Sentences with phrase «into subjects and objects»

The intricate textile sculptures of Sanford Biggers, Nick Cave, Pepe Mar, and Shinique Smith affect organismic dreamscapes and irrupt the habit of, as Maurizio Lazzarato writes, partitioning assemblages into subjects and objects.

More thoughts from the Criticwire Network: «Carol» Criticwire Average: A A.O. Scott, The New York Times Mutual attraction may be central to our notion of love, but it is a curiously rare occurrence in art, which tends to split desire into subject and object.

An elegant visual pun, the choice to develop a flag into the subject and object of his artwork is also significant.

Not exact matches

And from There You Shall Seek by Joseph Soloveitchik Ktav, 230 pages, $ 29.50 Near the end of Courage to Be, Paul Tillich writes: «God as a subject makes me into an object which is nothing more than an object.

In the New Testament, beginning with Jesus himself, the projection of personal destinies into the future world plainly accentuated the importance of the individual and made souls the objects of solicitude and the subjects of salvation.

In this way Aristotle avoids the predicament whereby the immanence of the object collapses into a physical qualification of the subject and the transcendence of the object is nothing more than the complete externality of the cause.

To begin with, I think we must admit that when Whitehead speaks of the subject being constituted of its objects and the cause passing into the effect, he means, at least in part, that the objects / causes are reproduced by way of likeness insofar as the subject / effect assumes the same forms.

From the lived togetherness of I and It, philosophy abstracts the I into a subject which can do nothing but observe and reflect and the It into a passive object of thought.

In my case the subject has struck a new path and is not at all conscious of the duality of his act; in him life is not split into an object and subject, or into acting and acted.

A prehension is not so much a relation as a relating, or transition, which carries the object into the makeup of the subject.1 White - head's «feelings» are not states, but» «vectors»; for they feel what is there and transform it into what is here» (Process and Reality 133).2 He was writing a theoretical transcript of the fact that you feel this moment of experience to be your very own, yet derived from a world without.

There are differences, finally, as to the relation between subject and object: whether the object is known through dialectical or analytical reasoning, scientific method, phenomenological insight into essence, or some form of direct intuition.

The «word» may be identified with subject - object, or I - It, knowledge while it remains indirect and symbolic, but it is itself the channel and expression of I - Thou knowing when it is taken up into real dialogue.

Rather, in the unity of the proposition, actual entities assume the form of «logical subjects» and eternal objects are transformed into the «predicative pattern.»

In Feuerbach's own words: «Man — this is the mystery of religion — projects his being into objectivity, and then again makes himself an object to this projected image of himself thus converted into a subject.»

It is thus the nature of every occasion of experience to be first a subject constituting itself through the prehension of past events and relevant possibilities and then an object which enters into the constitution of subsequent events.

By focusing on the subject — the ontological identity of the object we worship and the names we use to set it apart — we enter into an area of common understanding and broad consensus.

In a strand of really distinct actual entities, these would necessarily stand in a subject - object relationship to one another, so that the entity that perishes and is objectified is a different entity than that which is coming into being.

The distinction between individual actual entities and their groupings into different types of societies prepares us to understand Whitehead's creative contribution to the question of the subject - object schema, so much criticized in recent philosophy.

By mid eighteenth century in New Haven, William Livingston rephrased a «Puritan principle» to read «The civil Power hath no jurisdiction over the Sentiments or Opinions of the subject, till such Opinions break out into Actions prejudicial to the Community, and then it is not the Opinion but the Action that is the Object of our Punishment.

But, as a material object, the body could expectantly take the form of stimuli «into account» «only if we introduce the phenomenal body beside the objective one, if we make a knowing - body of it, and if, in short, we substitute for consciousness [as Descartes conceived it], as the subject of perception, existence or being in the world through a body» (PP 309).

This harm consists in the irreversible scrambling of three things: genealogies, by substituting «parenting» for fatherhood and motherhood; the status of the child, who would go from being a subject to being an object to which others have a right; and sexual identity, which rather than being a natural given would have to give way to orientation as an individual expression, in the name of the struggle against inequality, perverted into the elimination of differences.

This harm consists in the irreversible scrambling of three things: genealogies, by substituting «parenting» for fatherhood and motherhood; the status of the child, who would go from being a subject to being an object to which others have a right; and sexual identity as a natural given, which would have to give way to orientation as an individual expression, in the name of the struggle against inequality, perverted into the elimination of differences.

We would have A + B + C, where A is the negative, B is a causative verb (in Hebrew, «lead» = «to cause to go,» as in Psalm 23) with affixes for second - person singular subject and third - person plural object, and C is «into - temptation.»

In their experiments, the Tübingen researchers placed test subjects at a computer screen and into a virtual maze, where they had to find hidden objects.

Some, of course, will object on principle to the mere act of turning events such as the Iraq War and the 9/11 attacks — two of Greengrass's previous subjects — into pulse - pounding thrills in the first place, arguing that he's exploiting real - world trauma for the sake of shallow entertainment.

The use of pronouns often seeps into the lessons in a number of different aspects: Subject pronouns are discussed when forming and conjugating sentences in the various tenses, object pronouns are introduced through questions words such as «who» or by a discussion of transitive and intransitive verbs, possessive pronouns and adjectives also get thrown into the mix by discussing the question word «whose», or when pointing out how the possessive adjective modifies the noun.

Powerful pre-assessment has the potential to address a worrisome phenomenon reported in a growing body of literature (Bransford, Brown, & Cocking, 1999; Gardner, 1991): A sizeable number of students come into school with misconceptions about subject matter (thinking that a heavier object will drop faster than a lighter one, for example) and about themselves as learners (assuming that they can't and never will be able to draw, for example).

Into Me / Out of Me brings together explorations and visualizations of these three processes, which deal with the inner and outer surfaces, and the objects and subjects of the physical exchange between the human body and the material world.

Drawing her subject matter from nature and often incorporating found objects into her pictures, Warren's compositions are richly textured and boldly gestural.

Thinking of the photographs in this series as observations of overlooked or forgotten details and remnants of daily existence, Letinsky ultimately transforms this refuse into a subject worthy of close study - objects of real beauty.

«Though the works effectively resist the hype around 3 - D modeling, they also comment upon the objects they depict: By subjecting them to an algorithm's gaze, Valla's works transform the originals from the unitary, transcendent objects of our contemplation into provisional artifacts whose reception is necessarily conditioned by discourses and technologies alike.»

In exploring the realm of editions as objects, often referred to as multiples — artists have extended their practice and subject matter into materials as varied as aluminum, lead, bronze and glass.

Fantastic and exotic representational subjects sourced from objects found in nature such as dried plant detritus, (leaves, pods, twigs, etc...) are ruminated over, then transformed into bronzes and paintings in this most recent solo exhibit of Kat's work.

A Stroll through the Worlds of Animals and Men» Jacob von Uexkull (1957) / EXTRACT:» We are easily deluded into assuming that the relationship between a foreign subject and the objects in his world exists on the same spatial and temporal plane as our own relations with the objects in our human world.

Sarah Lucas Eating a Banana (Revisited), 1990 — 2017 Giclée print 36 × 48 in (91.4 × 121.9 cm) Edition of 25, 5 APs Copyright the artist Courtesy Sadie Coles HQ, London Although she was first associated with the punkish Young British Artists of the 1990s, Lucas's sculptures and photographs also engage the legacy of Surrealism by cleverly transforming found objects and everyday materials like cigarettes, fruits, and vegetables into absurd and confrontational tableaux that address subjects like death, sex, gender, and religion.

Like most of Marshall's subjects, she looks directly back at the viewer and, in doing so, is transformed from the object of our gaze into a fellow spectator.

Then, for example, something I proposed was to take all of the work of Matisse from their three galleries and bring them into the new building, and instead present three women painters who all deal with the body, like Matisse, but not as a subject, as an object.

Or is she trying to secure the entwinement between old and new by laboriously weaving her subject matter into delicate physical objects?

Today, visitors to group shows are as likely to encounter spaces in which objects are to be read and understood by human subjects, as they are to walk into spaces in which their presence (as just another object among other objects) is negligible.

Often blurring the boundaries between media, genre, and subject (photography and sculpture; portraiture and landscape; realism and fantasy), he challenges the parameters of art making, calling into question the value and significance of the art object itself.

Because the two artists involved, Jonas Wood and Shio Kusaka, are husband and wife, the exhibition «Still Life with Pots» offers insights into their visual dance, their evolving repartee of subject and object, perceiver and perceived.

Alexa Meade is a Los Angeles based artist that paints on the surfaces of live human subjects, found objects, and architectural spaces in a way that optically compresses 3D space into a 2D plane when photographed.

Frequently pairing readymades with alternately fabricated and hand - crafted objects, the work consistently interrogates modes of display, transforming the act of presentation into a subject unto itself.

Through a process that begins with casting, these found objects are moulded into forms that look oddly familiar and yet not, then cast in stainless steel, and finally subjected to intense polishing.

* Like above, the concept of materiality is currently subject to a shift from thinking of objects as mere static entities to understanding them as events in a continuum, moving within different networks and always on their way to be transformed into something else.

Pop artists cared little about creating unique art objects; they preferred to borrow their subject matter and techniques from the mass media, often transforming widely familiar photographs, icons, and styles into ironic visual artifacts.

Recent group shows include From an Object Into an Active Subject, Alexander's Garage, Brooklyn, NY; Triplication, Sushi Bar Gallery, Brooklyn, NY; Noise, ETAA Studio, Seoul, South Korea; Electric Swing, Ruf XXX, Seoul, South Korea; Cicada Screen, The Java Project, Brooklyn, NY; Leopardi Giacomo III, Peninsula Art Space, Brooklyn, NY; Triskaidekaphobia, Parade Ground Gallery, NYC; Optic Nerve 14, Museum of Contemporary Art North Miami; and Providence & Co., Union Docs, Brooklyn, NY.

His videos often take as their subject the human face, fragmenting and distorting its physiognomy, and thus the legibility of expression, by projecting it onto inanimate objects or embedding it into his sculptures.

The six vibrant and highly detailed tapestries presented here bear the influence both of early Renaissance painting and of William Hogarth's «modern moral subjects,» literally weaving characters, incidents and objects from Perry's research into a modern - day version of Hogarth's famous A Rake's Progress.

From Louise Bourgeois's massive, brown member, Fillette (Sweeter Version)(1968 — 99), a dangling sculpture that seems to rot in real time; to Lynda Benglis's photographic depictions of the ambiguous boundaries between gender / sexuality identification in Secret 3 (1974); to EJ Hauser's gestural shrine and Whitman's brilliance, Big Whitman (2012), each artist has adopted the male body as their subject, immortalizing them into objects married with sweeping sentiments.