Sentences with phrase «aesthetic nature of»

Moreover, he enhanced the aesthetic nature of the poster, endowing it with graceful designs and transforming it into an independent decorative art form.

I first saw Maria Nepomuceno's work a few years ago and connected with the craft and aesthetic nature of her pieces.

The aesthetic nature of the new responsive webpages is one thing.

Given the overall aesthetic nature of the process - relational vision, Art serves a vital civilizing function.

The fundamental aesthetic nature of systems epistemology is one of the central ideological legacies of Gregory Bateson.

Not exact matches

Not just for aesthetic reasons, but because the forward - thinking company is well aware of all the research that shows spending time in nature is good for our attention, creativity, and mood.

The present experiments were aimed primarily at establishing the nature of aesthetic preferences for color pairs and their relations to harmony, similarity, and figural preference of color pairs.

Kierkegaard shares with Kant the assumption that being moral inevitably involves a struggle to thwart the impulses of human nature, which by definition must tug the agent in the direction of aesthetic indulgence — and where does ethics derive the authority to make me go against my feelings?

The greatness and inviolability of a subject have never yet exempted those who endeavor to find expression for it from the effort of giving their very best from the artistic point of view; and to fail to fulfill this demand when a religious subject of such a sublime nature as the story of Our Lord is involved, is not merely an aesthetic sin.

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.)

I should stress that the aesthetic character of reality justifies the sacrifice of nature (i.e., subhuman existence) for happiness only when this maximizes happiness.

The amazing appeal of Chateaubriand derives from his ability to turn the privileging of nature (the great innovation at the end of the eighteenth century) into an argument for sacrality, and to legitimize the spheres of the emotional and the aesthetic as valid replacements for those of the rational and the social.

The definition of art as the effort to exalt some beauty in nature, but not to enslave man to mere imitation, is Camus» aesthetic equivalent to the notion of a dynamic value in nature.

At first they may be taken merely as aesthetic moments, such as communing with nature, savouring memories andimages, meeting mysteries, the heightened sensing of musical sounds, odours, colours, the thrill of acute poetic expression, or moving encounters with other human beings; but on further reflection people often cite such experiences as having a spiritual quality and as hints of the divine.

It was this aesthetic work of the primordial nature of God which he felt made it of supreme value and worthy of the name of «God.»

So far Wieman had related the first three strands I identified directly to the primordial nature of God: supreme value as an aesthetic concept, the identification of God with this Something which creates supreme value, and the empirical character.

This determination to live with nature so far as possible rather than rule over it is not just an aesthetic preference, a taste for wilderness instead of gardens.

Such a miracle would involve the suspension of the laws of nature at the level of primitive actual occasions, but if we accept the principle that God «speaks» to a given actual occasion in its own «language,» and if the «language» of primitive actual occasions in nature is such that the character of the data available for aesthetic synthesis in the concrescence of such occasions admits only of absolutely miniscule contrasts with the givenness of the character of the past, then God has no leverage via subjective aims to introduce shifts in the social structures conditioning the possibilities available for aesthetic synthesis in the concrescences of such primitive actual occasions.

James does not suppress his nature out of reverence for the Almighty but out of a sense of social propriety, conventionality, and a virtually aesthetic conception of how he wishes to appear to others and to himself.

In my vision, the fact that each actual entity, in its very nature, embodies an aesthetic impulse toward order, meaning, and value is sufficient in itself to ground the religious intuition of a character of permanent rightness permeating the nature of things.

Any aesthetic which eliminated entirely the propositional nature of art, reduced art to something physical and aesthetic experience to a physical encounter, would be silly.

Of course, «beauty» does not refer to the aesthetic properties of nature or art as sucOf course, «beauty» does not refer to the aesthetic properties of nature or art as sucof nature or art as such.

The primacy of this task, and the derivative nature of a rationalistic aesthetic, is best understood when Whitehead is seen in a line of radical empiricists, a position which is most evident in his Symbolism: Its Meaning and Effect and Modes of Thought.

Greek existence came into being through an act of aesthetic distancing of nature and the gods, which freed the Greek to become aware of the formal properties of the world.

And so there live perhaps a great multitude of men who labor off and on to obscure their ethical and religious understanding which would lead them out into decisions and consequences which the lower nature does not love, extending meanwhile their aesthetic and metaphysical understanding, which ethically is a distraction.

Of a somewhat different nature are considerations of our ethical and aesthetic senses, of the fact that we can recognize right and wrong and perceive beautOf a somewhat different nature are considerations of our ethical and aesthetic senses, of the fact that we can recognize right and wrong and perceive beautof our ethical and aesthetic senses, of the fact that we can recognize right and wrong and perceive beautof the fact that we can recognize right and wrong and perceive beauty.

Family systems, being part of the whole ecology of living systems, are organized, according to Bateson, by the aesthetic principles of nature.

The subject feels a judge (his divinely transformed self) spontaneously arising from the very nature of things, embracing significant worldly achievements, damning aesthetic and moral evil, calling for finer worldly issues.

For him, it is not the systematic world of the speculative philosopher that is of greatest value, but the natural, chaotic process which lies hidden behind the falsifying face of reason, a process whose true nature can only be known on a purely aesthetic level through experience in its immediacy («Beyond Good and Evil,» BWN Section 213; «Will to Power,» Section 794).

By approaching the question of mind and nature in this way Whitehead is able to provide us with an aesthetically rich understanding of nature, which at the same time preserves a necessary role for reason and the search for truth as an indispensable element in the determination of conscious experience, the enhancement of our aesthetic sensibilities, and the general advancement of civilization as such.

Thus, when he talks about the nature of evil, he is talking about the loss of a specific kind of order (moral order), a subset of aesthetic order.

But aesthetic valuation is a more basic to the nature of the universe than moral valuation.

There is beauty and simplicity in the laws of nature, and an aesthetic element in the response of the scientist.

This order in nature points to aesthetic order, and «the aesthetic order is derived from the immanence of God.»

In contrast to the aesthetic order implicit in Kukai's view of nature and contemporary science and process thought, the «logical order» of mainline Christianity characterized by Ames assumes: (1) preassigned patterns of relatedness, a blueprint» wherein unity is prior to plurality, and plurality is a «fall» from unity; (2) values concrete particularity only to the degree it mirrors this preassigned pattern of relatedness; (3) reduces particulars to only those aspects needed to illustrate the given pattern, which necessarily entails moving away from concrete particulars toward the universal; (4) interprets nature as a closed system of predetermined specifications, and therefore reducible to quantitative description; (5) characterizes being as necessity, creativity as conformity, and novelty as defect; and (6) views «rightness» as the degree of conformity to preassigned patterns (NAT 116).

According to Roger Ames (NAT 117), an «aesthetic order» is a paradigm that: (1) proposes plurality as prior to unity and disjunction to conjunction, so that all particulars possess real and unique individuality; (2) focuses on the unique perspective of concrete particulars as the source of emergent harmony and unity in all interrelationships; (3) entails movement away from any universal characteristic to concrete particular detail; (4) apprehends movement and change in the natural order as a processive act of «disclosure» — and hence describable in qualitative language; (5) perceives that nothing is predetermined by preassigned principles, so that creativity is apprehended in the natural order, in contrast to being determined by God or chance; and (6) understands «rightness» to mean the degree to which a thing or event expresses, in its emergence toward novelty as this exists in tension with the unity of nature, an aesthetically pleasing order.

The aesthetic order of nature suggested by new physics, process theology, ecology, and Buddhist philosophy presents a radical shift from the currently dominant «logical order» of mainline Christianity and Western rational thought.

Anders Nygren seems to me to describe the corruption of the aesthetic eros, not its positive nature, when he calls it self - centred.

For the poets, any philosophy of nature must include these three — aesthetic value, feeling and a sense of wholeness.

Is there a greater aesthetic value in participatory experiencing «in accordance with the natures of things» than in a mode of experiencing which involves the active construal and perhaps even domination of the experienced object?

I see no consistent basis within the framework of Hall's own thought for asserting that this particular kind of experience is somehow «illegitimate,» that its aesthetic quality is greatly inferior to that which results from the experience of art or nature or interpersonal relationships or even of mystical contemplation.

They contend that «what appears as gratuitous evil is really just the makings of aesthetic value in the Consequent Nature» (ECG 123).

I do not think one can avoid the implication in Whitehead's aesthetic metaphysics that any realization of value is in some sense desirable and coherent with the nature of God.

An essential element of Hall's novel vision of the future is the idea that once technology has been fully established as a self - governing, self - sustaining system, a sort of «automatic rationality» with which we need no longer concern ourselves, we will be free to turn away from «actions over against nature,» to turn our attention «inward» to the sort of «actions» which enhance the aesthetic value of experience.

McGrath suggests a new reformulation of natural theology, seeing its task as offering an interpretation of nature based on Trinitarian faith, including an account of human engagement with nature in the moral and aesthetic dimensions as well.

There is the silo argument, for maintaining the existence of all those organisms useful to us; the laboratory argument for maintaining those organisms needed for experimental studies; the gymnasium argument of nature for leisure; and the cathedral argument of nature for aesthetic pleasure.

In his first book, entitled The Philosophy and Psychology of Sensation, Hartshorne announces his agreement with the Whiteheadian idea that the materials of all nature are events composed of aesthetic feeling,» claiming the additional support of modern physics for the contention; and he has never wavered in this conviction.17 Moreover, he also expounds in this work the further Whiteheadian notion, which he tirelessly repeats in his later works, that what the Constituent experiences or feelings of the universe experience are other experiences.

Meaning in the arts — aesthetic awareness — is mediated through the nature and elements of the medium without ever being directly present itself.

The first of our two schemes is framed in terms of the hierarchical structure of nature and the second in terms of aesthetic experience.

Aesthetic - metaphysically it is honored as a sign of a deep nature that one despairs of the forgiveness of sins, pretty much as if one were to regard it as a sign of a deep nature in a child that it is naughty.