Her work is abstract, but it is an abstraction that comes
from perceptual experience and the reality of an encounter.
Not exact matches
Because we have had these
experiences and live with these developments and because these
experiences and developments can not be erased or quarantined
from our
perceptual and analytical processes, we are not capable of developing an adequate or reasonable comprehension of ancient times, cultures and people.
Other times, as when he argues
from the supposed uniformity of our
perceptual field to the uniformity of the spatiotemporal continuum, Whitehead begins with direct
experience (PW 217-21/240 -45).
This is why those who have recently revived the notion of visual
experience, such as John Searle and Christopher Peacocke, have broken away
from the traditional story about the awareness of visual sense - data, in favor of the view that
perceptual experience has propositional content (Searle) or representational content (Peacocke).2
Sense - awareness disengages factors
from the total flow of fact (PNK 59 - 60; CN 13; R 14), the content of primal
experience, bringing to the fore two profiles (suggested AE 201) of total
perceptual objects.
Another point arises
from these two passages last cited: the very fact of there being a nature for our knowing is a resultant of the percipient's activity in investing his
perceptual experience with externality.
For example, when a parent structures his
perceptual field by being attuned to a possible cry
from a new - born child, the infant is the source of the physical, causally efficacious feelings of the parent's
experience.
People may differ in the sensations they
experience from a food or beverage, and these
perceptual differences have a biological basis, explained John Hayes, assistant professor of food science and director of Penn State's Sensory Evaluation Center.
A new study by Irene Senna
from Bielefeld University's Center of Excellence CITEC and her colleagues reports a surprising bodily illusion demonstrating how we can rapidly update our assumptions about the material qualities of our bodies based on recent multisensory
perceptual experience.
Her eloquent account flits between philosophy, science and anecdotes
from the writing classes she runs for psychiatric patients, as well as her own
experiences of those seizures, migraines, voices in her head and a heightened
perceptual awareness.
The «Investigation Trilogy» features male protagonists, who are not suffering
from mental breakdowns (their female counterparts in the «Apartment Trilogy» as Carole in Repulsion, Rosemary in Rosemary's Baby and Trelkovsky in The Tenant may or may not be
experiencing), although these men still are afflicted by
perceptual inhibitions — an inability to understand what they are dealing with (Gittes in Chinatown), difficulty with language and cultural differences (Walker in Frantic) as well as literal barriers to clear perception, for example the glasses worn by Corso in The Ninth Gate.
My own biases point me toward the coming surge of inexpensive, ubiquitous, accessible human enhancements —
from prosthetics that enhance our motor outputs to sensory input devices that will give us entirely new
perceptual experiences.
Spearheading this movement, Robert Irwin began to take ideas
from philosophical inquiries into the nature of human
experience and radical advances in
perceptual psychology and combine them with the immersive abstraction that had been pioneered by artists such as Jackson Pollock, Mark Rothko, and Barnett Newman.
The
experience led Chambers to
perceptual realism, which was as much a philosophy, rooted in Catholic doctrine and the writing of the French phenomenological philosopher Maurice Merleau - Ponty, as it was a style of painting; and it marked a radical departure
from his previous work, which cut a wide swath across a variety of genres.
For him, silence was a landscape of unintentional sounds
experienced between intentional sounds; as such, it was absolutely substantive, inseparable
from and interdependent with sound.22 By extension, we might expand our view of the White Paintings, considering them not as inert screens waiting to be activated by life's subtle projections but rather as provocative agents of activity and profoundly physical objects that link our actions and perceptions, making us aware of the same
perceptual interdependency that was central to silence for Cage.
In a contemporary context, the new «lenses» provided by digital technologies —
from screens to optical devices and mediating surfaces — enable us to undertake
perceptual journeys on which we explore spaces beyond our imagination, travel through time,
experience time conjunction, and mediated representations of place.
Featuring sculpture, oil paintings, and works on paper
from the 1950s to the present, this show presents four artists whose works play with the viewer's
experience of form, density, depth and
perceptual access.
Bell is often associated with Light and Space, a group of mostly West Coast artists whose work is primarily concerned with
perceptual experience stemming
from the viewer's interaction with their work.
Later, she would use this
perceptual experience, which shifts boundaries between fact and illusion, the real and the imaginary, to create works in a variety of media,
from drawing, painting, and installation to sculpture, video, and performance.
I am primarily concerned with
perceptual experience that stems
from the viewer's interaction with my work.
Modern and contemporary artworks range
from immersive environments that visitors can move around in through to video, painting and sculpture, with light
experienced in all of its spatial, sensory and
perceptual phenomena.
Assembly Required presents photographs, drawings, sculptures and paintings
from the Studio Museum's permanent collection that explore the ways in which certain works are dependent on site, and the viewer's conceptual and
perceptual experience of that locale through the artist's intervention.