Sentences with phrase «of aesthetic ones»

There will be times when pets wear clothes for medical purposes instead of aesthetic ones.

And often time focusing on performance goals instead of aesthetic ones will help you stay sane (and the aesthetics often follow the performance!)

Not exact matches

The cards are just one part of how fashion retailer Frank & Oak built its signature aesthetic.

Sara and I pointed out that the models in the campaign, each of whom was supposed to represent a different magazine's aesthetic, were almost all Caucasian (with the exception of one Asian woman, I believe.)

Apple is just one of many makers of this sort of stuff, but its impact has been far more than aesthetic.

As one of three principals at the helm of a design and communications consultancy, I often engage in debates about aesthetic philosophies.

Penfield was one of the first brands to capture the «New England aesthetic» of outdoor garments.

It's such a one - of - a-kind piece, and I think it really captures the Splits59 aesthetic.

I mean obviously as a financial matter you shouldn't buy his newsletter and trade penny stocks, but that is the least of it; the much bigger problem is the aesthetic one.

Reflecting on Bonhoeffer in the theological journal dialog, Jean Bethke Elshtain addresses the aesthetic under the rubric of shame: «One of the reasons Dietrich Bonhoeffer was so repulsed by Nazism was precisely because of its aberrant shamelessness.

-- The difference between an aesthetic experience and a «religious» experience IS one of the questions raised in this movie, and you haven't even begun to address that question, other than to restate it.

On the one hand, the comrades take refuge in outdated forms of communication and esoteric arts and crafts instead of occupying themselves with the contradiction between the present constitution of the media and their revolutionary potential; on the other hand, they can not escape from the consciousness industry's program or from its aesthetic.

The principle of value is aesthetic, and this is another way of saying that importance is the measure of the metaphysical fact that the many become one and are increased by one.

Instead, it was often a blend of types — biblical, doctrinal, apologetic, philosophical, practical, aesthetic — focused through one or more topics.

The one group has moved: inward from an aesthetic conviction, having a vision of Eden; the other has moved outward from an ethic, having a vision of the New Jerusalem.

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....

Thus relational power is here understood as the ability (1) to be affected, in the sense, especially, of being open, sensitive, receptive, and empathic; (2) to create oneself out of what has been experienced by synthesizing that data into an aesthetic unity; and (3) to influence others by the way in which one has received and responded to their influence.

«What acts as one feels as one» is my doctrine, derived from Leibniz, and the criteria of value in feelings as such are aesthetic.

I will state dogmatically: no one has ever succeeded in making sense out of the idea of an aesthetic value so great that all possible beauty is already in it.

By the time I had graduated, the field had become «one that maintains its interest in literary texts but explores all forms of aesthetic speech and that views performance as an art and recognizes its communicative potential and function» There were three challenges to those of us graduating with doctoral degrees in this discipline: 1) to locate which performances within art and / or culture we would focus our attention on as scholars and performers; 2) to interpret the core concepts generating from the cultural turn in our discipline to other studies of culture and human communication and 3) to develop «performance - centered» methods of research and instruction in whatever parts of the university we found ourselves.

15 Such an aesthetic would concentrate, for example, on what John Cobb, following Vernon Lee, calls the «hearer» of music — that is, one who reacts to music as it is felt in the mode of causal efficacy.

Consequently, the «sense of external reality — that is to say, the sense of being one actuality in a world of actualities — is the gift of aesthetic significance.

Modern man enjoys erotic, aesthetic, political, and religious experiences independently of one another.

Much work needs to be done in clarifying the relationship between creativity on the one hand and inheritance from the immediate past on the other — I have begun this clarification in section I of Chapter 2 of my A Whiteheadian Aesthetic.9 It has been a characteristic of the Hartshornian group to play down the notion of creativity at the same time that they augment the importance of God — God has encroached on the role Whitehead assigned to creativity.

The goal of therapy within Bateson's view of mind would be to increase our aesthetic resonance with the unity of contexts, transforming our consciousness from a linear, mechanistic view of reality to one governed by the aesthetics of patterns.

The fundamental aesthetic nature of systems epistemology is one of the central ideological legacies of Gregory Bateson.

Ifthe aesthetic synthesis is to be one which is comprehensible and deeply satisfactory, the variety sought must be «the variety of structures, never of individuals» (PR 319 / 485).

So when the loss is called an aesthetic loss or an aesthetic evil, one does not discount the significance of the event.

Very likely, I am one of those whose orientation is much more aesthetic than ethical.

Although the attachment of a feeling of promise, for good or ill, to a proposition in the context of an entity's self - creation might suggest that the «logical force» of propositions is an ethical one, it could just as easily be thought of as an aesthetic one.

Finite beauty powerfully points towards the infinite but unreachable beauty of God, arousing in us who experience it both joy in possession, and pain in the perceived absence, of the one to whom we may be drawn and directed by a particular aesthetic event.

I vividly remember that on one occasion in the late 1970s when I was walking with Malcolm in the East Sussex countryside, he started talking about the emergence of aesthetic nihilism in modern life and literature, a phenomenon that he identified with the Bloomsbury writers, whom (except for Leonard Woolf) he particularly loathed.

One who has earnestness and inner spiritual resources can let his soul be lifted by such beauty as is present, get along without what is absent, and avoid confusing aesthetic pleasure with the beauty of holiness.

At least one variation of an educational aesthetic is peculiarly Christian.

If this is so, then the issue becomes not one of distinguishing those modes of human thought and experience which are «aesthetic» in character from those which are not, but one of evaluating and comparing (insofar as this can be done) different experiences with diverse textures and degrees of aesthetic intensity.

Doing a long series of arithmetical calculations or working all day entering data at a computer terminal may result in almost total «an - aesthesia,» while proving a new mathematical theorem or writing a complex computer program may bring about intense involvement and the enjoyment of vivid immediate experience.8 «Aesthetic» experience in the more usual sense of tile term can also y ~ ry fi - om trivial to highly intense, even when it relates to a single object; one is reminded of the cliche situation in which one member of a couple listens in rapture to a concert while the other writhes in boredom.

One of More's colleagues, a Swedish philosopher named Nick Bostrom, took to the podium at the same conference to predict «orgasms and aesthetic - contemplative pleasures whose blissfulness vastly exceeds what any human has yet experienced,» as well as «love that is stronger, purer and more secure than any human has yet harbored» and «values that will strike us as being of a far higher order than those we can realize as unenhanced biological humans.»

Instead I see the aesthetic teleological vision as one in which we may break out of the confines of the ethical criteria usually employed in theodicies that have proven to be unsatisfactory for the reasons outlined so clearly in Kushner's fine book.

The fact is that our experience gives us all this together, as being profoundly one in impact upon us; we can not cut up the world of experience, after the fashion of an earlier philosophy, and speak as if that which in its aesthetic quality has subjective appeal must lack any genuine reality in the world itself, simply because it does not lend itself to a particular kind of analysis by measurement or testing.

The «thesis... that all interests should be organized as to function as one,» so as to be «creative of integrated experience,» while «sustaining and increasing the number of different elements or aspects of the world which enter into consciousness,» seems to adumbrate a vision of aesthetic organization of value experience (OI 3, 15).

One sees in Bloom's The Book of J that discrimination is required, just as it was required in historical analysis, if the Bible is not to lose its theological voice in the name of secular worship of an author or an aesthetic ideal.

In response to this set of questions we must again call to mind the notions of physical reality, perception and causation described in the earlier chapters, and the aesthetic notion of value sketched in the previous one.

«actual occasions» are shaped not only by logical reasoning, but includes all aspects of one's subjective experiences, including the use of ones imagination, aesthetic feelings, and other forms of non-cognitive and unconscious influences.

One of them, a priest at a Shinto shrine, answered that it is the devotion to the creative forces in the universe in the bodily, the cosmic, the ethical, the intellectual, and the aesthetic realms.

A teenager or young adult might prefer the sleek lines and minimalist, Bauhaus aesthetic of the Lamy 2000, which, legend has it, was at one time displayed at the Museum of Modern Art.

Aesthetic - metaphysically it is honored as a sign of a deep nature that one despairs of the forgiveness of sins, pretty much as if one were to regard it as a sign of a deep nature in a child that it is naughty.

With Aristotle's opposition to Plato standing in the distant background, and deeply influenced by Hegel and Darwin as well as by the bustling energy of earlier American optimism, all is conceived of in terms of a dynamic flow as interacting parts rise into existence and dissolve by their inevitable organic and aesthetic responsiveness to one another and to the emerging and progressive whole that they constitute.

The creative class, those obsessed with trends and aesthetic, the ones posting Instagram photos of their grain bowls and standing in line for an Impossible Burgers, weren't engaged in the conversation.

The owners of Manka's Inverness Lodge (one of Bon Appétit's Top 10 Food Lover's Hotels) have brought their signature aesthetic — rustic, spare, elegant — to the old Olema Inn in Marin County.

Slipstream: Providing a distinct aesthetic that easily translates from day to night, from casual to formal, the restaurant offers a warm, welcoming locale for one of Washington DC's most upcoming neighborhood.