Physical decay of the urban landscape is juxtaposed with a remarkable formal beauty just as, in
a more conceptual sense, time and timelessness contend with each other in these works.
Not exact matches
A philosopher notes three areas in which linguistic philosophy could broaden itself: 16 (1) broaden the verifiability principle so as to make other experiences besides
sense experience possible, (2) abandon the viewpoint that would reduce all meaning of things to present or actual fact, and (3) pay
more attention to
conceptual frameworks through which we seek to apprehend the world.
In this
sense, physical feelings are
more inclusive than
conceptual feelings.
Whitehead's «method of extensive abstraction» is used not only in his early writings in the philosophy of natural science but also in his later,
more metaphysical, writings to abstract from the complexity of the relations which comprise the datum of
sense - perception and to isolate by a
conceptual analysis those relations which express a uniform metric structure, that is, to «exhibit» a basis of uniformity in nature.21 It is the
sense in which this uniformity is «required» that is the crucial point for further investigation.
The opposition is between the view that the further back you go, you go to
more and
more rudimentary judgements and the view that there is a real difference between perception and thought; and also that you don't in perception come down to a (Kantian) inchoate manifold which you work up with
conceptual schemes, but that you come down to something given in
sense - awareness about which you can say a great deal
more than that.
Yves Klein (1928 — 1962), was a
conceptual artist par excellence, a radical, utopian dreamer described by the French critic, Pierre Restany as «a painter, but also infinitely
more: a believer living in his own
sense of the divine», whose diverse practice included ephemeral works in his quest for immateriality.
As with
more than enough
conceptual painting, too, I felt ashamed of both my amusement and
sense of wonder.
Schapiro's approach was, in a
sense, much
more conceptual, which may have been a signal of the role that political ideology would come to have in her work.
This reveals an explicit preference for the «art» side of the ostensible dichotomy between art and craft, where art, unlike craft, takes place within and engages historical discourse: for example, Ono's «written instructions» make
more sense alongside other
conceptual art of the time.
Visiting the Michael Tedja solo show at the Amstelveen venue makes the connection apparent: although the Surinamese - Dutch artist is evidently
more inspired by Jean - Michel Basquiat's urban energy, and he embeds his own work into a
more rigorous
conceptual matrix, and a creative urge similar to the one animating Cobra art can be
sensed throughout.
Alternatively, some works conjure a
conceptual idea using one (or
more) of the
senses, or poetically evoke the
senses.
Whereas in the
conceptual painting of the»60s, there's
more a
sense of analyzing modernism or reflecting on its essentials — so the story of
conceptual painting belongs with modernism.
And in that
sense, a climate model is nothing
more or less than a
conceptual model, necessary to give a frame of reference to the state of the real world, which can never be generated by observations alone (which are incomplete, may be inconsistent, contradicting each other, biased, non-representative,...).
There is one
more possibility: Spotify could one day cut out the labels altogether — the idea certainly makes
sense on a
conceptual level.
Although that model still had several large modification indices of around 20, none made
conceptual sense and adding the largest made the model
more difficult to interpret so we stopped considering additional changes to the hypothesized model.