Sentences with phrase «perceptual experience in»

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.

New lenses of mediated screens and surfaces have challenged our perceptual experience in contemporary society, as we must constantly navigate between real and virtual dimensions, or accept that these are increasingly one and the same.»

One thing seems to connect his activities: the relationship between language and perceptual experience in the field of art.

Yet, it is only a representation of the totality of the larger meaning, which is not subject to perceptual experience in its entirety.

Not exact matches

With respect to perceptual events, subjective form refers «to the complex patterns we are aware of in direct experience» (PW 127/136).

«96 P. Wright defines symbol as «a relatively stable and repeatable element of perceptual experience, standing for some larger meaning or set of meanings which can not be given or not fully given, in perceptual experience.

«97 In the light of this definition, a symbol gives a perceptual experience otherwise not possible.

This is why those who have recently revived the notion of visual experience, such as John Searle and Christopher Peacocke, have broken away from the traditional story about the awareness of visual sense - data, in favor of the view that perceptual experience has propositional content (Searle) or representational content (Peacocke).2

The rejoinder to Hume consists principally in offering a reductive analysis of the sort of perceptual experience upon which Hume's (and Russell's) empiricism is based.

On the other hand, I would concur with James Felt that the thesis has a prima facie appeal to it because in that case one would be able to consider «the perceptual unities of ordinary experience as ontological unities» (PS 10:59).

There could be no direct assurance that this perceptual datum was produced by causes analogous to those experienced in the past, or even that it was caused at all.

Illusion is now thought to be omnipresent in definite, conscious perceptual experience — yet the dichotomy between physical objects and illusions was introduced to express observable differences within the field of conscious perception.

About four in 10 say they have unusual perceptual experiences between sleep and awareness if you interview them about their sleeping habits.

In the perceptual mode of presentational immediacy this process leads to the experience of the objective world as illusory.

Another point arises from these two passages last cited: the very fact of there being a nature for our knowing is a resultant of the percipient's activity in investing his perceptual experience with externality.

«The Data of Science,» begins with a sentence which certainly seems to support my suggestion that Whitehead strongly favors phenomenalism: «Our perceptual knowledge of nature consists in the breaking up of a whole which is the subject matter of perceptual experience, or is the given presentation which is experience — or however else we prefer to describe the ultimate experienced fact» (PNK 59).

As we have seen Merleau - Ponty puts it, «if I wanted to render precisely the perceptual experience, I ought to say that one perceives in me, and not that I perceive» (PP 215).

Nature is what is given in perceptual experience, and a duration is that complete event which is the whole of nature simultaneous with a given percipient event (itself part of the whole)(PNK 68).

Even a lifetime of experience that a table is not part of your body is abandoned in light of the perceptual decision that it is.

People may differ in the sensations they experience from a food or beverage, and these perceptual differences have a biological basis, explained John Hayes, assistant professor of food science and director of Penn State's Sensory Evaluation Center.

This can make it difficult to remember the event as a coherent story, instead imprinting it in memory as a raw set of perceptual experiences: the flash of headlights and the grinding of metal, say.

«It's difficult to determine precisely why so many adults would experience less financial strain in 2010, but one possible explanation may be the perceptual nature of these evaluations,» she said.

«It suggests that the brains of people who hear voices are particularly tuned to meaning in sounds, and shows how unusual experiences might be influenced by people's individual perceptual and cognitive processes.»

There is no question that the great specificity of any one conscious perceptual experience — such as the throbbing pain of the socket following extraction of the lower right wisdom tooth, the feeling of familiarity in dj vu, the aha experience of sudden understanding, the azure blue of a high mountain vista, the despair at reading about one more suicide bombing — is mediated by coalitions of synchronized cortical nerve cells and their associated targets in the satellites of the cortex, thalamus, amygdala, claustrum and basal ganglia.

Her eloquent account flits between philosophy, science and anecdotes from the writing classes she runs for psychiatric patients, as well as her own experiences of those seizures, migraines, voices in her head and a heightened perceptual awareness.

«Some may experience a physical sensation, others more perceptual distortions, while some may only report changes in how they think when they're angry.»

The «Investigation Trilogy» features male protagonists, who are not suffering from mental breakdowns (their female counterparts in the «Apartment Trilogy» as Carole in Repulsion, Rosemary in Rosemary's Baby and Trelkovsky in The Tenant may or may not be experiencing), although these men still are afflicted by perceptual inhibitions — an inability to understand what they are dealing with (Gittes in Chinatown), difficulty with language and cultural differences (Walker in Frantic) as well as literal barriers to clear perception, for example the glasses worn by Corso in The Ninth Gate.

Spearheading this movement, Robert Irwin began to take ideas from philosophical inquiries into the nature of human experience and radical advances in perceptual psychology and combine them with the immersive abstraction that had been pioneered by artists such as Jackson Pollock, Mark Rothko, and Barnett Newman.

Although I slipped into James Turrell's Light Reignfall Perceptual Cell at LACMA five months ago, its obvious connection to Griffith Observatory's Samuel Oschin Planetarium did not cross my mind until I experienced another Perceptual Cell in Yucatán a week ago.

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»».

The experience led Chambers to perceptual realism, which was as much a philosophy, rooted in Catholic doctrine and the writing of the French phenomenological philosopher Maurice Merleau - Ponty, as it was a style of painting; and it marked a radical departure from his previous work, which cut a wide swath across a variety of genres.

To those who would argue a loss of sentience in the perceptual experience, there is perhaps a corresponding heightened lucidity.

His site - specific constructed installations investigate non-objective abstraction and perceptual qualities in constructed environments that reconstructs architectural space in a blend of minimalism, process art and kinaesthetic experience that incorporates immersive light, sensory perception and luminal effects of uniform light (Ganzfelds).

Both their careful placement and their non-referential images emphasize the viewer's awareness of his or her own perceptual and physical experience in the gallery.

With their sensuous and reflective surfaces created with multiple layers of sprayed - on acrylic pigment and glazed with Murano (a powdered pigment which is suspended in clear lacquer), Novros» paintings provide the viewer with new types of perceptual and emotional experiences.

She uses striking color combinations in strategic compositions to create artworks that provide perceptual experiences of charged energy.

By shifting the work's construction in this way, Wheeler provides an effective counterpoint to his own practice and deepens our perceptual experience.»

And the so - called arbitrary selection and assemblage of «subjects» in his combines have significant repercussions in terms of our viewing experience; he engages us in a perceptual challenge in which our attention and stamina tested to keep up with the ever - evolving surface of the work.

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.

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 a contemporary context, the new «lenses» provided by digital technologies — from screens to optical devices and mediating surfaces — enable us to undertake perceptual journeys on which we explore spaces beyond our imagination, travel through time, experience time conjunction, and mediated representations of place.

Our experience of the self in this digital - technological age is about trying to understand our perceptual relationships to our surrounding environment and its architecture.

Although strikingly heterogeneous, the affinity between the two artists lies implicitly in their shared interest in invoking an aesthetic experience by employing «low resolution» both as a visual device and as a perceptual agent, rendering an embodied looking / seeing, seeking to grasp the technological and psychological intricacies of reality.

The boundaries of our perceptual experience have expanded in our contemporary world.

In each work, he seeks to create an atmosphere that will draw the viewer into an intense and sometimes disorienting perceptual experience.

Touch Museum at Young Projects (West Hollywood) November 12, 2015 — February 20, 2016 Julie Weitz's Touch Museum first premiered in the cavernous project space of Young Projects as an immersive experience combining multiple video installations, an original soundscape by LA - based composer Deru and a Youtube channel featuring videos examining the perceptual phenomenon known as Autonomous Sensory Meridian Response (ASMR).

Smithson used the wording «abstract geology» and «material maps» in this essay, variant thinking on the artistic union of perceptual and conceptual, or material and abstract registers of experience of his better known theory of the Nonsite.

And Kamau Amu Patton synthesizes works in a range of media to investigate the inter-zone of sound, materiality, and perceptual experience.

Later, she would use this perceptual experience, which shifts boundaries between fact and illusion, the real and the imaginary, to create works in a variety of media, from drawing, painting, and installation to sculpture, video, and performance.

Her use of wood panel as material support and her frequent grounding of the picture plane in photo - based silk screening, underscore the perceptual, perspectival and durational experience of painting as an assessment of the larger social, historical, personal and architectural contexts in which her work appears.