Humans continually use
abstracted elements of experience, associate them with a contextual framework of meaning, and even suggest a particular world which they represent (MT 34).
A conscious field plus its object as felt or thought of plus an attitude towards the object plus the sense of a self to whom the attitude belongs — such a concrete bit of personal experience may be a small bit, but it is a solid bit as long as it lasts; not hollow, not a mere
abstract element of experience, such as the «object» is when taken all alone.
Not exact matches
If man today is asking can God's existence be affirmed as transcendent without making God a functional
element in an
abstract scheme, it may be fruitful to realize that knowledge and
experience of God involve a cyclic growth process from
experience to schematization, from formulation to God present in the dynamism
of man's life and activity.
Because all language involves a process
of abstracting certain
elements in
experience out
of the total complex in which they occur, it is necessarily analogical and therefore imprecise: a word never refers to an absolutely discrete entity.
In terms
of the above discussion
of what is truly primary in human
experience, we are now in a position to understand a statement in which Whitehead summarizes how the «more concrete fact» from which science
abstracts should be conceived: «The emotional appetitive
elements in our conscious
experience are those which most closely resemble the basic
elements of all physical
experience» (PR 248).
Thus Cyril C. Richardson has criticized the classical formulations
of the Trinity as imposing an arbitrary «threeness» upon our theological thinking, and proposes instead a basic twofold distinction between God as Absolute and God as Related.1 This is for Richardson a basic paradox, an apparent self - contradiction, for if we try to bring these aspects into relationship, we compromise God's absoluteness.2 Charles Hartshorne accepts this same twofold distinction, but he removes the contradictory
element by understanding it in terms
of the
abstract and concrete dimensions
of God's nature and
experience.3
Through arrangements
of (an amalgamation
of / a melding
of) anatomical
elements,
abstract forms and inanimate objects, Teresa explores the relationship between these subjects and our emotional
experience of physical reality.
Adam Craemer is a South African artist who devised a practice
of creating pieces
of portraiture and adding
abstract elements that further the visual
experience.
With their experimental materials and sculptural expression, Hasselknippe's works share much in common with Modernism's lyrical nature - abstraction, especially through her emphasis on the sensuous
experience of natural
elements translated in
abstract forms.
Yet it is the integration
of all
elements that generated an
experience outside
of the typical appreciation for
abstract paintings.
With a focus on temporality and physicality, Hassabi's choreographic
experience will direct and experiment with various ways in which the body engages with the established formal
elements from the previous iterations: a black and white 16 mm film (shot by Robert), a collection
of wooden planks, and a non-linear
abstract text (written by Robert).
Her performance - based works formalizes subjectivity within contemporary culture, isolating
elements of production, perception, and communication into bare,
abstract, and often illogical
experience.