Sentences with phrase «own aesthetic power»

Nevertheless, Sherburne, his colleagues, and even the particular Whitehead of Process and Reality, in their devotion to rationalizing the meaning of the world, including the world of art objects, fail to appreciate the aesthetic power of the experienced world.

Great religious art can and does stand on its own, quite apart from its origins in theology, and it has aesthetic power even for the unbeliever.

Is this not perhaps the greatest danger in Christian art — that the art itself has an aesthetic power which may make it a rival to the God it proclaims?

And a girl, on hand to be rescued, fought over and filmed from behind at a low angle as further testimony to the aesthetic power of 3 - D.

Heritage buildings Not forgetting the architectural landscape of the built environment, new builds, although possessing their own aesthetic power, slowly shift away from the historical buildings that contribute to making Britain what it is today.

As for the exterior design, this Coupe attracts a lot of attention, with enough «aesthetic power» that found a young female stopping her 4 × 4 across the street from where our tester was parked, and immediately taking photos on her iPhone of the Elantra.

Olga de Amaral transforms two - dimensional textiles into luminous three - dimensional objects by combinung diverse materials, including fiber, gesso, acrylic and precious metals, to make works of unique aesthetic power.

She is one of the first contemporary Australian artists to explore the political and aesthetic power of glass, describing her work as «politically motivated and emotionally driven».

Her internationally produced and exhibited work typically involves interactions with a group or community that result in performances, films, videos, audio recordings and books, and involve sometimes provocative reflections of social, political, institutional and aesthetic power relations.

By using a hybrid form of art - making, Jaar has consistently provoked, questioned, and searched for ways to heighten our consciousness about issues often forgotten or suppressed in the international sphere, while not relinquishing art's formal and aesthetic power.

As the public moves through and lingers within them, they gain a full sense of the amazing iconic and aesthetic power that makes these works so innovative even today.

«Well... It's about... er...» There is no aesthetic power and precious little to think about.

The focus is on presenting artists who articulate original thinking and art - historical awareness with technical and aesthetic power.

The aesthetic power of his images, combined with the refined technique, gives Alexis Diaz's artworks an absolutely unique style.

Their dreamlike compositions and emphasis on the aesthetic power of the subconscious led to explorations in sinuous line and fantastic imagery.

In terms of his artistic contribution, Kelly exemplifies the aesthetic power of representational painting.

Reflecting on Apollo 8, it's notable to me that, with all the meticulous planning that goes into space missions, no one had anticipated the emotional and aesthetic power that came with seeing the marbled white, blue, and green home planet rise above the sterile gray lunar horizon.

This maze - like mirage is one entry in the 2010 Land Art Generator Initiative competition, which aims to combine clean energy generation and technology with the Land Art / Environmental Art movement, in the hopes of encouraging what they call «solution - based art practice» in creating «aesthetic power plants».

10 Ways to Appreciate It Amazing Land Art by Andrew Rogers (Slideshow) «Aesthetic Power Plants» to Make Energy from Art Man and Nature: Art in the Age of Climate Change How Can Eco-Art Inspire Change?

Not exact matches

In the midst of the awful realm of powers, and of the sacred realm of laws, the aesthetic creative impulse is building unawares a third joyous realm of play and of appearance, in which it releases mankind from all the shackles of circumstance and frees him from everything that may be called constraint, whether physical or moral.

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.

His rejection of independently existing substance in favor of a universe in which all entities are related, the idea of actual entities as valuing subjects prehending and creating themselves Out of the feelings of other subjects, the declaration that the most basic form of order is aesthetic, and the insistence that the lure toward beauty and adventure is a primary drive in the process of reality, are all examples of Whitehead's fundamental insight that to be is to be related, to exhibit some degree of beauty in those relationships, and to have the power both to affect and to be affected.

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.

Furthermore, the distinction between unilateral and relational forms of power is directly relevant to the process concept of value as aesthetic.

If we take seriously Whitehead's claim that the fundamental form of order and hence of value is aesthetic, and the accompanying principle of relatedness, it is obvious that unilateral power (the ability to affect without being affected) inherently inhibits the growth of value in human experience.

Relational power (the ability to be affected, to create oneself, and to affect others by having first been affected by them) is the essential foundation for the growth of such aesthetic value.

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.

The underemphasis on the empirical way is particularly important because it has not only discouraged the aesthetic appreciation of the power of art and of the world of ordinary experience, it has also discouraged the moral action which such appreciation might engender.

They have so underemphasized the empirical way, which concentrates on the physical response to the past, that the power of aesthetic experience has been neglected.

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.

It is to sense power at its deepest, and «the essence of power is the drive towards aesthetic worth for its own sake.

Although White is absolutely right about the tendency of today's animated films (Tangled included) to pander to the most annoying and depressing aspects of popular culture even as they ignore or deny the richer, deeper culture from which most classic fairy tales emerged, the animated features that Disney brought to the screen when Uncle Walt himself still oversaw the studio made a point of drawing considerable aesthetic, emotional, and narrative power from specifically Christian aspects of the culture that, even today, America shares with Europe.

in the absence of restraints On his choice of aesthetic problems and of his methods of solving them, but even more in his power of constructing aesthetic objects that add to the values of life.

Whitehead's well - known notion of the Stage of Romance in education gets its power from the fundamental aesthetic need of the human organism for novelty and zest in experience.

For him, it is not the systematic world of the speculative philosopher that is of greatest value, but the natural, chaotic process which lies hidden behind the falsifying face of reason, a process whose true nature can only be known on a purely aesthetic level through experience in its immediacy («Beyond Good and Evil,» BWN Section 213; «Will to Power,» Section 794).

First, it may be argued that the aesthetic factors, while offering some interest and pleasure to the hearers, are, in fact, pure ornament and lack power to bring about any change.

Not only its aesthetic value, which is apparent in the power of its expression, in the depth of its sensitivity, and in its monumental structure; but also its content — the bold and colossal struggle with the ancient, and at the same time always new, human problem of the meaning of suffering — all this puts the work, in its universal significance, in a class with Dante's Divine Comedy and Goethe's Faust.8

The Greeks knew that the dark and mysterious powers pushed aside by their aesthetic vision of the world remained undestroyed.

At the moment of accounting for the aesthetic productions of genius, he invokes that power of the imagination «to present» (Darstellung) those ideas of reason for which we have no concept.

«At the moment of accounting for the aesthetic productions of genius, Kant invokes that power of the imagination «to present» (Darstellung) those ideas of reason for which we have no concept.

In fact, I am quite grateful to him for the depth to which he exposes a remarkable novelist's prejudices and yet demonstrates the aesthetic quality of a public thinker who «understood Christianity de profundis and was able to transmit that understanding with an unmatched power.»

In 1981 he founded the New Criterion, a journal that reflects both his passion for art and aesthetic standards and his skills as a chronicler of the ideological follies so abundant in the academy and other centers of cultural power today.

We have also spoken of the power of religious naturalism, especially drawing upon Bernard Meland, to develop the theory and practice of a sensitive discernment, the key component in a land, water, and sky aesthetic.

The Handwork stream of the Applied Arts curriculum in a Waldorf school stimulates the creative powers and establishes a heart - related aesthetic and confidence through a conscious guidance of the student's developing will.

Lesley Moffit: Practical Arts Teacher The handwork and practical arts curriculum in the Waldorf School stimulates the creative powers, while at the same it establishes aesthetic confidence through the conscious guidance of the student's developing will.

«Using near - UV light to power these windows means that the solar cells can be transparent and occupy the same footprint of the window without competing for the same spectral range or imposing aesthetic and design constraints,» Loo added.

Despite the obvious benefits of allowing you to build an aesthetic and functional body, power and strength, this old training method will be beneficial to your overall health and mentality and will instill a greater self - confidence.

As a full - service dental practice dedicated to health - centered, cosmetic and aesthetic restorative dentistry, our patients are partners in their wellness and we do everything in our power to help them maintain their oral health and improve their smile.

The brand's aesthetic for the collection brought power suits in bright pink against delicate gold details in button up blouses and evening wear.

(Its real function is so much more than aesthetic, of course — charge it and it will save the day whenever you need to power up your laptop, phone, or tablet in a pinch.)