Sentences with phrase «perceptual experience»
Perceptual experience refers to the way our senses perceive and interpret the world around us. It encompasses everything we see, hear, taste, touch, and smell, as well as how we understand and make sense of those sensory inputs. It is the way we experience and perceive the world through our senses. Full definition
about Perceptual experiences of memory loss focus of media installation at Baycrest Health Sciences
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We also admire the unique embrace of discomfort in her experiments with technology, science, and the plant and animal worlds, all of which push the limits of perceptual experience in the «visual» arts.
AL: All of my large paintings are based on perceptual experiences.
November 20, 2009 — February 21, 2010 Amy Hauft combines shifts in scale and perspective, the arcane craft of sculpting sugar, art - historical references, and metaphor to create a rich perceptual experience for viewers of her installation.
Her work is abstract, but it is an abstraction that comes from perceptual experience and the reality of an encounter.
About four in 10 say they have unusual perceptual experiences between sleep and awareness if you interview them about their sleeping habits.
For example, if we take our own order of perceptual experience as explicate, then the electron's order is implicate.
The journey begins with the minimalist experiments that claimed for the art object the primacy of perceptual experience over and above linguistic knowledge, giving rise to a further development of sensism, no longer confined to the field of
Over more than four decades, Fred Eversley has produced a singular body of work that considers materials, light, and the optical qualities of shapes and colors as part of a broad investigation of individual perceptual experience.
Rudolf Stingel (b. 1956, Merano, Italy) is a New York based artist whose work challenges the viewer to critically consider their own perceptual experience in viewing art.
Although he is acutely interested in depicting altered and alternate perceptual experience, Tomaselli has also employed these substances (or rather a simple reference
For Pipilotti Rist, the game of perceptual experience focuses on performance, in videos and installations whose manipulations of the figure and its movements seem to form and dissolve before our eyes.
«Externality» here, presumably, is being used in the sense that the common nature which is assumed to exist is taken to be external to the percipient, not in the sense that certain perceptual experiences of the percipient are taken to be observations of the passage of external nature (cf. PNI (71).
To the viewer, it may seem as though these dynamic perceptual experiences arise because the object is itself changing.
It's very refreshing to read that people with eccentric, novel and even schizophrenic ways of thinking are often very high functioning, talented, intelligent individuals who can use their strange perceptual experiences to access beauty, originality and creativity.
But I have terrible news for anyone who thinks so: We can get rid of our entire prefrontal cortex and still have unified perceptual experiences.
Brain - activity data gathered in a third experiment indicated that the blurring of perceptual experience associated with positive images was accompanied by changes in high - level visual processing.
A new study by Irene Senna from Bielefeld University's Center of Excellence CITEC and her colleagues reports a surprising bodily illusion demonstrating how we can rapidly update our assumptions about the material qualities of our bodies based on recent multisensory perceptual experience.
«We hope to use this illusion as a tool to uncover why peripheral vision seems so rich and detailed, and more generally, to understand how the brain creates our visual perceptual experiences.»
My own biases point me toward the coming surge of inexpensive, ubiquitous, accessible human enhancements — from prosthetics that enhance our motor outputs to sensory input devices that will give us entirely new perceptual experiences.
His work has been featured in more than sixty solo exhibitions, including Primaries and Secondaries at the Museum of Contemporary Art, San Diego (2007 — 2008), for which he cut rectangles of glass out of the museum's windows with his installation 1 ˚ 2 ˚ 3 ˚ 4 ˚, 1997, transforming the panoramic ocean view into a perplexing perceptual experience.
Heard a guy at the gallery tell some other guy at the gallery that the stuff is «ecological» and that, um, Tara «repositions perceptual experience... «in a practice that has appeared until now largely materially driven and in the service of organic allusion»».
They celebrate, equally, that part of humanity that is the scientist attempting to understand and ground perceptual experience, and the matrix of human sensation that approaches the emotional, spiritual, or perhaps simply the unexplainable.
The exhibition demonstrates the artist's remarkable ability to transform materials and their surrounding architecture into an enveloping perceptual experience.
Color relationships can privilege perceptual experience of sensation beyond the associative and significatory readings.
The work's title hints at the uncertain perceptual experience that is created with nothing but «invisible» and «magic» Scotch tape.
She uses striking color combinations in strategic compositions to create artworks that provide perceptual experiences of charged energy.
Kasten has also created video installations in which patterns of light and shadow are projected onto mirrors, spilling across the gallery space and transforming it into a total perceptual experience.
In each work, he seeks to create an atmosphere that will draw the viewer into an intense and sometimes disorienting perceptual experience.
Says the artist of his technique, «when designing my work the goal is to create a unique and rewarding perceptual experience for viewers through artworks that are intellectually challenging and technically intriguing.
This ambiguous perceptual experience is akin to looking at the paintings of Ad Reinhardt, the Abstract Expressionist master of abstract geometries enmeshed in barely differentiated shades of black.
Bell is often associated with Light and Space, a group of mostly West Coast artists whose work is primarily concerned with perceptual experience stemming from the viewer's interaction with their work.
With their hectically activated Cubistic gestures and turbulent illusory atmospheres, Marin's watercolors and oil paintings of landscapes, seascapes and cityscapes follow Whistler's in their efforts to embody perceptual experience in paint.
Inspired by the landscape and natural phenomena as well as diverse historical and cultural references, Fernández presents a range of new works that collectively demonstrate her remarkable ability to transform a multitude of materials and the surrounding architecture into unique perceptual experiences.
«Furniture - like in form, Artschwager's cheerfully - coloured yet eerily blank works became the artist's way of exploring his interest in mixing two - and three - dimensional perceptual experiences, surprising the viewer, making them look again.»
The journey begins with the minimalist experiments that claimed for the art object the primacy of perceptual experience over and above linguistic knowledge, giving rise to a further development of sensism, no longer confined to the field of vision, but now extending to all the movements of the observer's own body.
Over more than four decades, Fred Eversley (b. 1941, Brooklyn) has produced a singular body of work that considers materials, light, and the optical qualities of shapes and colors as part of a broad investigation of individual perceptual experience.
In leaving everything but the edges intact, Goode elaborates further his «looking through» artistic devotion aiming to stimulate viewers to reconsider their own perceptual experiences and perhaps to start seeing instead of watching.
Although he is acutely interested in depicting altered and alternate perceptual experience, Tomaselli has also employed these substances (or rather a simple reference to them) to surprisingly lucid or even sober ends.
In A Man Digging, Jon Rafman engages with the emotional and perceptual experience of a present - day explorer as he navigates virtual worlds.
As we have seen, he makes no claim for the immanence of substances in the case of purely physical interactions; he does, however, make such a claim in the case of perceptual experience.