Sentences with phrase «as a concrete object»

Tillmans explains, «I am able to speak about physicality in these new pictures, the abstract picture is representational because it exists as a concrete object that represents itself» (W. Tillmans, in J. Verwoert (ed.)

Their material reality as concrete objects of sensation, which is intensely felt at every point in the work, dissociates them from any abstract idealism.

Not exact matches

(1) The concrete universal as the individual seen in conjunction with the thought structure implied in it, that which makes it an intelligible unity, is neither a naively conceived sense - object, nor an abstract logical universal.

Hartshorne is willing to begin with the metaphysical reality of God and other selves (not just as a postulate, but as concrete existences), and then to use inference and imagination to provide an account of their nature and relations — an account which can he more or less adequate to its object, given the limitations of our form of consciousness.

But the conceptual characterization of community is an extension of the concrete experience of physical community, just as the common eternal object used to characterize the nexus is derived from the physical feeling of entities - requiring - each - other.

The conclusion I want to pull out of these considerations is this: if there is at least one actual entity in the world characterized by at least one eternal object, one specific form of definiteness, then this actual entity provides all the ontological ground required for the realm of eternal objects — an appeal to God is not necessary.11 And, indeed, in Whitehead, as in Aristotle, there is an eternity and an abeternity of becoming so that within the terms of the system it is inconceivable that there be any region of the extensive continuum, no matter how far it be extended fore or aft, where there is not a generation of actual entities exhibiting concrete forms of definiteness.

Its methods of abstracting from the concrete actuality and of largely ignoring the inevitable difference between observers reduce the I in so far as possible to the abstract knowing subject and the It in so far as possible to the passive and abstract object of thought.

As being can never be studied as an independent object, the history of metaphysical thought can not be without implications for the history of being:» [E] very science goes through a process of historical development in which, although the fundamental or general problem remains unaltered, the particular form in which this problem presents itself changes from time to time; and the general problem never arises in its pure or abstract form, but always in the particular or concrete form, determined by the present state of knowledge or, in other words, by the development of thought hithertAs being can never be studied as an independent object, the history of metaphysical thought can not be without implications for the history of being:» [E] very science goes through a process of historical development in which, although the fundamental or general problem remains unaltered, the particular form in which this problem presents itself changes from time to time; and the general problem never arises in its pure or abstract form, but always in the particular or concrete form, determined by the present state of knowledge or, in other words, by the development of thought hithertas an independent object, the history of metaphysical thought can not be without implications for the history of being:» [E] very science goes through a process of historical development in which, although the fundamental or general problem remains unaltered, the particular form in which this problem presents itself changes from time to time; and the general problem never arises in its pure or abstract form, but always in the particular or concrete form, determined by the present state of knowledge or, in other words, by the development of thought hitherto.

A proposition is not a pure essence; though it does not give information as to how it actually functions in particular instances (like an eternal object) it does gesture towards how it could function in concrete occasions.

Had Dr. P. possessed «judgment» in Sacks» sense, he would have had some feeling for the concrete, the personal, the particular, and for apprehending perceptual objects as wholes.

5 This is a remarkable anticipation of Whitehead's view in Process and Reality that God's primordial ordering of the world's possibilities (the eternal objects) is the ultimate source of novelty in an emergent universe, except that Thornton understands these possibilities to be everlasting rather than timeless.6 This reification of what for Whitehead is purely possible, needing concrete embodiment in the actual world, leads Thornton to conceive of the eternal order as absolutely actual in its unchangeableness, identical with God.

We must therefore, from the experiential point of view, call these godless or quasi-godless creeds «religions»; and accordingly when in our definition of religion we speak of the individual's relation to «what he considers the divine,» we must interpret the term «divine» very broadly, as denoting any object that is godlike, whether it be a concrete deity or not.

Confronting the same constellation of objects as before and knowing that he does so, he nevertheless finds them transformed through and through in many of their details... Operations and measurements are paradigm - determined... Scientists with different paradigms engage in different concrete laboratory manipulations.

We perceive concrete objects as being more than their involvement in the particular ingression relation at the basis of our sense - awareness, and hence as overflowing particular profiles.

Perception grasps some aspects of concrete perceptual objects directly in sense - awareness and other aspects indirectly by perceptual judgment, while letting the objects stand as they are in themselves.

On the other hand eternal objects, viewed in their individual multiplicity, are by definition bound to be connected with other eternal objects, 26 just as, analogously, an occasion has to be viewed as a concrete relation to other occasions and nexuses of occasions.

On the other hand an occasion, as long as it is not defined simply through qualities or eternal objects, is not to be defined except through its concrete relationships to other occasions with which it forms a nexus in reality.

To what extent is the being of occasions a real and concrete being in contrast to the abstract being of eternal objects whose abstract essence can be defined solely as the possibility of a concrete actualization in an occasion?

On the other hand, as a union of eternal objects it is more concrete than any of those eternal objects which form the components of this union.

The whole universe of concrete objects, as we know them, swims, not only for such a transcendentalist writer, but for all of us, in a wider and higher universe of abstract ideas, that lend it its significance.

Why can not universals or eternal objects — those terms of which all entities partake — become concrete and actual as well?

I want to argue for the advantages of his dualism of eternal objects and actual entities over Hartshorne's monism of concrete actual entities containing the universal forms as abstract parts.

Coleridge too believes it is essential to renounce the Cartesian temptation to divide (as opposed to distinguish) antithetical but interdependent fundamental notions, such as subject and object, and to insist that concrete experience demands that philosophy respect the unity of such polar distinctions.

Rather it contributes those eternal objects as embedded in fully concrete past actualities with their solid, weight; and unchangeable objective - case creativity.

Moreover, Hartshorne affirms that he does not contradict himself when he asserts the additional twin theses that every concrete entity is a subject (or has objects of knowledge) and that every such entity must be an object for some (anyone will do) subject.31 Furthermore, he argues that only the panpsychistic doctrine of an ocean of subjects internally related to their objects of knowledge can make sense of our deeply ingrained conception of the world as a real nexus of temporal succession of cause - effect relationships.

Indeed, it was precisely his effort to incorporate the cosmic vision of Whitehead (especially the idea of experiencing all of reality as a single complex datum) into his own interpretation of religious experience that created such tension in his efforts to effect a union between religious experience and scientific method; for the task of science is to «prune down the objects [of experience] to the limits of its own powers of definition and minute examination,» while «religion must deal with the total concrete fact...» (RESM 53).

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.

Renowned materials scientist Mark Miodownik studies objects as ordinary as an envelope and as unexpected as concrete cloth, uncovering the fascinating secrets that hold together our physical world.

Words that originally had only concrete or external meaning (like «grasping» a physical object) have grown to have meaning in the realms of the abstract and internal (as in «grasping» an idea).

There have been other candidate objects discovered in the past that might have a Sedna - like orbit, but with 2012 VP113 never approaching more than 80 AU from the Sun, its status as a member of the inner Oort Cloud is concrete.

These do not involve theory so much as working with concrete objects.

Humans tend to experience I / Me / Mine and objects of awareness as real, concrete, substantial, and permanent entities.

All of our indoor / outdoor cast concrete items are molded from original objects and are unfinished, ready to be painted or left as - is to age beautiful...

Research has shown that these types of inquiry activities — where students are asked to analyze a piece of concrete data such as a picture or an object in order to generate ideas for writing — are an effective instructional practice for improving the writing of adolescent learners.

• count to and across 100, forwards and backwards, beginning with 0 or 1, or from any given number • count, read and write numbers to 100 in numerals; count in multiples of 2s, 5s and 10s • given a number, identify 1 more and 1 less • identify and represent numbers using objects and pictorial representations including the number line, and use the language of: equal to, more than, less than (fewer), most, least • read and write numbers from 1 to 20 in numerals and words • read, write and interpret mathematical statements involving addition (+), subtraction -LRB--) and equals (=) signs • represent and use number bonds and related subtraction facts within 20 • add and subtract one - digit and two - digit numbers to 20, including 0 • solve one - step problems that involve addition and subtraction, using concrete objects and pictorial representations, and missing number problems such as 7 =??

9 • solve one - step problems involving multiplication and division, by calculating the answer using concrete objects, pictorial representations and arrays with the support of the teacher • recognise, find and name a half as 1 of 2 equal parts of an object, shape or quantity • recognise, find and name a quarter as 1 of 4 equal parts of an object, shape or quantity • Compare, describe and solve practical problems for: lengths and heights [for example, long / short, longer / shorter, tall / short, double / half]; mass or weight [for example, heavy / light, heavier than, lighter than]; capacity / volume [for example, full / empty, more than, less than, half, half full, quarter]; time [for example, quicker, slower, earlier, later]; • measure and begin to record the following: lengths and height; mass / weight; capacity and volume; time (hours, minutes, seconds) • recognise and know the value of different denominations of coins and notes • sequence events in chronological order using language (for example, before and after, next, first, today, yesterday, tomorrow, morning, afternoon and evening) • describe position direction and movement including whole half quarter and three quarter turns PLUS MANY MORE OBJECTIVES!

The MCPS 1st - grade curriculum goals, for instance, contain a number of nonessential topics, such as sorting concrete objects (like Post-its with names of favorite pets on them) into categories, activities that take up instructional time which, critics of the MCPS curriculum argue, could be better spent laying the foundation for algebra in 8th grade.

2nd Grade kids will shade in parts of an object to show a specified fraction, and they will explore equivalent fractions using concrete materials such as pattern blocks.

Arranged in chronological order, the poems focus on objects ranging from concrete, such as the red wheelbarrow and white chickens in William Carlos Williams» well - known Imagist poem, to abstract, like Lord Byron's elegant and pithy ode to the letter e: «The beginning of eternity, the end of time and space / the beginning of every end, and the end of every place.»

You can choose whether to write concrete definition essay, which is an essay devoted to defining some concrete object, as, for example, a computer, a flower, or a pen or to write abstract definition essay, which deals with some abstract notion as friendship, sorrow, or love.

The game comes with a Challenge Tower that has a total of 300 levels to get through, and most of them provide completely different takes on the normal fights or odd challenges such as finding the object among three skulls, testing your might by breaking through concrete or other barmy things.

«In the future, I hope when people talk about me, it's not as an abstract painter, but that I came to abstraction through the study of very concrete objects,» Zhang said.

It seems unlikely the project would have been revisited without the publication to return to, and, in a way, it is as much the object of the HMI's attention as the exhibition considered as an array of 14 sculptures temporarily located across Britain in «concrete shopping centres, underpasses and pedestrian thoroughfares».2

She works primarily with sculpture, exploring - with materials as different as glass, ceramics and concrete - the frontiers between painting and sculpture, object and architecture, form and context.

Often associated in the 70's with kinetic and concrete art, his work has also a strong affinity with Dada, Kurt Schwitters and Marcel Duchamp, working with found objects, tables, chairs, crates, tools, jugs, suitcases, lampshades, wine glasses (filled with wine, red as it happens) and electric light, which through the conductors of fluorescents and bulbs is a ready - made in itself.

His interest in the actual photographic object is often made concrete through the attention paid to details such as borders, tears or folds.

The exhibition presents three possible investigations: the physical appropriation of the object or its absence; theft as related to the image per se rather than the concrete object itself; and the act of stealing through the making of an image.

Along the same lines, the Brazilian artist Erika Verzutti recreates fruits, vegetables, and other objects found in nature as sculptures made of more permanent stuff, like bronze, clay, and concrete.

His use of classical figurative techniques with a honed attention to aesthetics of form and surface — such as in the velvety finished concrete or waxed iron patina surfaces of his sculptures — reflect an embrace of the making of objects that seems refreshingly out of step with the digital era.

Referring to concrete as a «democratic ceramic», Dean also uses other inexpensive and readily available materials such as MDF, shuttering ply, sand, steel and corrugated metal to make objects and environments which demonstrate and, in some instances, literally spell out the writing from which the work takes its origin.