Destructuring contact3 (phase of conceptual feelings) involves the complete
abstraction of the pure possibilities from the accepted given.
Not exact matches
The passage seems to say that the ultimate metaphysical reality that underlies and expresses itself in every concrete occurrence
of actuality or value «envisages»
possibilities both in
pure abstraction and in their relevance for actual entities, as well as «envisaging» the actual entities themselves.
For, the activity
of lifting out an eternal object and feeling it as an eternal object, i.e., as a
pure possibility in
abstraction from all physical realizations, is a matter
of degree.
Accordingly, this «category
of conceptual valuation» states that, e.g., after having a feeling
of the green feeling in a previous actual entity, the present subject will in the second phase
of its experience feel green qua green, i.e., as a
pure possibility, in
abstraction from its ingression in the actual world.
But, by including a series
of enigmatic, variously discernable words, including «WINE,» «CONCERNS,» and «weeps,» Twombly moves beyond the
pure abstraction of the Abstract Expressionists to embrace the communicative
possibilities of poetic allusion.
For him, this moment
of pure illumination, devoid
of image or sound, is both «
abstraction in the
purest sense» and «a point
of beginning and
possibility.»
Abstraction within the modernist tradition searched for the absolute, for a disembodied realm
of pure relations and correspondences, while Atria's interest focuses not on the
possibility of approaching
pure relations but rather on its impossibility.
Just a few years later, Richter would style himself as a German «Pop» artist, but in the 80s he returned to
pure abstraction for its
possibilities of «bitter truth, liberation, and... a completely different and new content... expressing itself.»