For example, there is a thriving portion of the physics community developing string theory in great detail, without any empirical evidence whatsoever that it is a
correct representation of reality.
The fallacy occurs when these disciplines forget that their concepts are particular abstractions from reality and thus function as if their concepts were actual
universal representations of reality.
As a descendent of Marcel Duchamp and Andy Warhol, and after Pop art had magnified critical interest in consumerist culture, Prince's «rephotographs» could be seen as a
cynical representation of reality, and as a piercing inquiry into the ethos of the American vernacular.
Using both archival and filmed material, his films question our reading of the documentary form as a
fixed representation of reality, opening up the boundaries between the actual and the imagined, record and interpretation.
Regardless of their starting point, the selected photographers use pictures as tools to re-frame and re-contextualize stereotypical images that are manipulated into
faithful representations of reality.
In all his masterful displaying of the ideas, philosophies, and
artistic representations of reality that have captured minds and souls over these five hundred years, where does Jacques Barzun stand?
The minority and NDC as a party have challenged the president on some of the claims he made on the economy as not being a
fair representation of reality.
Both self - described psychics and people with schizophrenia also showed abnormal neuronal activity in several brain regions responsible for monitoring our
internal representations of reality.
as his social - realist picture, but those early scenes alone indicate a greater interest in the
way representations of reality can facilitate his genre - bending predilections.
American children spend most of their time sitting in chairs and much of their day interacting with screens and other
manufactured representations of reality; a growing number of American kindergartens are eliminating recess and child - centered play.
Lamelas offers timestamps and durations for each scene, making viewers aware of their own location in time and space, and of the impossibility of creating
unmediated representations of reality.
Erin Sweeny uncovers the complexities of accepting photography as an
objective representation of reality, through the work of twentieth century German photographer August Sander.
Robert Longo's large - scale charcoal - and - graphite drawings of «Men in the Cities» were sourced from photographs of the artist's friends and are key icons of the period; the remarkable painters in this group (Thomas Lawson, Walter Robinson, David Salle and Michael Zwack, to cite a few) found powerful ways to provoke questions about how we
process representations of reality, in which contexts, with what quality of attention.
All that can be said about this three -
dimensional representation of reality is that it adds a third dimension (and a very modest coda) to the tradition of political - history painting stretching from classical art through Velazquez, Goya, Delacroix's Liberty on the Barricades and so forth.
Despite their great differences, these artists all shared a similarly intense and scrutinizing gaze, and remained loyal to their pursuit of intimate and
powerful representations of reality.
The Canadian artist's work turns photography into a psychological and emotional experience rather than a direct representation of reality
The experts need also to account for representing their oversimplification (which is in a form that resists refutation) as a
credible representation of reality and has been examined to the extent that it should be considered as settled science.
A recent report finds that data sets used by climate alarmists are not a
valid representation of reality, including their repeated claims of highest recorded average temperatures.
However, «Cowboys» can be seen not only as a
cynical representation of reality, but also, in the critical tradition of Conceptual art, as a piercing inquiry into the ethos of the American vernacular, and even as the existential gesture of a figurative and realist artist.
Using both archival and filmed material, his films question our reading of the documentary form as a
fixed representation of reality, opening up boundaries between the actual and the imagined, record and interpretation.
Through each of the artists» engagement with the formal and conceptual properties of the medium, they challenge the notion that photography presents a
faithful representation of reality and incite us to look more closely at how images are manipulated, styled and filtered to create fictions that we, the public are too - often ready to accept.
If this input has no contact with reality, if it is not in itself real, how can any processing of such input, even when indefinitely prolonged, result in
a representation of reality?