Sentences with phrase «on abstraction as»

Ms. Dickerman places new emphasis on abstraction as a great collective endeavor that emerged simultaneously across several mutually influencing art forms, from the hands of players who often knew one another.

I was struck by her emphasis on abstraction as newness and her preoccupation with the translation of source objects.

Not exact matches

Although at times Hartshorne has spoken as though his account of experience rested on some intuition of its essence as exhibited in his own experience, 2 his predominant view and his philosophical practice advance a concept of experience that is generated by dialectical argument rather than by appeal to direct introspection or intuition: «The philosopher, as Whitehead says, is the «critic of abstractions.»

When Whitehead describes the approach to intellectuality as a gain in the power of abstraction, so that «the irrelevant multiplicity is eliminated, and emphasis is laid on the elements of systematic order in the actual world» (PR 388), we take this to mean that mentality becomes habitually effective when its potentially anarchic initiatives are both nourished and preserved at lower, more reiterative levels of conceptual functioning.

This will, Solzhenitsyn argues, can not find happiness in serving any abstraction, even one so grandiose as heaven on earth.

In other words we should walk away from divisive ideologies and abstractions and go back to living humbly and diversely and happily as one human family on earth with large tolerance and a divine wealth of education and human opportunity and accountability — the politics are as dead as a false god of convention.

On the other hand, from the empirical side, Whitehead and his colleagues in radical empiricism, William James, Henri Bergson, and John Dewey, have insisted that cognition is only an abstraction from the more fundamental physical experience, and that to treat the cognizable as the more real is — with a truly Cartesian forgetfulness — to put the wagon before the horse.

As Paul Pfeutze has pointed out, both the dialogical philosophy and pragmatism emphasize the concrete and the dynamic, both reject starting with metaphysical abstractions in favour of starting with human experience, both insist upon «the unity of theory and practice, inner idea and outer deed,» and both insist on the element of faith and venture.

What space is conceived to be must depend to some extent on what it contains and what it does; oversimplified abstractions defining location are a danger when science erects them into «theoretical» or when common - sense makes them into «practical» generalizations that are put forward as exhausting the concrete situation.

But to talk about the life of men apart from the societies that shape and constitute them is similarly an abstraction which borders on the reductionist fallacy, which sees social wholes as merely summaries of individual behavior.

On the other hand, if these lesser individuals do not preserve all of their pasts but really feel in terms of selected abstractions, and if God feels the world in a like manner (as he would have to in order to be consistent with our first principles), then he will not save all values.

Flat, blank facades on buildings conceived as commodities — or just oddities — rather than works of civic art; flat modernist pictorial abstractions; the flattening of cultural history into pseudo-history packaged as what Henry dismissed as «applied sociology» — all spoke to him of something far more ominous, the abasement of man and the crude negation of his proper relationship to nature as embodied in the great tradition.

But if Royce was incapable of rebuilding community on the basis of an abstraction as vague as loyalty, certainly Peirce was even less likely to have been able to construct a viable notion of community.

As the 20th century progressed, these currents would evolve into existentialism, whose diverse forms insisted on the primacy of existential individuals with unique freedoms over science's abstractions and necessary laws.

Characterizing world consciousness as «a very high level abstraction which has affected the thought patterns of an individual or of a society» (p. 5), Regan goes on to show how for Whitehead the approximation to world consciousness and the development of religion are parallel.

But Thomas Blackburn, another NCR columnist, describes the attempt as «another useless document on sex certain which deals with Latinate abstraction rather than with real people» (January 13).

There could be generalizations of Extensive Abstraction applicable to colors and so on, but the particular example he develops concerns space and time, where proceeding from perceived events one achieves points as ideal limits of a series of approximations.

The Internet is an abstraction to the world that we inhabit; yet it is also intimately tied to our world as a technology having a shaping force on the world.

In the conception of the physical as «acting,» on the other hand, change of other kinds in addition to locomotive change are admitted, so that a mechanistic analysis must accordingly be only of an aspect of physical acting, which means that since it leaves out of account other aspects or features of change or motion, it is an abstraction.

This is what Whitehead speaks of as its «relational essence» — see his chapter on «Abstraction» in Science and the Modern World.

The historical timing of this mistaken notion that the selected data («abstractions») of physical science exhausted the concrete could hardly have been worse, coming as it did just when the industrial revolution and new political revolutions should have been based on the most precise attention to relevant value.

Even if it made sense to speak, as Whitehead does, of a «world» as the «relative actual world» of a unique event — then how do such «worlds» stand in relation to that real level of abstraction (cf. 2.4) on which actual worlds and actual experiences interact and interpenetrate one another, the level which Whitehead sometimes defines as «nature»?

Though Bergson did not develop an elaborate theory of extensive abstraction, it is not surprising that he should have viewed Whitehead's The Concept of Nature, in which this theory is given its classic formulation, as «one of the most profound (works) ever «written on the philosophy of nature» (DS 62n).

These seem, on the surface, to be forms of foundationalism.16 Whitehead seems to be of two minds about these concepts, usually treating them as abstractions from fully concrete human experience, which includes transmuted contents synthesized from these elements.

Finally, I think that the move towards abstraction has been catalysed by the need to overcome what people see as the dead end of identity politics and its parochial focus on particular group experiences to the exclusion of wider issues of democratic solidarity.

Recently, advanced cognitive researchers have been especially focused on the capacities of abstraction, generalization, concretization / specialization and meta - reasoning which descriptions involve such concepts as beliefs, knowledge, desires, preferences and intentions of intelligent individuals / objects / agents / systems.

Matternet co-founder Andreas Raptopoulos says the ultimate vision for his company is to build a delivery system that uses a network of drones (see «The drone is flying it to you now «-RRB-, with package delivery reaching the same level of abstraction as the delivery of email on smartphones.

Reduced by Refn almost to the point of abstraction — it could have been called Notes on a Rehearsal for an Action Movie — Drive may do little to win over multiplex crowds who prefer the fast and furious to the moody and languorous, but it reconfirms Refn as one of the most exciting young directors around, and Albert Brooks (stealing the film as a small - time Jewish gangster with an aversion to loose ends) as a national treasure.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

Other moments of abstraction leap out from the blue - tinted office backdrop: on a New York street corner, when Bradlee and his staff seize on the first, fateful Pentagon Papers leak published in the Times, the camera lingers as the wind whips their hair and ties into the blustering air, and they grasp the newspapers thrown into shock.

While studying in the Piscataway communities, LAMB students build upon the skills and content mastered in the lower elementary curriculum and make the passage to abstraction — becoming less dependent on Montessori materials as they internalize the concepts represented by the materials.

Acer's plan is that that, ultimately, all of its smartphones will also sport ClearFi, a new tiled UI that will work as an abstraction layer across mobile gadgets running on multiple OS.

As the game runs on Unreal Engine 3, Abstraction (who's doing the Vita / 3DS port — behind Kick & Fennick, Duke Nukem 3D Megaton and others on Vita) seems to be having a hard time getting the game running well on mobile hardware.

Laurens: We can't answer this question in a technical sense as our friend at Abstraction Games did all the technical work in getting the game on Vita.

According to the Facebook post, the PS4 port is being worked on by both Romino and Abstraction Games, and will «contain all features the extensive PC version»,» which includes «tons of fixes» to code and gameplay, a new map, and over twice the characters as the previous console releases.

Abstraction has strong publisher and first party relationships from its history of working on large adaptations, such as Angry Birds and Hotline Miami.

With several major adaptations under its belt, Abstraction Games looks to continue to establish itself as a leader in the space, while also working on their own projects and games in the near future.

If abstraction is favored by undiscerning speculator collectors as well as museums hoping to advance a fast - forward chronology of art history, there is still no small amount of figurative work on the scene.

Neal writes: «Taking its title from Plato's dialogue on the soul's immortality, the exhibit «presents the practice of abstraction as a vehicle for the exploration of a world that exists apart from the physical one we inhabit.»

Organized both thematically and chronologically, the show divides the works on view into two main chapters: the years from 1923 to 1933, a time when Torres - García was involved in early modern avant - garde movements such as Catalan Noucentismo to Cubism, Ultraism - Vibrationism, and Neo-Plasticism; and those from 1935 to 1943, a time in which he was fully committed to creating works in his unique style of synthetic abstraction.

Riffing on the past as it comments on our own time, contemporary abstraction evokes landscapes, bodies, signs, buildings, and much more Read More

Meanwhile, MOCA director Deitch is leading the way in positioning Warhol as a major progenitor of today's foremost riffs on abstraction.

But if one goes as far as to see that these abstract elements have a rich existence in his work, then one can go on to the appreciation of the full Soutine despite any supposition that, by temperament, he probably detested abstraction any form.

It is through Courbet, the specific artist, the Harmonian demiurge, that all the figures partake of the life of this pictorial world, and all are related to his direct experience; they are not traditional, juiceless abstractions like Truth or Immortality, nor are they generalized platitudes like the Spirit of Electricity or the Nike of the Telegraph; it is, on the contrary, their concreteness which gives them credibility and conviction as tropes in a «real allegory,» as Courbet subtitled the work, and which, in addition, ties them indissolubly to a particular moment in history.

CAMH celebrated its 65th anniversary in 1993 with Outside the Lines, a six - part exhibition series conceived as an evolving dialogue on contemporary abstraction.

On the occasion of the only full - scale retrospective Porter's work has been given - the exhibition called Fairfield Porter (1907 - 1975): Realist Painter in an Age of Abstraction, which Kenworth Moffett organized at the Museum of Fine Arts in Bostonin1983 - I wrote that «For myself, though as a critic I had praised Porter's work on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition..On the occasion of the only full - scale retrospective Porter's work has been given - the exhibition called Fairfield Porter (1907 - 1975): Realist Painter in an Age of Abstraction, which Kenworth Moffett organized at the Museum of Fine Arts in Bostonin1983 - I wrote that «For myself, though as a critic I had praised Porter's work on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition..on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition....

Refining a technique, developed by Jackson Pollock, of pouring pigment directly onto canvas laid on the floor, Ms. Frankenthaler, heavily influencing the colorists Morris Louis and Kenneth Noland, developed a method of painting best known as Color Field — although Clement Greenberg, the critic most identified with it, called it Post-Painterly Abstraction.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

Pure abstractions, such as the two huge «Blushes» whose cascading streams of magenta dominate the gallery, refine photographic practice to the barest elements of light on paper.

During the early 1950s, Richard Diebenkorn was known as an abstract expressionist, and his gestural abstractions were close to the New York School in sensibility but firmly based in the San Francisco abstract expressionist sensibility; a place where Clyfford Still has a considerable influence on younger artists by virtue of his teaching at the San Francisco Art Institute.