Lewis Ford, taking account of the doctrine that contemporaries can not interact, further develops the view that «there might be a succession of temporally diverse occasions within a single inclusive occasion» (PIC 130), with lesser occasions «prehending
their immediate predecessors within the inclusive occasion,» while being included within the becoming of the more inclusive occasion (PIC 131).
Not exact matches
As noted above, the concrescing actual entities
within a given structured society prehend in different ways a common world, i.e., the concrete interrelatedness of their
immediate predecessors together with the common element of form which bound them together as this rather than that society.2 This feeling of both emerging out of and yet still belonging to a unified whole is then incorporated into their individual processes of concrescence.
Jurassic Park III ultimately falls right in line with its
immediate predecessor, as the film, though equipped with a handful of effective sequences, simply isn't able to carve out a place for itself as a legitimately necessary followup (ie there's nothing
within the narrative that advances the Jurassic Park story as a whole forward).
Paintings and prints frequently carry particular meaning
within Petzold's films, as examples of the ancient tradition of ekphrasis, probably none more so than in Phoenix's
immediate predecessor Barbara (2012) with its conspicuous Rembrandt print, but likewise in much earlier works like Die Beischlafdiebin (The Sex Thief, 1998) with a Gerard Richter on the wall — another artist conspicuously engaged with multiple forms of peculiarly German afterness.4
The difference between Rauschenberg and his
immediate predecessors was that, whereas they were certain that the source of the painting's independent life was somehow
within themselves, he was interested in making art out of the disparate and impersonal matter of everyday life, the castoffs of commodity culture.