Sentences with phrase «as aesthetic principle»

To blend his stories into «soup,» no matter how smartly, to see them «as just one story,» is to vandalize good art, to rationalize filmic opportunism as aesthetic principle.

Not exact matches

As a man he recognizes aesthetic and ethical values; he is an artist and a philosopher as well as an instructor in technical principleAs a man he recognizes aesthetic and ethical values; he is an artist and a philosopher as well as an instructor in technical principleas well as an instructor in technical principleas an instructor in technical principles.

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.

There are many beautiful thoughts and applications here as he sketches a Christian cosmology whose principles and values are at once scientific, practical, moral, aesthetic, and theological.

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.

The primary characteristics of any self - creative beings — and we must suppose that this holds pre-eminently for human beings — are freedom, transience, and novel purpose... The denial of rationality as the primary character of experience involves the denial of principles as external sources of order and thus entails the consequence that each aesthetic event will constitute its own source of order and novelty.

But insofar as prehension, the mechanism of concretion developed in Science and the Modern World (and later in Process and Reality), can be interpreted in specifically human terms, this aesthetic principle is especially crucial to the increase of value in human existence, providing persons adjust themselves to it.

The principle is aesthetic fittingness of various kinds, as studied in aesthetics.

And the real paradox which — I am going to give away the end of the book — the very last lines of the book are about how, here's this man who is virtually incapable of emotion but one has to categorize his scientific philosophy as being one in which emotion, your aesthetic appreciation, is your principle guiding factor.

The Circle's awards are also viewed — perhaps more accurately — as a principled alternative to the Oscars, honoring aesthetic merit in a forum that is immune to commercial and political pressures.

Self - described as «a principled alternative to the Oscars, honoring aesthetic merit in a forum that is immune to commercial and political pressures,» NYFCC's awards are a decent predictor of bigger accolades to come.

Starring Gary Cooper as an independent architect who struggles to maintain his integrity, this movie portrays a metaphysical statement, an aesthetic manifesto, and a commentary on American architecture, ethics and political principles.

As the only international spa concept based on the principles of Traditional Chinese Medicine, Chuan Body + Soul is designed to create an ambience of tranquility and embraces a natural aesthetic, keeping mind, body and soul in balance.

Her aesthetic relies on the principles of balance and restraint - concepts that she finds crucial considering the breadth and complexity of the multi-faceted painterly language that developed as she moved from place to place.

His development as an artist occurred in the 1980s to1990s, a period determined by the centrifugal vector, when rigid social principles and aesthetic norms were replaced by volatility, ambivalence and plasticity.

That exhibition, I stood before the source, featured artists confronting the aesthetic problem of representing contemporary capitalism, and concluded with this impulse: to imagine a «shift from the metrics of accumulation to the requirements of care as an ordering principle of social relations.»

As another permanent display venue for the Shanghai Museum of Glass, the Design Wing collects classic and pioneer works from numerous renowned designers home and abroad, in its nearly 2000 - square - meter concise and fluent space, with a consistent aesthetic factors and display principles, as well as infinite passion towards glasAs another permanent display venue for the Shanghai Museum of Glass, the Design Wing collects classic and pioneer works from numerous renowned designers home and abroad, in its nearly 2000 - square - meter concise and fluent space, with a consistent aesthetic factors and display principles, as well as infinite passion towards glasas well as infinite passion towards glasas infinite passion towards glass.

My practice seeks to reveal a profound interconnection within the types of beauty, orderliness and harmony that emerge in each form, as I see both visual traditions as reflections of a single aesthetic principle.

Taking a monochromatic grey palette as its organizing principle and aesthetic theoretical vehicle, this exhibition reveals the emergence of that which subtracts or divides — a polemics of black and white or the search for a middle ground, a shade of grey — in the work of artists from around the globe: including Shiva Ahmadi, Yasima Alaoui, Ayad Alkadhi, Afruz Amighi, Reza Aramesh, Shoja Azari & Shahram Karimi, Bruce High Quality Foundation, Dilip Chobisa, Seth Cameron, Arthur Carter, Noor Ali Chagani, Nick Farhi, Nir Hod, Rachael Lee Hovanian, Joseph Kosuth, Liane Lang, Farideh Lashai, Shirin Neshat, Enoc Perez, and Dan Witz, Grisaille: originally derived from a 19th century term for monochrome painting, especially the portrayal of three dimensional objects in two dimensional form, of which the work of British based Liane Lang in this exhibition approaches the closest contemporary example of this art historical origin, the gris or grisaille is updated in this exhibition to reflect the embattled gesture of not simply the monochromatic, but also any opposition to color as such, in at once its aesthetic and political modes.

Comprised of sixteen artworks Seeing through Light: Selections from the Guggenheim Abu Dhabi Collection examines light as a primary aesthetic principle in art, and the theme's flexibility allows for inclusion across cultures and time periods.

Taking a monochromatic grey palette as its organizing principle and aesthetic theoretical vehicle, this exhibition reveals the emergence of that which subtracts or divides — a polemics of black and white or the search for a middle ground, a shade of grey — in the work of artists from around the globe: including Shiva Ahmadi, Yasima Alaoui, Ayad Alkadhi, Afruz Amighi, Reza Aramesh, Shoja Azari & Shahram Karimi, Bruce High Quality Foundation, Dilip Chobisa, Seth Cameron, Arthur Carter, Noor Ali Chagani, Nick Farhi, Nir Hod, Rachael Lee Hovanian, Joseph Kosuth, Liane Lang, Farideh Lashai, Shirin Neshat, Enoc Perez, and Dan Witz,

Shemza's diasporic perspective, as an artist with a deeply studied understanding both of Islamic aesthetic principles and the tradition of geometric abstraction in the West, allowed him to explore modernism through a uniquely doubled prism.

His intensely hued portrayals of sites in Havana, Miami, New York, and the Middle East feature rectilinear overlays of strong, intensely moody colors that integrate multiple allusions to reason and its traditions — the ideal planned - city street grid; the Golden Ratio and its long history as a supposedly true and self - evident compositional principle; the sharp - edged, no - nonsense Bauhaus aesthetic — with subtle references to the small flashes of vitality and inspiration that lurk within even the most drab and desolate environments.