The argument for dismantling the Reds didn't take
a lot of abstract thought.
Not exact matches
The main benefits
of Talk a
Lot are: • Students have to
think in English during lessons in a controlled and focused way • Students learn how to memorise correct English structures naturally, without
abstract and unrelated grammar lessons • Students learn how to construct eight different common verb forms, using positive, negative and question forms, as well as embedded grammar appropriate to their level.
The main benefits
of Talk a
Lot are: • Students have to
think in English during lessons in a controlled and focused way • Students learn how to memorise correct English structures naturally, without
abstract and unrelated grammar lessons
But, on the other hand, they used a
lot of very different language, more
abstract, more challenging to children - so I
think that might be one
of the reasons why it had such a big impact on children's language and cognitive development.
It's not a skill that a
lot of people have, but I have had so many mentors who do just that, so through the years my knowledge and ability to use
abstract thinking has grown.
I
think that's like a Naum Gabo sculpture, I know there are a
lot of arguments about whether geometry is
abstract, that sort
of thing — but that feels like a more
abstract sculpture in certain senses.
I
think the skeptics, at least over the past five years or so, were proven right with regard to the artists who are making
abstract paintings that are perfect for the way they are consumed: They make a
lot of them, there's a green one and a blue one and a pink one, and you can collect them all like toys in a Cracker Jack box, which is what they're all about.
I
think there is a
lot more potential to new
abstract sculpture than the vicarious physicality
of kinaesthesia, and we should not over-simplify or take lightly these new problems.
DA: I
think when we look at a
lot of the trajectory
of Land Art from the 60s and 70s, it's often quite
abstract.
I
think that's probably the dilemma a
lot of abstract painters face.
«About his work...» Dorothy says in the new film, «it's so much related to early
abstract expressionism, that a
lot of other people
thought it was maybe old - fashioned.
Being open ended, the phrases did not convey a clear message but rather gave food for
thought to the viewer which gave them a highly contemplative and poetic quality, which merges this body
of work into the more
abstract future series
of paintings that the current
lot belongs to.
«A
lot of people are very uncomfortable with
abstract expressionism, but to be able to link it to a visual language
of representation and see how it changes to this, I
think, allows people to make that next step.
I
think a
lot of young kids by that time had gotten on to
abstract expressionism as a kind
of - what - you know, kind
of game, something that you played with.
Given the basic humanity
of geometry, it may come as a surprise to find that many contemporary painters, both figurative and
abstract,
think plain geometrical figures are chilly, «intellectual,» inhuman things best kept out
of art or buried deep beneath
lots of colorful, painterly gestures, thrustings and parryings.
(A
lot of representational painting now is very
abstract in ways, because representational painters are also
thinking of past
abstract painters.)
Andrew has got at quite a
lot of my meaning in his latest comment — I don't
think it is possible technically to seriously match the spaces Robin is raising as a comparison — and beating down other
abstract artists with — with the means with which he limits
abstract painting, the means by which
abstract painting, or at least a substantial tranche
of it has traditionally been limited.
At your recent talk there was a
lot of discussion about light in
abstract painting which I
thought, along with others, was very confused.
And so there were a
lot of different paintings underneath each painting and I used to
think when I first got to New York that that was a badge
of honor, that we were supposed to be drunken
abstract expressionists who reworked and reworked and were never satisfied.
... And a
lot of times, I
think, black artists can be held back — not being able to be
abstract, humorous, visceral, abject.»
I suppose in the
abstract this would be dull as doornails if not unhelpful, and so probably it's best to explain it with examples and in the context
of climate modeling, but I wanted to describe it in the
abstract, just because I
think what keeps a
lot of people from appreciating climate science (or even why it's hard to appreciate) has to do with very basic ideas about not just «the scientific process» but with the narrower or perhaps more easily describable process
of modeling.
«I have a science degree, but I don't
think I could confidently rate a whole
lot of papers not in my field based on that criteria by
abstract alone.
A
lot of people
think art is expensive or out
of their reach, but it can be as easy as framing your children's favorite artwork for a whimsical feel or grabbing a canvas and some paint and bringing out your inner artist (like the large
abstract hanging in our living room gallery wall!).