Sentences with phrase «aesthetic sense of»

The field of fashion designing demands immense creativity, good problem - solving capabilities and aesthetic sense of color shades, combinations, prints, patterns, fabrics too.

Bonsai reflects the Japanese traditional aesthetic sense of expressing the magnificence of nature in a small potted plant.

But the exceptional creative ferment of the 1960s was partly fueled by an aesthetic sense of dull conformity, coupled with the social and political constraint of the era.

He has established his idiosyncratic world where an aesthetic sense of West and East overlaps through the influences from European textiles, Fauvism's freewheeling line which is exemplified by Henri Matisse, as well as Rinpa's decorativeness.

These insights resulted in the first electric crossover concept vehicle that applies the ideas of wa — represented in the IMx's aesthetic sense of beauty — and ma, reflected by its composed, yet powerful nature.

Flaunt an urban aesthetic sense of fashion by teaming this up with your Jodhpuri breeches and a pair of embellished jutis for the Diwali celebration day at office.

Not exact matches

Japan — which has its own troubles with perfectionism — has a gorgeous history of wabi sabi, an aesthetic sense wherein cracks in clay or wrinkles in skin are signs of beauty.

It began with founder and chairman Chip Wilson's sense of a market that even after 12 years defies explanation in an elevator pitch: clothing that is functional but also fashionable, designed for athletic use but often worn for other purposes, appealing to a New Age, anti-consumer aesthetic while occupying pricey real estate in shopping meccas, and all the while pushing a potpourri of empowering self - help messages.

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.

The sense of beauty is a positive response growing out of a relationship of the person to the aesthetic object.

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.»

Thus relational power is here understood as the ability (1) to be affected, in the sense, especially, of being open, sensitive, receptive, and empathic; (2) to create oneself out of what has been experienced by synthesizing that data into an aesthetic unity; and (3) to influence others by the way in which one has received and responded to their influence.

Beauty is felt when there is some congruence between the aesthetic object and the observer's pattern of sense perception and related responses.

Such aesthetic sensitivity, he suggests, can be learned, although it can not be taught in the ordinary sense of teaching.

The pervasive, universal values are not moral and are not mere pleasure, they are aesthetic in the sense of the intrinsic harmonies and intensities of experiencing.

I will state dogmatically: no one has ever succeeded in making sense out of the idea of an aesthetic value so great that all possible beauty is already in it.

Further, those who can not appreciate the profound aesthetic of an ironically - creative act that consists of self - destruction lack any sense of subtlety and irony, which is an indicator of a lack of intelligence.

«Habits of thought and sociological habits survive because in some broad sense they promote aesthetic enjoyment» (ESP 129).

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.

To sense the world through causal efficacy is in essence, Whitehead says, to sense the aesthetic value of the world.

Consequently, the «sense of external reality — that is to say, the sense of being one actuality in a world of actualities — is the gift of aesthetic significance.

Experiences of the pleasures of the mind and the senses, including physical, intellectual, aesthetic, interpersonal, and spiritual satisfactions, as well as the adventure of new experiences.

Mitt might appear to us as the rare rich guy who might — out of mega-frugality and Mormon lack of aesthetic sense (from which Huntsman pretentiously exempts himself)-- occasionally eat at Denny's.

Aesthetic value, in the sense of the beauty of experience, is the primary issue.

It is to sense power at its deepest, and «the essence of power is the drive towards aesthetic worth for its own sake.

Charles Hartshorne has devoted much trained attention to bird song and argues that song requires «something like an aesthetic sense in the animal,» though it may be more a matter of aesthetic feeling rather than aesthetic thought (BS 2, 12).

It is just this empirical sense of the aesthetic which William Carlos Williams had, particularly in his most conscious moments of rebellion from the cognitive and academic orientation of art.

May I emphasize the fact that the elements and functions coming from the superconscious, such as aesthetic, ethical, religious experiences, intuition, inspiration, states of mystical conscious - ness, are factual, are real in the pragmatic sense... producing changes both in the inner and the outer world.

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.

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.

When one sees the setting and the intent of the passage, he often stops admiring it because one's aesthetic appreciation for it is chastened by a sense of being judged by it.

Both «symbolic reference» and «propositional feelings» have receptive and imaginative aspects; but, whereas Whitehead emphasized the former, cognitive aspect in his discussion of «symbolic reference,» as a rebuttal to Hume and Kant, he emphasized the latter, creative aspect in his discussion of «propositions,» an emphasis needed to counter «the interest in logic, dominating over-intellectualized philosophers,» among whom «aesthetic delight» is eclipsed by «judgment» (cf. PR 184 - 86 and WH 33) In «symbolic reference» a dim, but indirect, mode of perception («causal efficacy») is combined with a clear, but indirect, mode of perception («presentational immediacy»), which produces a sense of the external world.

The «aesthetic,» in this profound sense, with its expression in appreciation, evaluation, enjoyment or displeasure, and the like, is as much a part of our human experience as the rational and volitional aspects.

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

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.

This is why a sound education should have a place for the aesthetic (in this profound sense) to help the young person move toward real maturity, and all of us need to see and express this side of our selfhood.

These principles can themselves be seen as «aesthetic» in both the narrower and the broader sense: they define the conditions for the achievement of value in a work of art, or in the experience of any actual occasion.

By this I do not mean that the aesthetic is evil in itself but that attention to evil is an integral part of the electronic church's sense of what is beautiful.

Doing a long series of arithmetical calculations or working all day entering data at a computer terminal may result in almost total «an - aesthesia,» while proving a new mathematical theorem or writing a complex computer program may bring about intense involvement and the enjoyment of vivid immediate experience.8 «Aesthetic» experience in the more usual sense of tile term can also y ~ ry fi - om trivial to highly intense, even when it relates to a single object; one is reminded of the cliche situation in which one member of a couple listens in rapture to a concert while the other writhes in boredom.

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.

Yet if we are to judge purely on the basis of immediate aesthetic quality, of «intensity» in a Whiteheadian sense, on what grounds are we to prefer the experience of «passive» contemplation to that which comes from the active exercise of instrumental reason?

Given his panpsychism or «psychicalism,» Hartshorne holds that the ultimate units of reality are, in the broadest sense, feelings, or that feeling is a «cosmic variable» which can range from the most primitive, unconscious aesthetic reactions of subatomic particles to their environment to the most elaborate conscious experiences of God's.

Thus an aesthetic understanding of the universe is able to express the religious sense that all things are «cared for» in an ultimate though hidden way.

As was noted earlier, both genius and heroism arouse our aesthetic sense inasmuch as they are examples of the ordering of complexity into intensely dynamic patterns.

In this sense the world is not only felt by God's aesthetic care; it also feels God as the source of new possibilities.

Above all, aesthetic value implies the transformation of contradictions into contrasts that arouse a fullness and intensity of feeling, a sense of beauty, in those who experience the aesthetic object.

We may understand the purpose of world process in terms of the notion of value interpreted in an aesthetic sense.

And any society that pays little or no attention to the aesthetic in this sense is likely to become an ugly society in a number of different but distressing ways.

Definition of NUMINOUS 1: supernatural, mysterious 2: filled with a sense of the presence of divinity: holy 3: appealing to the higher emotions or to the aesthetic sense: Synonyms: spiritual magic, magical, mystic, occult, weird

In our book, we call this the «Aesthetic Pleaser,» the kind of food that delights all your senses, not just your tastebuds.