Sentences with phrase «nature of aesthetic experience»

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

Rob Marks writes about the nature of the aesthetic experience and its effect on self and society.

This book investigates the nature of aesthetic experience and aesthetic objects.

Not exact matches

At first they may be taken merely as aesthetic moments, such as communing with nature, savouring memories andimages, meeting mysteries, the heightened sensing of musical sounds, odours, colours, the thrill of acute poetic expression, or moving encounters with other human beings; but on further reflection people often cite such experiences as having a spiritual quality and as hints of the divine.

Any aesthetic which eliminated entirely the propositional nature of art, reduced art to something physical and aesthetic experience to a physical encounter, would be silly.

For him, it is not the systematic world of the speculative philosopher that is of greatest value, but the natural, chaotic process which lies hidden behind the falsifying face of reason, a process whose true nature can only be known on a purely aesthetic level through experience in its immediacy («Beyond Good and Evil,» BWN Section 213; «Will to Power,» Section 794).

By approaching the question of mind and nature in this way Whitehead is able to provide us with an aesthetically rich understanding of nature, which at the same time preserves a necessary role for reason and the search for truth as an indispensable element in the determination of conscious experience, the enhancement of our aesthetic sensibilities, and the general advancement of civilization as such.

Is there a greater aesthetic value in participatory experiencing «in accordance with the natures of things» than in a mode of experiencing which involves the active construal and perhaps even domination of the experienced object?

I see no consistent basis within the framework of Hall's own thought for asserting that this particular kind of experience is somehow «illegitimate,» that its aesthetic quality is greatly inferior to that which results from the experience of art or nature or interpersonal relationships or even of mystical contemplation.

An essential element of Hall's novel vision of the future is the idea that once technology has been fully established as a self - governing, self - sustaining system, a sort of «automatic rationality» with which we need no longer concern ourselves, we will be free to turn away from «actions over against nature,» to turn our attention «inward» to the sort of «actions» which enhance the aesthetic value of experience.

In his first book, entitled The Philosophy and Psychology of Sensation, Hartshorne announces his agreement with the Whiteheadian idea that the materials of all nature are events composed of aesthetic feeling,» claiming the additional support of modern physics for the contention; and he has never wavered in this conviction.17 Moreover, he also expounds in this work the further Whiteheadian notion, which he tirelessly repeats in his later works, that what the Constituent experiences or feelings of the universe experience are other experiences.

The first of our two schemes is framed in terms of the hierarchical structure of nature and the second in terms of aesthetic experience.

The emphasis on immanence, the rejection of any substance underlying the succession of experiences, the relation of man to nature, the primacy of aesthetic categories in the understanding of ethics, all have affinities to this or that Asiatic philosophy or religion.

Lindsay will oversee all aspects of the culinary experience at Bardessono and for Lucy Restaurant & Bar, the hotel's award - winning, signature restaurant presenting innovative, garden - inspired cuisine that embodies the property's «exceptional by nature» modern aesthetic and eco-spirit.

Her analog aesthetic blurs boundaries and creates a multimedia experience that blends appreciation for the beauty of nature.

They strove to challenge and transgress the traditional dictums of art making, to transport art into new spaces, to create an experience for the viewer, and to dissolve boundaries between nature, art and technology, all with an optimistic enthusiasm and unrestricted aesthetic.

His critical interests concern the intersection of processes, motivations, and outcomes in music, art and design; art as a social practice; and generally, the nature of cognition and aesthetic experience.

Combining the empirical qualities of technology and the subjective nature of painting, Finch created light boxes that produce an aesthetic experience of the fleeting, temporal nature of the observed world.

Despite the diverse nature of the 20 artists» work, reflecting a great variety of concerns, ideas and media, they have in common an attempt to construct compelling aesthetic universes, to convey their own intensity of experience and perception of the world.

«While each painter exemplifies a kind of hybrid experience in his or her work, they differ vastly in their execution, aesthetic, and biography — creating an eclectic commentary about the nature of modern amalgamation.

With each installation, Lima consistently reinvents the viewer's encounter with her work, skillfully considering the nature of perception, social relationships, and human behavior, while creating profound and startling aesthetic experiences.

Finch is widely recognized for his work across a variety of media that captures the artist's aesthetic probing of nature, human culture, and memory through a unique cross current of science, perception, and personal experience.

Kroll asserts his individual freedom by expressing his inner nature in a kind of spiritual experience that confers a joyous authenticity to his work and reveals his deep and personal vision in a serene affirmation of his aesthetic and pictorial mastery to which this exhibition bears witness.