Sentences with phrase «abstract nature of time»

Not exact matches

A duration is neither an abstract stretch of time nor an instantaneous present (CN 72), but rather «retains itself within the passage of nature... in other words... retains temporal thickness» (CN 56) and is «limited only by the property of being a simultaneity» (CN 53).

Over time religions have resorted to characterizing God is increasingly abstract, incomprehensible, and not subject to the laws of time and nature.

If, with Hartshorne, we pare away at this excess by limiting ourselves to that which must be exemplified at all times, the abstract nature of God, we rob ourselves of the means of achieving divine persuasion by the provision of initial aims.

It simply lies in the nature of certain sorts of things — information included — not to be located in space and time — to be «abstract.»

No; what makes one's pulse to bound when he remembers his own home under foreign skies, is never the rich man, nor the learned man, nor the distinguished man of any sort who - illustrates its history, for in all these petty products almost every country may favorably, at all events tediously, compete with our own; but it is all simply the abstract manhood itself of the country, man himself unqualified by convention, the man to whom all these conventional men have been simply introductory, the man who — let me say it — for the first time in human history finding himself in his own right the peer of every other man, spontaneously aspires and attains to a far freer and profounder culture of his nature than has ever yet illustrated humanity...

Impersonal domination: linked to the very nature of work in nascent industrial capitalism, an unprecedented domination of work over time due to the fact that value, in the capitalist regime, is established on the basis of abstract social labour.

Inspired by the origin of the universe and The Big Bang, the artist presents his abstract works analyzing the nature of technology, time and our limitations to completely understand the universe we live in.

Her «Tuning Fields» series, now numbering over 300, uses line - driven layers of color to create loose yet formal fields of motion that are abstract and at the same time evocative of shapes and patterns found in nature.

Spending a great deal of time in New Mexico, where she purchased a ranch, her paintings were celebrated as one of the first abstract and stylized nature images.

The fragmented, at times abstract, nature of the VR rendering is no accident: Rossin has purposefully taken the scans of her studio and altered them, pulled them apart.

Abstract expressionism, by its nature, is an individual response to something specific — an experience, a person, a memory, a literary work, the season, the time of day: «You can paint a cubist painting by formula and it might not be a very good cubist painting, but you can not paint an abstract expressionist by formula.»

The exhibition is comprised of portraits and abstract compositions that further Souders» interest in fragmented narratives, the inchoate versus the fully formed, and the uncontrollable nature of time.

Since that time, I have wanted to move beyond what I found to be the abstract nature of black, and find a space that could be more real, and more specific in the many implications and directions created through this term.

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

The installations, transitory by nature, survive in Dudley's abstract geometric drawings of the time, which are now on view for the first time.

«I dislike the notion of calling painting «figurative» or «abstract,» as the nature of painting is both at all times.

In 1972 he turned to words and their immateriality to explore the relationship between abstract categories of thought, such as general and particular, finite and infinite, culture and nature, the passing of historical time and the hypothesis of the eternity of universal physical laws, the routine of experience and the abstraction of philosophical principles.

In other words, my primary stride at that time as a painter was to make my painting real even though it was of, shall we say, abstract or even nonobjective nature, to make it terribly physical.