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.
Beauty, the name of this all - embracing value, can not be interpreted simply in terms
of aesthetic categories.
In other words, Christian eschatology must be painted like creation in «the colors
of aesthetic categories.»
Not exact matches
The sixth level
of abstraction displays the
categories of «forces» or «factors» traditionally used by historians to indicate their disciplinary perspective: economic, political, technological,
aesthetic, psychological, social, or cultural.
The revolution in the conditions
of production in the superstructure has made the traditional
aesthetic theory unusable, completely unhinging its fundamental
categories and destroying its «standards».
If the concepts
of relational power and
aesthetic value are accepted as more adequate
categories for understanding human experience than those arising from substance metaphysics, then we must obviously change our images
of ideal personhood and ideal communities.
Because I take seriously Whitehead's claim that the most fundamental order
of reality is
aesthetic, and the attendant doctrine that «The real world is good when it is beautiful» (AI, Chapter XVIII, Section III), I want to propose that we use the
category of beauty as the norm in constructing our images
of person - hood and
of personal and communal relations.
Both Whitehead and Charles Hartshorne have repeatedly argued that art and
aesthetic experience arise within a structure
of contrast within identity, or unity in variety.3 This structure enables the mind, or the rationalizing self, to grip the beautiful, to hold it within a
category, sometimes called a proposition.
Whitehead suggests that the fundamental
category for understanding the universe is
aesthetic valuation toward order and that the richness
of creativity will sometimes produce aberrations as well as serendipitous outcomes.
The vibration and rhythm
of these enduring objects is explained by the
category of reversion, which is in turn explained in terms
of Whitehead's
aesthetic principles.
Many activities associated with technology, and many so - called «rational» processes, fall into the
category of the tedious and the repetitive; they submerge
aesthetic awareness in habit and routine.
Metaphysics has traditionally been understood as the search for a coherent set
of general
categories for the interpretation
of the whole range
of human experience — scientific, religious,
aesthetic, moral, etc..
In the latter we find «The
Category of Aesthetic Harmony»)
The findings will help marketing professionals make better decisions on
aesthetic design, and can be applied to a wide range
of product
categories including electronics, wearable technologies and household appliances, Balachander said.
Like a lot
of you, I'm sure, I don't think my personal
aesthetic fits into a particular style
category (preppy, all black, trendy, vintage, sporty...).
Isabel Marant has created such a distinct
aesthetic to each and every one
of her collections that it has become a culture, and can almost stand as it's own
category.
Sally Potter: An English filmmaker whose intelligent and sophisticated film style often explores the capacity
of aesthetic, and human intimacy to transcend
categories such as gender, sexuality, religion, culture and politics.
Easily my favorite award
category of all the year - end shenanigans, the Heterodox Award is designed for the brazen filmmakers who allow docu - form to enhance the narrative experience — essentially service narrative form who boldly incorporate a docu
aesthetic and this year's batch
of five noms do this serviceably in their own fashion.
Ever since Peter Schreyer — a former designer for Volkswagen and Audi — jumped on the Kia bandwagon to become its new design chief, the
aesthetic quality
of Kia cars have, to say the least, bumped up into the ranks
of the «that's actually a pretty classy - looking ride»
category.
Still, while advancements in product features and functionality are certainly helping to propel sales in this
category, manufacturers also carefully consider the design and
aesthetic qualities
of the automated feeders and fountains that they produce.
Not surprisingly, the emerging elite
of manufacturers in this
category have embraced
aesthetic appeal, durability and functionality.
Commercial blockbusters like Mega Man inaugurated the
category (even if the term «masocore» appeared long after Capcom first released that title in 1987), and more recent independent titles like I Wan na Be The Guy and Super Meat Boy have further explored the idea
of intense difficulty as a primary
aesthetic.
But this in effect ruled out the possibility
of making paintings that were sublime, an
aesthetic category to which Kant dedicated a fascinating and extended analysis.
In an essay about the Quogue Gallery exhibition, Charles A. Riley II notes that the show «calls for an
aesthetic that traverses the boundaries
of artistic
categories» and suggests that an understanding
of the «tectonic» weaving together
of materials as described by architecture professor Kenneth Frampton can be useful in enhancing the appreciation
of beauty in different media.
Dunham's recent hybrid
of landscape and figuration demonstrate his continued desire to transcend
aesthetic categories.
De Kooning is well known for paintings
of the female figure that transcend traditional figurative and abstract
categories and break up conventional
aesthetic frames
of reference by maximizing the expressive power
of paint in line and color.
The Letter Paintings, by incorporating the names
of mainly male and female African - American musicians, undermined prevailing
aesthetic categories by conflating many contemporary movements including Conceptual Art, Color Field, Pattern and Decoration, diary entry and social commentary.
Several artists in the exhibition reject traditional
categories of painting and sculpture to explore new modes
of art making which result in a plethora
of unprecedented
aesthetic and critical practices, ranging from industrially produced geometric abstractions, negating the hand
of the artist, to text - based investigations.
Art conservators see variations
of damage, but they all fall into one
of two
categories: structural or
aesthetic.
This way
of working does not produce a recognizable
aesthetic, nor is it meant to reaffirm an historical
category such as Process Art — to do so would be a contradiction.
He puts the political proposition
of consumption into an
aesthetic category by re-painting these weapon models.
In a series
of manifestos, beginning with theManifesto blanco (White Manifesto)
of 1946, Fontana announced his goals for a «spatialist» art, one that could engage technology to achieve an expression
of the fourth dimension in a radical new
aesthetic idiom that melded the
categories of architecture, sculpture, and painting.
Beshty's work draws upon, subverts, and redefines traditional artistic
categories to create an artistic practice built upon material qualities
of the
aesthetic object and its often contradictory uses.
Fuelled by a deeply felt antipathy toward nostalgia, and incorporating references to personal, folk, and collective histories, these works were formally realized in ways that evoked tropes
of modernist
aesthetic practice and theory, while critically reflecting on the criteria and
categories through which recent art historical memory has been forged.
His distinctive
aesthetic style set his work in a
category of its own.
Perhaps the art market and institutions have by now weighed so much so on the freedom
of aesthetic production, forming and informing our personal and collective comprehension
of what constitutes abstract painting, that today abstraction as a formal
category often lapses into familiar territory.
Admittedly, the differences between the two
categories are pretty small, but unlike trailer homes, all but one
of these tiny houses can be legally towed with a pickup truck or similar vehicle, and the
aesthetic is also different.
There's not a single specific change that really stands out in this
category — it's more the sum
of its parts, small changes scattered throughout the shell that'll contribute to the
aesthetic overhaul.
But apart from the obvious
aesthetic advantages, glass wall tiles have other plus points which put them into the
category of the most cross-functional finishing materials.