Sentences with phrase «decentering of»

Foster concludes that the result of Matisse's radical program was an intense decentering of viewing experience, a «blinding» of conventional ways of seeing.

When confronted with room after room of Hirst's colored spots ranging in diameter from a few millimeters to sixty inches, at times displayed in densely packed grids made up of thousands of dots and at others consisting of but a handful or even just a single dot, there is a sort of decentering of vision — a blinding, to use Foster's term — that begins to take place.

[2] OOO's decentering of the human subject reconciles modern and contemporary art's established interest in the limits of human perceptual and linguistic understanding when it comes to «objects» and further, the relative independence and internal logic of an artwork.

Bois's discussion of the way Matisse achieved a «decentering of the beholder's gaze» is revelatory.

Reflecting on our current climate of communication, the provocation consistent in Chun's exhibition is a decentering of English as the world's most dominant, «common» language: Could English ever become secondary?

Consequently, there is sufficient performance compliance to target decentering of these RMS amplitudes within the coronagraphic hole.

The Eucharist effects a radical decentering of the individual by incorporating the person into a larger body.

Though Robert Handy has written of the «second disestablishment» of Protestantism (from the Depression on), until now the historical record behind the decentering of American religious and secular culture has been neglected.

Not exact matches

Hence the postmodern decentered, fluctuating vision of man.

However, as I have tried to show, while in Deleuze's metaphysics we find something like Whiteheadian pure potentiality reappearing in a radically decentered form, the net result is less a neo-Whiteheadian naturalism than a distinctly postmodern avatar of polytheism: a vision of multiple «little divinities» effecting random syntheses of differential elements within an immanent space of possibilities: a theory of evolution metamorphosed into Chaosmological Myth: an unqualified affirmation of the endless, goalless, production of Difference.

My aim in the present paper is twofold: first to argue, pro Sherburne and contra Deleuze's reading, that there is no place for God — even for Whitehead's God — in a «chaosmos» worthy of the name; but secondly, following Deleuze and departing from Sherburne, to outline one way in which the operation of «decentering Whitehead» might lead to somewhere other than to a naturalism.

In these very general terms, perhaps the closest approximation to a chaosmology amongst Whiteheadian thinkers is to be found in Donald Sherburne's vision of «a Whitehead decentered... a Whitehead without God... a neo-Whiteheadian naturalism.»

The decentering and dethroning of established authority are hailed as paths of liberation from the injustices of the past.

Deconstruction attempts to dismantle such structures in order to show their artificiality and the inevitable ways in which any such structure of thought implicitly «decenters» its central term and undermines itself through internal inconsistency and contradiction.

Anyone who doubts this ought to reread that brilliant, genreconscious postmodernist (not existentialist) Soren Kierkegaard on sin, grace and the decentered Christian self Even the otherwise happy recovery of the traditions of Christian spirituality in our day are also in danger of becoming further fine - tuning, further new peak experiences for the omnivorously consuming modem self.

I will turn, rather, to the second sort of reasons, reasons which rest on an empirical examination of experience and the world, reasons which test the adequacy of the implications of each of the two versions of process metaphysics — the centered and the decentered — to our world as we experience it.

Perhaps the most graphic way of describing the key shift I have made is to say that I have moved from a centered process perspective to a decentered process perspective.

A decentered Whiteheadian vision suggests a world where larger and larger patterns of meaning and order emerge gradually, fitfully, and unevenly from the churning multiplicity of value centers constituted by the sophisticated occasions regnant in living organisms.

In this comparison of Whitehead's centered vision (with God) and my own decentered vision (without God), I will start with a brief recapitulation of Whitehead's account of how God functions in the world.

But my vision is of a decentered process philosophy — order, value, and meaning permeate the whole of reality, but often at only minimal, trivial levels.

The theological language of sin and grace once spoke of a decentered ego with all the force of the most radical French postmodernists.

If one decenters Whitehead, then one replaces a cosmos with one overarching center of direction, God, with a cluttered cosmos exhibiting a vast number of centers.

Still others will embrace postmodernity in its most decentering, deconstructive forms so fully that «a-theologies» will be born to announce, yet again, that the «death of God» has finally found its true hermeneutical home.

We have not an individual identity, but fragments of experience; not the narrative of a life that is in some sense a whole, but a decentered flow of experience.

Or, to take another example, the notion of all education as individually focused may need to be decentered (not necessarily replaced) with a notion of education as communal cooperative activity.

First, there is the problem that Iago is the villain of the play and not its hero: far from looking like the complete Renaissance man, he resembles nothing so much as the unstable, decentered postmodern subject.

We hear the decentering force of the prayer in its actual wording: your name, your kingdom, your will (Matt.

In this procedure there is the same decentering, even «dispossession,» of reflective immediacy we have previously observed: a demand that we must make a «detour» through the symbolic world.

However both Whitehead and Derrida's critique of modernism present a noble and exciting possibility for decentering the domination and absolutist claims of modernity; opening the way for other philosophical perspectives without necessarily falling prey to a radical relativism.

When we are learning another person, there is also inevitably emotional pain, for the very act of entrusting our self to another means a decentering and displacement of our self - preoccupation.

In the original MBH decentered series, the hockey - stick shape emerged in the PC1 series because of reasons we have articulated in both our report and our testimony.

Brilliantly executed, Wong's peculiarly decentered violent sequences are actually more evocative of the battle scene in Orson Welles's Chimes at Midnight than they are of Leone's operatic showdowns, especially in the way they concentrate on ephemeral, oblique details rather than heroic spectacle.

Blackhat is, by and large, a decentered, minor work, full of things its director does better than anyone else, but which he's also done better elsewhere.

Forms that surrender control, value the role of play, decenter schools and programs, and really, truly teach students how to think for themselves.

It is positioned so that we approach it obliquely, noticing the harsh reflectivity of the steel brace before confronting the calming, decentering expanse of translucent color.

At times, I work in a similar way; as a photographic practitioner, I decenter myself in relation to the production of the image, and extend that to the construction of my exhibitions.

As one moves away from a floor's center, one decenters a view of America as male, white, and straight.

He also manages the centerpiece of a very decentered exhibition.

While Pablo Picasso and fellow Cubists combined archaic Western forms and appropriated exotica to shatter inherited modes of representation, today ubiquitous computing and the digital image explosion create an intersection of the physical and the virtual, and in doing so, have decentered the locus of artistic praxis.

Selected references: Arnason, H.H., History of Modern Art: Painting, Sculpture, Architecture, 1968 Barr, Alfred, Painting and Sculpture in the Museum of Modern Art, 1929 - 1967, 1977 Barrett, Cyril, Op Art, 1970 Barrett, Cyril, An Introduction to Optical Art, 1971 Houston, Joe, Optic Nerve, Perceptual Art of the 1960s, 2007 Kulterman, Udo, The New Painting, 1969 Lampe, Angela, Robert Delaunay, Rythmes Sans Fin, Centre Pompidou exhibition catalog, 2014 Pellegrini, Aldo, New Tendencies in Art, 1966 Popper, Frank, Origins and Development of Kinetic Art, 1968 Rickey, George, Constructivism: Origins and Evolution, 1967/1995 Rosenthal, Erwin, Contemporary Art in the Light of History, 1971/2013 Tiampo, Ming, Gutai: Decentering Modernism, 2011 Weller, Allen S., The Joys and Sorrows of Recent American Art, 1968

The specter of the three traumas haunts the work of the three artists presented in the show, each of which reflects one or more of the narcissistic wounds that decenter modern subjectivity.

Decentering whiteness, rearranging power, repurposing infrastructure, we made Artists Space into a welcoming home for movement people to find one another, to grow, and to make an abundance of art and build local power.

The first gallery at Dia: Chelsea feels narrow, with a couple of large square canvases to the right (Untitled, 1962 and Untitled [Background Music], 1962), a triplet of works incrementing in size and respectively on canvas, paper, and plywood to the left (Untitled # 17, 1958; Classico 6, 1968; Counsel, 1983), and a small but powerful early work facing the viewer across the room, decentered (To Gertrud Mellon, 1958).

She is currently working on two books: Decentering Globalism is an interdisciplinary and methodological analysis of World Studies.

Tiampo's book Gutai: Decentering Modernism (University of Chicago Press, 2011) received an honorable mention for the Robert Motherwell Book award.

Ryan McGinness's 2005 exhibition installationview translated the media landscape of logos and advertising into an immersive installation, decentering full sensorial focus; and Cameron Martin's elegiac atonal paintings of branches and boulders, representing parts of nature for the whole, translated photographs into paintings through digital imaging, architectural stencils and house - paint sprayers.

If Steinberg and Foster both intuitively sensed this decentering as the keystone of Matisse's radical invention, I suspect that Hirst's spot paintings, especially when able to be viewed en masse as they are now, effect a similar visual experience.

The steel - mesh veiled structure, whose form is often likened to a decentered stack of sugarcubes, was a stunning and ballsy proposition for an institution that has always sought to be radical and cutting - edge — even if critics including New York Magazine's Jerry Saltz bemoaned that «the museum, cool - looking as it is, is short on exhibition space.»

2013 Draw Gym, 247365, Brooklyn, New York, US Hello Darling, Southfirst Gallery, Brooklyn, New York, US DNA: Strands of Abstraction, Loretta Howard Gallery, New York, US Drawing Now, Carrousel du Louvre, Paris, FR An Exhibition on the Centenary of the 1913 Armory Show: DECENTER, The Abrons Art Center / Henry Street Settlement, New York, US The Academy of Arts and Letters Invitational Exhibition, The Academy of Arts and Letters, New York, US Encounter, Zürcher Studio, New York, US

H. Halle, «Amy Feldman: High Sign», TimeOut, New York, 8 - 24 September J. Stopa, «September Shows to Know» Whitewall, 15 September H. Baysa, «Amy Feldman: High Sign» event listing The Village Voice, September M. Jones, «Amy Feldman by Mary Jones», BOMB Magazine, 26 June J. Yau, «Geometry Poems» in Exhibition Catalogue, New York, Janet Kurnatowski Gallery, Geometry Poems Sophie De Santo, «Brian Belott, Paul De Muro, Amy Feldman: Le Trio New Yorkais» Figaro Scope, 22 - 28 January Laurent Boudier, «Brian Belott, Paul De Muro, Amy Feldman» Sortir Telerama 29 January Dust Magazine Online, 2 February Barry Schwabsky, «Great Gray» in Exhibition Catalogue, Stockholm, ANNAELLE Gallery, Amy Feldman Stark Types 2013 Daniel S. Palmer, «Rethinking DECENTER» in Exhibition Catalogue, Washington, DC, The George Washington University and The Abrons Art Center, Decenter NY / DC: an exhibition on the centenary of the 1913 Armory Show Susanna Sløør, «Amy Feldman Stark Types, ANNAELLE Gallery» OMKONST Stockholm, 9 October Nirmala Nataraj, «Amy Feldman Melds Poise, Rough Edges» San Francisco Chronicle, 6 March Jonathan Curiel, «Amy Feldman: Raw Graces» SF Weekly, 7 March David M.Roth, «Amy Feldman @ Gregory Lind» Square Cylinder, 26 March