Not exact matches
These were by no
means the only places where Greek philosophy, based on the ontology
of ousia, blocked the more
natural expression of biblical ideas, but they should suffice to indicate the problem.
It is fundamental to any adequate understanding
of Ricoeur to note that his phenomenology is so constructed as to be open to the «signs» generated by «counter-disciplines,» and indeed to read the
meaning of human existence «on» a world full
of such
expressions generated by the
natural and social sciences, as well as in the history
of culture.
But elsewhere he says the construction
of meaning is the creative work
of the human mind (p. 4);
natural theology looks at the world through particular spectacles (p. 22)-
expressions which are at least open to a subjectivist interpretation.
Criticism may smile indulgently at the palpable deception in the claim that this was given to Moses at Sinai along with the Torah, but if we would read the
meaning of figurative language, it is apparent that this was but an
expression of the sense
of a pervasive
natural law: the religious impulse and revelation with which the name
of Moses was associated was too great to embody itself in written form — not even the Torah was adequate; but it reposed ultimately in the divine impress upon the heart
of man.
The reason for this is that the play
of all games generates exceptional narrative experiences, in part because humans are
natural storytellers and construct our way in the world by
means of narratives, and in part because play is one
of our freest emotional
expressions and thus inherently memorable.
As Max Bill explained: «We call «concrete art» those artworks that emerged on the basis
of their very own
means and rules — without extrinsic reference to
natural appearances or their transformation... concrete art in its final consequence is the pure
expression of harmonious measurement and law.»
The term Arte Povera was actually borrowed from the theoretical performance manual, Towards a Poor Theater, written by the Polish theatrical director Jerzy Grotowski, who called for the removal
of excess props and ornament (the moneyed theater
of spectacle) from the stage to the point that the actors used only their
natural gifts to activate
meaning with facial
expressions, voice, gesture, and acrobatic movements (hence materially «poor»).
Re-defining «luxury»
means turning to the rich
expression of natural materials and forms for these designers.
In present - day culture, where it no longer makes sense to seek inspiration in nature from a distance, Naturalment reveals itself as a thesis on creative awareness
of the
natural environment, an experiment that, like an
expression of street art, takes
meaning from, enters into dialogue with and interacts with an urban environment.