Sentences with phrase «as an abstraction rather»

Consequently, as an abstraction rather than an actual entity, creativity must be quite other than any being or existent.

Not exact matches

Although at times Hartshorne has spoken as though his account of experience rested on some intuition of its essence as exhibited in his own experience, 2 his predominant view and his philosophical practice advance a concept of experience that is generated by dialectical argument rather than by appeal to direct introspection or intuition: «The philosopher, as Whitehead says, is the «critic of abstractions.»

One major reform that Hegel seems to have taken upon himself to effect is the production of a logical hierarchy of being that in a sense reverses the direction of abstraction of the Aristotelian logical hierarchy, i.e., that becomes more differentiated and «concrete» as it rises in generality and inclusiveness, rather than more empty and abstract.

As I'll discuss at the end of my presentation, political science only does this by dint of a systematic abstraction of our lived political experience, that is, by singularly emphasizing politics as the management of a conflict of interests rather than the prudential navigation of conflicts between competing claims to honor, or of competing claims to the gooAs I'll discuss at the end of my presentation, political science only does this by dint of a systematic abstraction of our lived political experience, that is, by singularly emphasizing politics as the management of a conflict of interests rather than the prudential navigation of conflicts between competing claims to honor, or of competing claims to the gooas the management of a conflict of interests rather than the prudential navigation of conflicts between competing claims to honor, or of competing claims to the good.

Flat, blank facades on buildings conceived as commodities — or just oddities — rather than works of civic art; flat modernist pictorial abstractions; the flattening of cultural history into pseudo-history packaged as what Henry dismissed as «applied sociology» — all spoke to him of something far more ominous, the abasement of man and the crude negation of his proper relationship to nature as embodied in the great tradition.

The doctrine (widely held until recently) that «matter» itself is fully real (rather than an abstraction, derived from intellectual analysis of concrete really - existing things, as Aristotle held), and that such self - subsistent «matter» is intrinsically inert (as opposed to self - organizing), arguably reached its full flower in the late Renaissance.18 Part of contemporary divergence between theistic and naturalistic approaches may be understood to arise from overly complete internalization (by both naturalists and theists) of the cosmology that emerged from the scientific revolution of the seventeenth century — the cosmology in which «matter» was full real, but intrinsically inert.

But Thomas Blackburn, another NCR columnist, describes the attempt as «another useless document on sex certain which deals with Latinate abstraction rather than with real people» (January 13).

Hopefully, by arranging theology this way, the study of theology leads us to action, rather than to more abstraction as commonly happens with current theological studies.

From this analysis emerged Whitehead's own interpretation of philosophy, whose job, as he saw it, was not to continue to carry further the discrimination made by our consciousness, but rather, conversely, Whitehead required that philosophy connects the later abstractions of consciousness with the original totality of experience (PR 14f.

In his early research into the child's world - view, Piaget showed that the thing - concept, as Whitehead criticized it, actually appears rather late in a child's development and represents an abstraction from earlier and more concrete perceptions (RME) Not until around ten years of age does the child come to see «things» in reality in the way the adult sees «things» in reality and uses the thing - concept consciously, that is argumentatively.

Philosopher Peter Kreeft agreed to write this chapter because Christianity Today still capitalized Heaven (which it usually doesn't) «as if it were a real place like Boston» (which it is) «rather than a wispy abstraction like «wellness.»

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

In a video interview for the current show, Resika notes how he took landscape, rather than abstraction, as his starting point.

Smith approached abstraction as a spiritual exercise; rather than a product of conscious calculation, his art was derived from the unconscious.

Part homage, part ironic reinvention, Thomas's 1990s abstractions can be seen as following the 1980s work of Peter Halley, Phillip Taaffe, Sherrie Levine, but their deft shuffling of the material and the immaterial, of the object and its image, orient them toward the future (i.e., now) rather than the past.

We were talking about the political implications of continuing to work in abstraction, and she said a very similar thing as you just did, in that it's not necessarily about representing politics, but rather affecting the politics of vision.

Fendrich goes on to say that «the conventions are established, just as in baseball, and to derive pleasure from abstraction requires accepting its basic rules rather than continuously deconstructing them.»

In 1967, as his frustration with abstraction was reaching its maximum, the artist embraced representational approach once again, this time creating modern paintings in a rather personal, cartoonish manner.

Over the years, through a series of decisive shifts in medium and intent, he turned to painting and drawing, embracing the phenomenological and spiritual legacy of abstraction as a transcendental, rather than purely formal, tradition.

When he resumed painting in 1945, Tworkov found himself increasingly interested in abstraction, which he saw as analogous, rather than antithetical, to figural representation.

Abstraction is about painting the essence of a subject as the artist interprets it, rather than the visible details.

This abstraction of the actual should not be misconstrued as a yearning for the closure, but rather a running «leap into a dimension that can not otherwise be understood».

The paintings emerge not as fanciful still lives of garbage heap composting, but rather as intricate compositions that blend full abstraction with carefully rendered studies of the fauna and flora in her daily detritus.

The uncanny «creatures» who haunt his abstractions of the mid-1940s bear witness to a burgeoning interest in Surrealist principles of revealing the invisible, tapping into dreams and the collective unconscious as sources of imagery, rather than reporting on what could be seen.

Like Woelffer, McChesney created his abstractions with intuition and improvisation as their driving force, and thought of them as felt rather than cerebral expressions.

Through recreation, «Mondrian and his Studios» could convey Mondrian's understanding of abstraction as a vital part of everyday life, rather than a rarefied exercise in formalism.

She defines her studio practice, which is rooted in an ongoing investigation of experience, memory, abstraction, present and future histories - specifically shifting notions surrounding landscape - as cyclical rather than linear.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Rather than existing as industrialized abstractions, her paintings approach the spiritual and even the sublime.

I do not see it as killed by abstraction or photography, but rather as given life along with abstraction from a creative confrontation with photographs.

He saw abstraction as an extension of the physical world, rather than generated by spiritualism.

What's really of the moment about the work isn't its content as such, but its meta - abstraction — the treatment of figurative imagery and nonfigurative gestures as equal actors in an overall visual project defined by its mood rather than its meaning.

On a travelling scholarship in 1937, he chose to study with Fernand Leger, described by Gear as «a keystone for me, seldom abstract, rather a degree of abstraction».

In each work, the artist employs formal dualities from the art historical canon — namely, narration versus abstraction, color versus line, flat versus recessive space, and painting versus drawing — not as a means to a conceptual end, but rather as a method to push these painterly concerns to their extremes.

As Jeremy Lewison writes, «Neel fell outside the expected norms of leftist painters for whom works amounted to rather obvious allegories of the social situation... she rejected the post-cubist approach to the figure that Picasso and his followers adopted; and she avoided abstraction as a mode of painting because of its narrative limitations.&raquAs Jeremy Lewison writes, «Neel fell outside the expected norms of leftist painters for whom works amounted to rather obvious allegories of the social situation... she rejected the post-cubist approach to the figure that Picasso and his followers adopted; and she avoided abstraction as a mode of painting because of its narrative limitations.&raquas a mode of painting because of its narrative limitations.»

Rather than reverting to pure abstraction as a method of visualising these interests, she has developed her own painting style which fuses both abstract and representational elements.

For them, as for us, David Bomberg is the teacher of Auerbach and Kossoff, rather than an original Vorticist whose works in the Inventing Abstraction show at MoMA were a revelation for this writer, at least.

Loosely organized by general themes unobtrusively embedded in the wall text such as «Abstraction to Figuration,» «Biomorphic Abstraction,» and «Abstract Expressionist Ceramics,» the curatorial rhetoric deployed in The Ceramic Presence is one of showing rather than telling.

DOROTHY SECKLER: I think it's rather phenomenal the success and the critical attention paid the show in the middle of a season in which most offerings were either geometric abstraction, Op art, Minimal, Pop or sort of things in which the artist would be working much more conceptually as opposed to intuitively and in which the forms would be, in most cases, more geometric.

His discovery of abstraction would thus be born not of an unconscious or involuntary process, but rather of a very deliberate abstraction from the figure that was as psychologically loaded for Kline as it was for the surrealists, albeit more traditionally and less theoretically.

What has not been mentioned is that the «Saul - into - Paul conversion theory», published by Elaine de Kooning in Art News in 1958, was not set in Willem de Kooning's studio and did not mention a «Bell - Opticon», unlike her account of 1962.13 Additionally, while the 1958 account's introduction dramatised Kline's breakthrough to abstraction as a «transformation of consciousness», or a «revelation» of Biblical proportions, invoking the example of «Saul of Tarsus outside the walls of Damascus when he saw a «great light»», the description of Kline's technical and conceptual breakthrough in this account nevertheless resembled previous accounts of Kline's development in its gradualness, uneventfulness and thoughtfulness.14 The breakthrough that Elaine de Kooning first recounted was a product of sustained technical experimentation and logical thought on Kline's part, rather than accident or epiphany: «Still involved, in 1950, with elements of representation, he began to whip out small brushes of figures, trains, horses, landscapes, buildings, using only black paint.

Nature has been entering the work; not as landscape though but rather as an abstraction.

Bringing together a variety of working methods, ranging from complex installations with industrially produced items, such as Venetian blinds, to hand - made sculptures using rather low - tech craft such as knitting, paper making, origami, macramé and other types of weavings, Yang's oeuvre has reached a level of rich complexity and unique abstraction.

It is tempting, in fact, to wonder what additional abstractions could be garnered by reading all the work Rauschenberg made as decoration or props rather than art.

She defines her studio practice, which is rooted in an ongoing investigation of experience, memory, abstraction, present and future histories - specifically shifting notions surrounding landscape, character development and formal processes, as cyclical rather than linear.

In her move to abstraction, her goal was to depict subtle emotions, such as those felt when experiencing the natural world, rather than nature itself.

Rather, these curious painterly geometric abstractions read as judicious but meandering artistic interventions evidencing everywhere a generous, maker - friendly voice.

In the first, he will discuss the development of his work in terms of figuration, not simply traditional mimetic depiction (as opposed to abstraction), but rather a representational complex that can function as a rhetorical platform, an allegorical modality or even as an investigation of social formations.

If Clement Greenberg proposed that Modernist painting, in privileging form over content, could be defined as «the imitation of imitation as process», I wonder whether in Post-Modernist abstraction the process becomes rather «the imitation of the imitation of imitation».

The paintings here are not concerned with encapsulating breathtaking speed and impressive force; rather, they present themselves as complex abstractions derived from representations of the world around us.