Sentences with phrase «of aesthetic harmony»

In the latter we find «The Category of Aesthetic Harmony»)

There are gradations of aesthetic harmony Beauty, which is «defined as being the perfection of Harmony;» comes in two forms, minor and major.

As each occasion feels its past it «orders» the diversity entering into it from the past into a novel feeling of aesthetic harmony and contrast.

Not exact matches

The present experiments were aimed primarily at establishing the nature of aesthetic preferences for color pairs and their relations to harmony, similarity, and figural preference of color pairs.

It follows that the greater the relational power of people — the greater their size — the greater their potential for aesthetic richness through the actualization of greater harmony and contrast.

When humans experience this harmony «they call it aesthetic experience Aesthetic experience is experience in which many influences vivify instead of neutralize one another and at the same time do not impair or destroy the clarity of consciouaesthetic experience Aesthetic experience is experience in which many influences vivify instead of neutralize one another and at the same time do not impair or destroy the clarity of consciouAesthetic experience is experience in which many influences vivify instead of neutralize one another and at the same time do not impair or destroy the clarity of consciousness....

In the project of self - creation throughout his life, man must strive to bring these values into aesthetic harmony aiming at intensity of feeling both in its subjective immediacy and in the relevant occasions beyond itself to achieve objective immortality.63 And man realizes that to achieve his individual destiny he must create civilizations which embody truth and beauty.

It is the «adjustment of aesthetic emphasis in obedience to an ideal of harmony» (PR 102 / 155).

The pervasive, universal values are not moral and are not mere pleasure, they are aesthetic in the sense of the intrinsic harmonies and intensities of experiencing.

The form of the harmony is grasped in a kind of aesthetic judgment, although «aesthetic» should not be taken to refer exclusively to art or to imply that the value is actually appropriate to the situation.

The kind of unity a harmony has is aesthetic, which is the basis for the theory of value and valuation below.

The «more than» is decisive, for the evils God receives are like impulses that God then renders into a richness of contrast, supplementing evil with its ideal complement, and so achieving aesthetic harmony.

In our generation there is danger and hope — danger that these noncognitive accouterments will lose their aesthetic harmony and hypnotic power when integrated with the basic prehensions of science, and be reverted into impotent and empty symbols, jarring, ugly, and without force in final satisfactions: hope that the power of Jesus as lure will reassert itself in an aesthetic context devoid of supernaturalism, a context such that (the language now picks up echoes of van Buren) the vision of Jesus, the free man, free from authority, free from fear, «free to give himself to others, whoever they were «1 — such that this vision in its earthly, human purity will lure our aims to a harmonious concrescence, integrating scientific insight and moral vision and producing a modern, intensely fulfilling human satisfaction.

Whitehead's solution to dealing with (aesthetic) evil (disharmony) is the introduction of a third system of prehensions which heightens Beauty and heightens Evil into a greater harmony.

According to Roger Ames (NAT 117), an «aesthetic order» is a paradigm that: (1) proposes plurality as prior to unity and disjunction to conjunction, so that all particulars possess real and unique individuality; (2) focuses on the unique perspective of concrete particulars as the source of emergent harmony and unity in all interrelationships; (3) entails movement away from any universal characteristic to concrete particular detail; (4) apprehends movement and change in the natural order as a processive act of «disclosure» — and hence describable in qualitative language; (5) perceives that nothing is predetermined by preassigned principles, so that creativity is apprehended in the natural order, in contrast to being determined by God or chance; and (6) understands «rightness» to mean the degree to which a thing or event expresses, in its emergence toward novelty as this exists in tension with the unity of nature, an aesthetically pleasing order.

Also, the idea of a progression of durations brings a certain aesthetic harmony to the theory of societies by unifying the variables of size, duration, and complexity across the levels of hierarchies.

But when I resituate this isolated segment back onto the whole painting I find that its formerly chaotic or monotonous qualities are resolved by the overall harmony and nuance into factors that contribute to the aesthetic value of the whole.

The aesthetic teleology I have sketched does not project some abstract universal harmony in which the suffering of individuals becomes justifiable for the sake of adding contrast to the whole cosmic tapestry.

It is because I share with Kushner (and Ricoeur) the conviction that any theodicy based on the «ethical vision» (such as those of punishment, pedagogy and universal harmony) is inadequate that I have suggested we experiment with an aesthetic vision of the cosmos.

What might qualify any claim as to the aesthetic character of Wieman's model was his concern to distinguish «organization» from «coordination,» coupled with his specification that «Coordination means harmony, but... organization does not» (JPPS14: 539).

Our universe can be understood as an aesthetic reality unifying contradictions into a harmony of contrasts that we might pronounce beautiful and, therefore, good, significant, meaningful.

In a pattern of value, conflicts are turned into satisfying contrasts by the overall harmony of the aesthetic frame of reference.

We may grasp this aesthetic notion of value more firmly if we contrast it with the notion of evil, the contrary of value.10 Evil is a quality associated with trends, persons or phenomena that remain in or degenerate into chaos or triviality when the possibility of harmony and intensity is in fact open to them.

The most signal intellectual success in the search for harmony lies, says Whitehead in Adventures of Ideas, in the application of Mathematical Harmony (Type VIII) to Aesthetic Harmony (Tyharmony lies, says Whitehead in Adventures of Ideas, in the application of Mathematical Harmony (Type VIII) to Aesthetic Harmony (TyHarmony (Type VIII) to Aesthetic Harmony (TyHarmony (Type VI).

While Spitzer's regret or half regret for the destruction of the old belief in world harmony faded, as no illusion could long keep his allegiance, he surely preserved his aesthetic admiration for the old world - picture, his historical interest in understanding it and his feeling for its survivals in our time and in our languages.

It is a twofold harmony, logical and aesthetic, he said at the end of the first chapter of Science and the Modern World: «While the harmony of logic lies upon the universe as an iron necessity, the aesthetic harmony stands before it as a living ideal molding the general flux in its broken progress towards finer, subtler issues.»

It would follow that the harmony of logic is abstract in contrast to social harmony or aesthetic harmony; which are richer, or in a word, concrete.

«3 Even Whitehead, who in the above significant passage reduces all harmony to «logical» and «aesthetic,» says only that the «system of things includes» these, and elsewhere, as we shall see, he refers to others.

Harmony may be a norm of logical coherence or of the aesthetic and moral good

Very few interpretations of Whitehead have noted the importance of harmony, aesthetic, logical, social, cosmic, and divine, which is the distinguishing mark of the Pythagoreans.

Modern aesthetic was a source of inspiration for the new saloon's sensuous lines and surfaces, whose harmony and dynamism create an immediate effect.

A tasteful modern Asian decor ignites the senses through the use of bold color and customized lighting.The unique collection of artworks and decorative pieces that are strategically placed for visual appeal add to the overall aesthetic harmony of the villa.

Ackermann's recent solo exhibitions include: «Nudes and Jacket», Karma, New York (2017); «KLINE RAPE», Hauser & Wirth New York, 22nd Street (2016); «The Aesthetic of Disappearance», Malmö Konsthall, Malmo, Sweden (2016); «Chalkboard Paintings», Hauser & Wirth Zürich (2015); «MEDITATION ON VIOLENCE - HAIR WASH», Sammlung Friedrichshof, Burgenland, Austria and Sammlung Friedrichshof Stadtraum, Vienna, Austria (2014); «Negative Muscle», Hauser & Wirth New York, 69th Street (2013); «Fire by Days», Hauser & Wirth London, Piccadilly (2012); the Museum of Contemporary Art, Miami FL (2012); «Bakos», Ludwig Museum, Budapest, Hungary (2011); and «Rita Ackermann and Harmony Korine: ShadowFux», Swiss Institute, New York NY (2010).

With these particular pictures, he was looking more closely at the «geometry of the city — created by light and shadow and their aesthetic harmony».

He considers himself a self - taught artist because his work is the result of his industrial design, architectural and engineering structure knowledge applied to his search for harmony and his aesthetic discourse.

She had a keen aesthetic sensibility and connection to nostalgia, and would strive to capture the color, balance and harmony of her beloved landscapes while also communicating the energy and personal emotion she attached to it in her memory.

My practice seeks to reveal a profound interconnection within the types of beauty, orderliness and harmony that emerge in each form, as I see both visual traditions as reflections of a single aesthetic principle.

But Newcomb Art Gallery on the Willow Street side of the Tulane University campus, is an island of aesthetic and thematic harmony.

Active in Britain as a portraitist, landscape artist, symbolist, and member of the Aesthetic movement, he is best known for his «arrangements», «harmonies» and «nocturnes».

Maybe I'd become too convinced in advance that the cutouts are one of those sublime instances in which an artist miraculously succeeds in transforming his art in old age, making «late works which crown a lifetime of aesthetic endeavor» in «harmony and resolution» (the words are Edward Said's).

«Katz's distinctive minimal aesthetic, developed in New York in the 1950s before the emergence of Pop Art and as a reaction to the dominance of Abstract Expressionism», as the Timothy Taylor gallery explain, has here «been refined to a point of poetic harmony».

Katz's distinctive minimal aesthetic, developed in New York in the 1950s before the emergence of Pop Art and as a reaction to the dominance of Abstract Expressionism, has been refined to a point of poetic harmony.

On the other side of the coin, in 2011, a Florida homeowners association's property manager asked a former NYPD officer that he couldn't fly a flag commemorating the victims of September 11th because it disrupted the «aesthetic harmony of the surrounding properties.»

The aesthetic elements of the classic wallpaper decor were complemented with golden accessories and a wonderful classical sink; the mirror and lighting are in perfect harmony with the classic design.

The black powder - coated steel frame beautifully offsets the organic aesthetic of the seat, inspiring a contemporary blend of materials that creates harmony when combined in this subtle form.