Sentences with phrase «aesthetic forms of»

Through a selection of photographs from the CRP's collection, «Manifestations» endeavours to explore the semantic field of manifestation and its different occurrences that closely combine social and aesthetic forms of revelation.

By bringing together different aesthetic forms of communication into single art work, Jeffrey leaves the viewer lost in space.

We seek to show new or adapted work that engages with aesthetic forms of black liquidity, and / or critical or creative writing.

The themes, symbolism, and aesthetic forms of Akira Kurosawa's films owe their origins to the ideas and sensibilities that captured his imagination as a young man.

In this work the artist blacked out the lines of Stéphane Mallarmé's eponymous poem to create a purely aesthetic form of concrete poetry.

Not exact matches

This was the need to include aesthetic appreciation as an educational aim, a counterweight to words and numbers in the form of attention to the concrete.

On the one hand, the comrades take refuge in outdated forms of communication and esoteric arts and crafts instead of occupying themselves with the contradiction between the present constitution of the media and their revolutionary potential; on the other hand, they can not escape from the consciousness industry's program or from its aesthetic.

The obvious problem of dealing with such contrasts in the linear form of narrative can be alleviated by pointing out explicitly what sorts or contrasts are being integrated, so that even if readers lose sight of the particular information involved, they can still appreciate the aesthetic transformation of elements.

In modern societies, Weber argued, the biblical God must compete with worldly gods such as aesthetic experience, material success, nationalistic fervor, erotic pleasure, and the many other forms of self - transcendence and this - worldly immortality that call out to our inner demons.

A demand which admittedly is not made of the medium from without; it is a consequence of its nature, from which the much - vaunted open form can be derived — and not as a modification of it — from an old aesthetic.)

His rejection of independently existing substance in favor of a universe in which all entities are related, the idea of actual entities as valuing subjects prehending and creating themselves Out of the feelings of other subjects, the declaration that the most basic form of order is aesthetic, and the insistence that the lure toward beauty and adventure is a primary drive in the process of reality, are all examples of Whitehead's fundamental insight that to be is to be related, to exhibit some degree of beauty in those relationships, and to have the power both to affect and to be affected.

Furthermore, the distinction between unilateral and relational forms of power is directly relevant to the process concept of value as aesthetic.

If we take seriously Whitehead's claim that the fundamental form of order and hence of value is aesthetic, and the accompanying principle of relatedness, it is obvious that unilateral power (the ability to affect without being affected) inherently inhibits the growth of value in human experience.

The special logic of this theory, after all, is that the Christian philosopher — having surmounted the «aesthetic,» «ethical,» and even in a sense «religious» stages of human existence — is uniquely able to enact a return, back to the things of earth, back to finitude, back to the aesthetic; having found the highest rationality of being in God's kenosis — His self - outpouring — in the Incarnation, the Christian philosopher is reconciled to the particularity of flesh and form, recognizes all of creation as a purely gratuitous gift of a God of infinite love, and is able to rejoice in the levity of a world created and redeemed purely out of God's «pleasure.»

By the time I had graduated, the field had become «one that maintains its interest in literary texts but explores all forms of aesthetic speech and that views performance as an art and recognizes its communicative potential and function» There were three challenges to those of us graduating with doctoral degrees in this discipline: 1) to locate which performances within art and / or culture we would focus our attention on as scholars and performers; 2) to interpret the core concepts generating from the cultural turn in our discipline to other studies of culture and human communication and 3) to develop «performance - centered» methods of research and instruction in whatever parts of the university we found ourselves.

Much later, as a graduate student at Northwestern University's School of Speech, I began to develop some tools for investigating intersections between language and action, angling toward such forms of aesthetic expression as oral reading, acting and directing in the theatre, and storytelling.

The form of the harmony is grasped in a kind of aesthetic judgment, although «aesthetic» should not be taken to refer exclusively to art or to imply that the value is actually appropriate to the situation.

These two character types represent the extreme, pathological forms of the aesthetic and ethical spheres of existence.

The conditions of synthesis are not the dialectical antagonism of opposites, but aesthetic contrast among ideal forms, and between these forms and the occasion's inheritance.

This includes not only simplicity of mathematical form, conceptual simplicity, and a minimum of independent assumptions, but also an aesthetic element.

Here, the psychic act of distancing was applied to that quality of experience which gives rise to man's sense of the normative, and this was conceived as standing over against man, possessing just the objectivity that belongs to a visual form when it is distanced in aesthetic experience.

We must first achieve an inner relationship to this whole world; then we will be able to grasp the inner necessity, which rules here as in any organic structure and which, of course, is also involved in the problem of the relationship of content to aesthetic form.

The great, incontestable, and immediately evident value of a noble expression, of a beautiful form, dare not be underestimated — and we are referring here not only or even primarily to its aesthetic value but above all to its religious value.

The aesthetic, the ethical, and the logical are conceived as forms of order.

It is a form of nostalgia, a kind of pre-Raphaelite aesthetic that sees the Middle Ages as a kind of Eden.

From my viewpoint, what needs to die, or at least to be relativized, is absolute confidence in the religious intuition of man, which in this form I take to be a deifying of the aesthetic dimension of the creature.»

Moreover, he corrects Plato, who said that love is the search for supreme beauty, and declares that love simply is the supreme beauty.39 In addition, he avers that the whole range of emotional and aesthetic experiences in whatever sensory form can be interpreted most illuminatingly as the manifestations and self - enjoyment of love.40

Hence we may therefore speak of an «aesthetic conversion'that takes place when we recognise beauty not merely as that which produces feelings of pleasure, but as «form», understood as «perceivable order, intelligibility and value».

He says «Just as in love I encounter the other as the other in all his freedom, and am confronted by something which I can not dominate in any sense, so in the aesthetic sphere, it is impossible to attribute the form which presents itself to a fiction of my imagination.

If indeed we are to judge all thought by the way it «promotes the art of life,» then I think that we must recognize that there are many ways in which that «art» can be promoted, just as there are many different forms and styles within the fine arts, all of which can give rise to particular kinds of rich aesthetic experience.9

This separability is a fault not only because it violates the aesthetic principle of unity, held in some form by any theory of beauty.

In this connection, he cites not only the Whiteheadian «emphasis upon the aesthetic modality as a means of defining the substance and form of philosophic endeavor» (El 101), but also the whole American philosophical tradition (in which, correctly I think, he locates Whitehead's thought).

The claim of Dewey and others that all knowing involves aesthetic valuation is intimately associated with the idea that knowing is purposive, that it is guided and given form by some end in view, some active concern of the knower.

The aesthetic integration of order with freshness, stability with complexity, continuity with change, form with dynamics, and unity with variety is preserved in God's experience in such a way that novelty does not mean loss after all.

- the cruciform has not only molded the American landscape but also laid the foundation of art as a credible form of aesthetic communication - example: The Renaissance: the enlightenment of art and science.

«actual occasions» are shaped not only by logical reasoning, but includes all aspects of one's subjective experiences, including the use of ones imagination, aesthetic feelings, and other forms of non-cognitive and unconscious influences.

There are gradations of aesthetic harmony Beauty, which is «defined as being the perfection of Harmony;» comes in two forms, minor and major.

He writes that «the term can be understood to refer to any attempt that would render the essence of God accessible, bringing God into either aesthetic visibility (in the form of a physical structure, such as a statue) or conceptual visibility (in the form of a concept, such as a theological system.)

The bottle caps and collars of the Balenciaga Paris fragrance, as well as the caps of cream jars from the same range, form recent, commercial examples of some of the new, aesthetic effects possible with DuPont ™ Surlyn ®.

For an aesthetic element, they can also be written in various forms of Japanese writing, like kanji or hiragana.

The work of other artists who have worked with similar themes forms an integral element to the study and informs the students» work within the context of this aesthetic discipline.

If it is in fact a new form of Pan-Africanism, it is one that is rooted in a cultural aesthetic more than a political ambition, its leaders run blogs rather than political parties, and it calls for a reinterpretation rather than return to African culture and values.

More generally, gender stereotypes are used to justify women's unlikelihood to speak up: the general perception of women as instruments whose function is primordially to be used, as passive sexual objects than as active subjects, as bodies and faces that should be looked at and evaluated on the basis of demanding aesthetic criteria, as sacrificial mothers or as empathetic persons mainly attuned to other's people needs, is not very compatible with an assertive form of communication.

Apart from their aesthetic qualities, the oak meadows were easier to hunt in and provided additional calories in the form of camas bulbs.

Depending on your particular aesthetic, this may take the form of a poem, a song, a piece of art, or that houseplant you accosted a minute ago.

Perhaps the new business aesthetic palpable through the looks in the form of tailored checked suits was due to the fact that the Australian designer moved from Sydney to the Les Marais neighbourhood in Paris last year.

The definition of beauty — «a combination of qualities, such as shape, colour, or form, that pleases the aesthetic senses, especially the sight.»

An extensive background and numerous skills in architectural design, a lifelong passion for art, and a penchant for culture has provided Laura Dittrich, a visual storyteller based in Germany, with a keen eye for aesthetics and a unique creative vision materialized through aesthetic visuals such as cinemagraphs and experimental video content in the form of outfit editorials (cinematorials).

Apart from the obvious aesthetic appeal in terms of features, having similar tastes and interests also provides a solid base to form an ongoing relationship and with the details available, you will be able to make an informed decision as to who suits your particular requirements best.

Schroeder brings a decidedly un-Hollywood approach to the material, which is both the source of the film's greatest aesthetic strength (it is unusually attentive to questions of character and form) and most crippling commercial weakness.