Sentences with phrase «objects of human experience»

Whitehead's insistence upon the organismic connectedness of things is certainly conducive to answering this question by means of analogy and metaphor, mapping in isomorphic fashion characteristics of the actual occasion onto the macrocosmic objects of human experience.

If such talk is construed objectively, as asserting that God is in some way the object of human experience, the fact that «God» must be understood to express a nonempirical concept means that no empirical evidence can possibly be relevant to the question of whether the concept applies and that, therefore, God must be experienced directly rather than merely indirectly through first experiencing something else.

This means, then, that God must be asserted to be in some way the object of human experience, else the foundational theological assertions could never be established as worthy of being believed.

Not exact matches

Hatred is what they certainly project, not love for the embryos, which is a piece of nonsense no one could experience, but hatred, a virulent hatred for an unnamed object... Their hatred is directed against human beings as such, against the mind, against reason, against ambition, against success, against love, against any value that brings happiness to human life.

In other cases this appeal alleges, not that there is any experience of the present self which grounds all experience of the nonself, but that the most immediate objects of present human experience are the immediately preceding instances of human experience (cf., e.g., MMCL 444).

And Whitehead says that he does not think it is inevitable that the human mind spatializes, though it often does this, and when it does, one way or another, whether through partiality or something else, it deforms the object of knowledge and of experience... [But] Bergson believed that, at least to some significant degree, the spatializing tendencies of the human intellect and of human intelligence, can be overcome by a biology and a physics that is less mechanistic.

In a summary of Whitehead's position, mathematics is abstracted from human experience to become ideal objects which initially represent general things that are symbolized in classes by variables.

Indeed, to be an object has normally meant to be an object of human sense experience, especially visual and tactile experience.

This limitation of objects to what functions in human sense - experience has rendered the reality of God highly problematic, and in late modernism, belief in the objective reality of God has been viewed as somewhat eccentric.

It is interesting to me that the most intimate human experiences, namely tile object ot our worship ana the object or human love, provide the vocabulary of profanity.

I bring the conversation up because it came to mind last week when I was reading about a Christian ethicist so passionately committed to defending the (unmistakably) exceptional nature of human beings that he thinks it necessary to forbid his children any sentimental solicitude for the suffering of beasts, and to disabuse them of the least trace of the dangerous fantasy or pathetic fallacy that animals experience anything analogous to human emotions, motives, or needs; they can not really, he insists, know anxiety, grief, regret, or disappointment, and so we should never allow them to divert our sympathies or ethical longings from their proper object.

The clockmaker God, who leaves the world - machine to run on its own, is neither an object of worship nor a participant in human experience, and bears little resemblance to the God of the Bible.

To realise its being and life, and to experience the fullness of human experiencing, the human person must be the subject and object of love, for it is precisely in love that the human person most fully actualizes itself, and thus reaches the fullest realization of its being and life (66).

Like all intellectual activity it compares, abstracts, relates; by these means it seeks coherence in the manifoldness of human experience, unified understanding of the objects or the Other in that experience.

Humans tend to experience I / Me / Mine and objects of awareness as real, concrete, substantial, and permanent entities.

S. Lynneth Solis Mind, Brain, and Education Program Current city: Cambridge Current job: Doctoral Student, Human Development and Education, Harvard Graduate School of Education Career highlight: Collaborating with researchers at the Universidad de los Andes in Bogotá, Colombia to study object play experiences of children in socioeconomically diverse preschools in the city

Hyper - individualization does precisely what the emerging body of research says it does and more: it isolates children, it breeds competition, it assumes that children can learn entirely on their own, and it dehumanizes the learning environment, reducing the human experience of learning down to a mechanistic process, one where children become the objects of learning as opposed to the subjects of their own educational narrative.»

The desire to collect objects and images of personal significance, and to make connections between them, is a nearly universal human experience.

She wishes to create links through her work to elements of human experience, particularly by engaging with emotional experience and familiar physical objects which are related to themes of nostalgia, hope, pleasure, despair and mortality.

«Central to the theme of this exhibition is the potential of objects to transform our experience and understanding of the human condition.

Inspired by a deep appreciation for botany, mycology, and biology — fields that explore parts of the physical world that are often hidden from humans» perception but shape our experiences in ways both subtle and profound — Ronay seeks to create «something that looks as if it's grown, that these aren't objects that were necessarily made by a human, but that they've grown themselves.»

Whiteread's casts of everyday objects form a quiet and powerful body of work that fixes in form the echoes and residue of past human existence and experience.

The work isn't on display at Tate Britain because it was demolished only a few months after its creation, but the ghost of «House» lives on, and the fusion of domestic objects and architecture with the power of human memory and experience, is at the core of every artwork produced by Whiteread in the subsequent 3 decades.

In the aptly titled exhibition, the artist introduces low relief sculptures and drawings to comment on cultural and psychological undertones of furnitures, not only as mundane utilitarian objects, but also as witnesses and vessels of human experience.

Highlighting the personal investment in objects, the show underscores the centrality of human experience in Kounellis's oeuvre.

«History is profoundly human, created from the objects and events each of us experiences, and Arsham's work reminds us of these important connections.

... [O] ne of the things I try to do is to infuse into the inanimate a reference back to the whole hierarchy of human experience beginning with the material, using objects instead of just paint.»

Metzinger argues that our daily perception of the world seems effortless, as a result of how the human brain produces a form of interface, a virtual reality to allow the experience of tactile objects, colors and duration.

In these times of diversity and multicultural experience, the artist's image is both a cypher for the human condition as well as the foundation for complex iconography in which the cultural object stands to reflect the impact of societal norms on the individual.

All three bodies of work demonstrate Purifoy's deep engagement with ideas about phenomenology, the human body's experience of space and time as negotiated through our interactions with objects, which has been a central concern of much 20th century art.

The works on view transcend the categories that separate drawing from sculpture, the human from the nonhuman, and the animated from the static, while experiences of technological devices and flatness lead to fantastic and absurd implications for objects and space.

The human body as subject matter became increasingly scandalous and provocative in the post-war climate, whether in Hans Bellmer's dark surrealist masterpiece Les Jeux de la Poupée, Allen Jones's typically fetishistic Waitress I, or for the body's new role as a medium of experience, object of analysis, and tool of social protest through performance, seen in the Aktionism of Gunther Brus (Patent Merde).

Sandra Ono's mixed media installations explore the experiences of the human body through the manipulation of everyday objects.

While John Armleder, Jeff Koons, Haim Steinbach, and others carry on the spirit of Duchamp's intellectual wisecrack (while exploring issues of commodification, the doubtfulness of discernment, and the irrelevance of the art / kitsch dichotomy, all addressed through a compliant stance toward the marketplace), Gober bathes his urinals, sinks, beds, doors, dog baskets, armchairs, and other furnishings in murkier, more psychologically provocative waters, transforming his roster of everyday objects into an iconography of fundamental human experience.

Gallery 101 Members will remember Dunning's solo exhibition Sapsucker Sounds from 2015, an installation of objects and interactive sound sculptures that offered an opportunity to experience sound generated by the conflation of human and woodpecker culture.

Unlike typical linguistic or botanical accounts, Mc Hugh tackles the morphology of human objects and experience; seeking to define the underlying structures and the law of form behind the everyday things which shape our lives.

Drawn partly from his own experiences growing up in the American South and his years working on Submission - which highlighted orchestrated S&M practices, DeSana continued pushing the limitations of the human body, shifting his focus further to the body as a non-erotic, non-individualized object, or prop.

Each object falls under one of four stages illuminated in the Allegory — Imagination, Belief, Thought, and Understanding — which represent the progression of human experience.

Each of these objects continue the artist's trajectory examining notions of failure, and with this pretext, examines the loaded repeat of forms, of minimalism, and even of human experience.

An abstract painting doesn't purport to create the illusion of human space, and if it does, it's not really abstract (e.g., Kandinsky's later work); therefore, it runs the risk of being experienced as a mere object, like a bad figurative painting.

The subjective experience of the observer is crucial to these works, which reflects the interdependent web of relations between the human, object, and space — without settling upon any definite conclusions.