to directly represent Black communities, prompting debate about Black aesthetics.

While certain aspects of Anglo - Postmodernism in the 1980s rejected the concept of «purity» in painting, there is much to be said about reconsidering its importance as a viable form of abstraction and therefore as a kind of resistance to the enforcement of the mindless inevitability in most commercial production.

Laura Owens's work on display at the Dallas Museum of Art challenges assumptions about figuration and abstraction, as well as the relationships among avant - garde art, craft, pop culture, and technology.

Approaching the site itself, Roysdon conceived of the square as both a panopticon and an abstraction, provoking questions about planned use and the representation of «free movement».

This journal continues to act as a forum for ideas and topics about abstraction and to present the work and writing of both members and non-members.

Post Painterly Abstraction (the term was coined by Greenberg to signal a break with what he called «the turgidities of second - generation Abstract Expressionism») was Greenberg's way of making real what he'd been writing about in such much - discussed essays as Modernist Painting, from 1961.

About eight years ago Keltie Ferris burst onto the New York painting scene like a bat out of hell, that is, if you define hell as the Yale M.F.A. painting program; back then, her large Day - Glo - colored canvases were perfect crosses between hazy 1970s Color Field painting, pixilated digital space breaking up and reforming in odd - shaped plates, and painterly abstraction at the same time totally avoiding any derivative overlap with artists like Kelly Walker or Gerhard Richter.