Sentences with phrase «hybrid object as»

Not exact matches

(PR 40) However, in the course of his fuller exposition in the second part of the book, Whitehead realizes that the prehension of the novel eternal object must be an objectification of that possibility as envisioned in God, hence a hybrid prehension of God.

Second, if the prehension of the novel eternal object is, in fact, a hybrid prehension of God, then the new occasion should deal with it as it does with other hybrid prehensions.

Whereas in relation to other actual occasions their causal efficacy for the new occasion functions only in the initial phase, this interpretation of the rise of novelty requires that God's causal efficacy function also in subsequent phases since «conceptual reversion» occurs after the initial phase of the occasion.51 Second, if the prehension of the novel eternal object is, in fact, a hybrid prehension of God, then the new occasion should deal with it as it does with other hybrid prehensions.

In the initial statement of the categories, this prehension is understood as a new conceptual feeling.9 However, in the course of his fuller exposition in the second part of the book, Whitehead realizes that the prehension of the novel eternal object must be an objectification of that possibility as envisioned in God, hence a hybrid prehension of God.

For the first time, Dolby Atmos introduces a hybrid approach to mixing and directs sound as dynamic objects that envelop the listener, in combination with channels for playback.

The company that once sold an affordable compact so clean it met emissions standards without a catalytic converter is hell bent on owning the hybrid market — small as it may be, Prius be damned, and cost no object.

The gun is described in - game as «[the] FarSight rifle is a Maian hybrid of an X-ray scanning device coupled with a ridle that can shoot through solid objects.

Through the utilization of found objects and raw industrial materials such as fluorescent light tubes and color correction filters, Popović's hybrid light installations probe the relationship between artwork and object, audience, history, and environment.

Paintings also have possibilities as odd, hybrid «image - objects» that add a layer of resonance in contradistinction to the variety of images rooted in an interface (from screens to pages to billboards); interfaces that we as viewers are invited to ignore, and from which media images seem to float.

Margie Livingston's work participates directly in this narrative, creating hybrid objects that shift back and forth between sculpture and painting as well as abstraction and representation.

Plastic bottles and iPods are stuck into clay; potatoes grow from abstract structures; glass and body parts and pieces of cutlery fuse to form hybrid constructions such that even we, as contemporaries of these objects, lose sense of their original purpose.

Collection, as Walter Hopps observed, is probably the first of Rauschenberg's works to evince all the characteristics of a Combine, that hybrid of painting and sculpture that the artist developed in the 1950s.1 Yet, despite the challenge to conventional categories posed by its collage and the addition of objects that transgress the limits of frame and picture plane, Collection stands primarily as a reflection on the contemporary status of painting.

Emma Cousin's painting «Hybrid» is a brilliantly complicated start to the show, as its strong and varied yet complementary palette presents a collage - style composition with elements and angles from identifiable objects and characters.

Famously defined by Judd as «neither painting nor sculpture,» the object was not a media hybrid as we might assume but, as Thierry de Duve has insisted, a radical negation of these categories.

His projects serve as metaphors that highlight the hybrid aspects of these transitional places, where he finds «poetry, beauty, ingenuity, and humor in the fringe areas that lie «in - between» - places where culture, nature, objects, and aesthetics collide, overlap, adapt, and sometimes co-exist.»

As artistic practices have expanded beyond the boundaries of the production of objects, often incorporating historical context, editing and interpretation — work typically associated with the curator — we are seeing a blurring of the boundaries between the artist and the curator, and the evolution of a hybrid practice, the artist / curator.

She creates wearable objects and hybrid creatures as catalysts for interactive role - play, performance and video.

Using a variety of discarded and obsolete objects as a starting point, she creates surreal environments populated by hybrid machine - organisms constructed from urban debris.

Also known as Deadly Nightshade, this amongst other botanical elements, symbols and body parts literally fuses a symbolic role to his botanical imagery and transforms the object into an exotic hybrid.

In her first solo exhibition at Hyde Park Art Center, A Modern Day Shaman's Hybrid Devices, Power Objects, and Cure Books, artist Rhonda Wheatley showcases sculptures created using vintage and found materials which act as tools of healing and transformation, working with the user's conscious and subconscious mind, cellular memories, ancestors, and past and future -LSB-...]

In her first solo exhibition at Hyde Park Art Center, A Modern Day Shaman's Hybrid Devices, Power Objects, and Cure Books, artist Rhonda Wheatley showcases sculptures created using vintage and found materials which act as tools of healing and transformation, working with the user's conscious and subconscious mind, cellular memories, ancestors, and past and future lifetimes.

Whether introducing glass fragments on a print, thereby blurring the line between image and physical object, such as in Impossible Objects # 4, or casting a hybrid material she developed called puffy glass, Srinivasan's experimental contributions to the field are undeniable.

This hybrid approach gives Rogers's objects and spaces a distinct texture; they read simultaneously as slick and intimate, highly constructed but also sincere.

A brilliant final chapter in Matisse's long career, the cut - outs reflect both a renewed commitment to form and color and an inventiveness directed to the status of the work of art, whether as a unique object, environment, ornament, or a hybrid of all of these.

(Susan Sontag) If we consider an artwork not solely as an object but as an experience, we might also consider the gallery as a hybrid space in permanent reconfiguration: all at once a gallery, an auditorium, a screening room, and a performance space.

The house he returns to has in the meantime changed into a hybrid between warehouse and shrine, full of the objects, antiques and works of art that Martin Wong had regularly sent back to his mother, as well as a large number of his own works that he dedicated to his parents.

As thin doilies of color or tufts of mold - like growth spread over the object's surface, these hybrids work like a counterpoint and respond to the idealized representations of nature found in domestic patterns.

She's of the same species as wacky - hybrid - object - sculptors like Virginia Overton and Dave Hardy whose creations seem wholly wacky, but wonderfully thoughtful.

This has created a strategy where the work as a whole is a series of relational forms or fields of opportunities rather than separate and limited objects, and thus creates a system of references, hybrids, negotiation and reinterpretations from work to work, image to image.

While the title of the series refers to Ad Reinhardt's black monochromes, Platéus» hybrid objects (part volume and image, part sculpture and photography) call to mind the same register of landscape as Bernadet's Black Paintings.

In a 2000 Art in America review of «New Steel Paintings» at Stefan Stux Gallery, Tom McDonough described Allain's work as «hybrid art works in the tradition of Donald Judd's «specific objects.

As we encounter these hybrids between sculptural objects, and products familiar to our everyday experience, their separation from their defining brand offers clues to the objects «true» function.

Alexandra Bircken works in the round, proposing a hybrid of painting and sculpture as a tightly wound package made from cardboard, fabric, Legos, various small objects and red - orange acrylic.

Formally educated as a potter and urban planner, Chicago - based Gates is an artist and curator whose practice is a hybrid of community development, social engagement, object making and performance.

The apparent contrast between object and environment comes to represent an immigrant's hybrid identity, forever linked to his native land but now as an outsider.

Equally riveting are her videos and performances, reflections of a parallel practice; but rather than considering these as distinct entities, the artist often blurs the line between them, using the theatrical actions of burning, charring, disassembling, and reconfiguring materials to create her objects in a hybrid process sometimes referred to as performance - based sculpture.

The work as a whole is a series of relational forms or fields of opportunities rather than separate and limited objects, and thus creates a system of references, hybrids, negotiation and reinterpretations from work to work, image to image.

The photographs become object and subject, or, as Parlá says: «The works for Multiplicities are the hybrid imprints of my soul and evidence of the passage of time.

More hybrid forms that he Attia collects as artefacts link together residual objects and materials including a military helmet and a guitar.

The artist develops a hybrid work, of pictorial and sculptural character, where the image blends with the materiality of the object in a apparent contrast that functions as a symbolic complement.

Untitled was an important step in Rauschenberg's development as an artist; his use of everyday objects continued to evolve, eventually resulting in a hybrid of painting and sculpture now known as Combine paintings.

Regarding three - dimensional painting: although examples of this approach are to be found in all four categories, its existence as a real world object along with whatever formal or metaphorical freight it carries tends to put much of it in the Hybrid Mimetic - Abstract category.

Gutai paintings were the result of a surface being heavily manipulated by human presence, in which the body is used as brush or mark - making device, resulting in a hybrid object somewhere between the act of painting and the action of the body.