Sentences with phrase «sense of aesthetic»

I adore your sense of aesthetic.

Throughout his career, Dine maintained in his sculptures and paintings a sense of the aesthetic which characterized the Happenings: a willingness to use everyday, sometimes «junk,» materials and to engage with popular culture in a humorous and also serious way.

Their inventive use of materials and strong sense of aesthetic, encompass art historical references and create a new artistic vocabulary within a psychological, political and social context.

Her paintings convey a sense of aesthetic simplicity often combined with a finish of a matte or glossy paint.

His work possesses a sense of aesthetic economy and he commonly employs no more than two layers of paint in completed works.

This offers no discernable bonus other giving its bearer a sense of aesthetic dominance.

Indeed, the tale of fractured siblings driven by their respective physical and emotional compulsions is primarily told in a series of lingering looks, long takes and a purposeful sense of aesthetic and thematic repetition that is only revealed upon repeat viewing.

Unquestionably, Raimi does have a visionary sense of aesthetic that is marvelous to behold from a spectator standpoint, though the visuals often force the story to take a back seat for extended durations.

Logan's director, James Mangold, does the same with clips from the western Shane (1953), hijacking George Stevens's powerful scenes of cruel violence but imparting no sense of the aesthetic daring and moral revulsion that made that film a moral and artistic landmark.

Heightened by striking performances from the mostly inexperienced cast, and an impressive sense of aesthetic from Tsangari that warrants comparison to the works of Sofia Coppola, the contemplative and quietly compelling film mirrors the protagonists path from the curious to the creative.

She truly had a beautiful sense of aesthetic that was edgy and chic yet warm and cozy.

It is just this empirical sense of the aesthetic which William Carlos Williams had, particularly in his most conscious moments of rebellion from the cognitive and academic orientation of art.

Not exact matches

Japan — which has its own troubles with perfectionism — has a gorgeous history of wabi sabi, an aesthetic sense wherein cracks in clay or wrinkles in skin are signs of beauty.

It began with founder and chairman Chip Wilson's sense of a market that even after 12 years defies explanation in an elevator pitch: clothing that is functional but also fashionable, designed for athletic use but often worn for other purposes, appealing to a New Age, anti-consumer aesthetic while occupying pricey real estate in shopping meccas, and all the while pushing a potpourri of empowering self - help messages.

At first they may be taken merely as aesthetic moments, such as communing with nature, savouring memories andimages, meeting mysteries, the heightened sensing of musical sounds, odours, colours, the thrill of acute poetic expression, or moving encounters with other human beings; but on further reflection people often cite such experiences as having a spiritual quality and as hints of the divine.

The sense of beauty is a positive response growing out of a relationship of the person to the aesthetic object.

The special logic of this theory, after all, is that the Christian philosopher — having surmounted the «aesthetic,» «ethical,» and even in a sense «religious» stages of human existence — is uniquely able to enact a return, back to the things of earth, back to finitude, back to the aesthetic; having found the highest rationality of being in God's kenosis — His self - outpouring — in the Incarnation, the Christian philosopher is reconciled to the particularity of flesh and form, recognizes all of creation as a purely gratuitous gift of a God of infinite love, and is able to rejoice in the levity of a world created and redeemed purely out of God's «pleasure.»

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.

Beauty is felt when there is some congruence between the aesthetic object and the observer's pattern of sense perception and related responses.

Such aesthetic sensitivity, he suggests, can be learned, although it can not be taught in the ordinary sense of teaching.

The pervasive, universal values are not moral and are not mere pleasure, they are aesthetic in the sense of the intrinsic harmonies and intensities of experiencing.

I will state dogmatically: no one has ever succeeded in making sense out of the idea of an aesthetic value so great that all possible beauty is already in it.

Further, those who can not appreciate the profound aesthetic of an ironically - creative act that consists of self - destruction lack any sense of subtlety and irony, which is an indicator of a lack of intelligence.

«Habits of thought and sociological habits survive because in some broad sense they promote aesthetic enjoyment» (ESP 129).

James does not suppress his nature out of reverence for the Almighty but out of a sense of social propriety, conventionality, and a virtually aesthetic conception of how he wishes to appear to others and to himself.

To sense the world through causal efficacy is in essence, Whitehead says, to sense the aesthetic value of the world.

Consequently, the «sense of external reality — that is to say, the sense of being one actuality in a world of actualities — is the gift of aesthetic significance.

Experiences of the pleasures of the mind and the senses, including physical, intellectual, aesthetic, interpersonal, and spiritual satisfactions, as well as the adventure of new experiences.

Mitt might appear to us as the rare rich guy who might — out of mega-frugality and Mormon lack of aesthetic sense (from which Huntsman pretentiously exempts himself)-- occasionally eat at Denny's.

Aesthetic value, in the sense of the beauty of experience, is the primary issue.

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

Charles Hartshorne has devoted much trained attention to bird song and argues that song requires «something like an aesthetic sense in the animal,» though it may be more a matter of aesthetic feeling rather than aesthetic thought (BS 2, 12).

May I emphasize the fact that the elements and functions coming from the superconscious, such as aesthetic, ethical, religious experiences, intuition, inspiration, states of mystical conscious - ness, are factual, are real in the pragmatic sense... producing changes both in the inner and the outer world.

Here, the psychic act of distancing was applied to that quality of experience which gives rise to man's sense of the normative, and this was conceived as standing over against man, possessing just the objectivity that belongs to a visual form when it is distanced in aesthetic experience.

Of a somewhat different nature are considerations of our ethical and aesthetic senses, of the fact that we can recognize right and wrong and perceive beautOf a somewhat different nature are considerations of our ethical and aesthetic senses, of the fact that we can recognize right and wrong and perceive beautof our ethical and aesthetic senses, of the fact that we can recognize right and wrong and perceive beautof the fact that we can recognize right and wrong and perceive beauty.

When one sees the setting and the intent of the passage, he often stops admiring it because one's aesthetic appreciation for it is chastened by a sense of being judged by it.

Both «symbolic reference» and «propositional feelings» have receptive and imaginative aspects; but, whereas Whitehead emphasized the former, cognitive aspect in his discussion of «symbolic reference,» as a rebuttal to Hume and Kant, he emphasized the latter, creative aspect in his discussion of «propositions,» an emphasis needed to counter «the interest in logic, dominating over-intellectualized philosophers,» among whom «aesthetic delight» is eclipsed by «judgment» (cf. PR 184 - 86 and WH 33) In «symbolic reference» a dim, but indirect, mode of perception («causal efficacy») is combined with a clear, but indirect, mode of perception («presentational immediacy»), which produces a sense of the external world.

The «aesthetic,» in this profound sense, with its expression in appreciation, evaluation, enjoyment or displeasure, and the like, is as much a part of our human experience as the rational and volitional aspects.

For the poets, any philosophy of nature must include these three — aesthetic value, feeling and a sense of wholeness.

He says «Just as in love I encounter the other as the other in all his freedom, and am confronted by something which I can not dominate in any sense, so in the aesthetic sphere, it is impossible to attribute the form which presents itself to a fiction of my imagination.

This is why a sound education should have a place for the aesthetic (in this profound sense) to help the young person move toward real maturity, and all of us need to see and express this side of our selfhood.

These principles can themselves be seen as «aesthetic» in both the narrower and the broader sense: they define the conditions for the achievement of value in a work of art, or in the experience of any actual occasion.

By this I do not mean that the aesthetic is evil in itself but that attention to evil is an integral part of the electronic church's sense of what is beautiful.

Doing a long series of arithmetical calculations or working all day entering data at a computer terminal may result in almost total «an - aesthesia,» while proving a new mathematical theorem or writing a complex computer program may bring about intense involvement and the enjoyment of vivid immediate experience.8 «Aesthetic» experience in the more usual sense of tile term can also y ~ ry fi - om trivial to highly intense, even when it relates to a single object; one is reminded of the cliche situation in which one member of a couple listens in rapture to a concert while the other writhes in boredom.

I do not think one can avoid the implication in Whitehead's aesthetic metaphysics that any realization of value is in some sense desirable and coherent with the nature of God.

Yet if we are to judge purely on the basis of immediate aesthetic quality, of «intensity» in a Whiteheadian sense, on what grounds are we to prefer the experience of «passive» contemplation to that which comes from the active exercise of instrumental reason?

Given his panpsychism or «psychicalism,» Hartshorne holds that the ultimate units of reality are, in the broadest sense, feelings, or that feeling is a «cosmic variable» which can range from the most primitive, unconscious aesthetic reactions of subatomic particles to their environment to the most elaborate conscious experiences of God's.

Thus an aesthetic understanding of the universe is able to express the religious sense that all things are «cared for» in an ultimate though hidden way.

As was noted earlier, both genius and heroism arouse our aesthetic sense inasmuch as they are examples of the ordering of complexity into intensely dynamic patterns.

In this sense the world is not only felt by God's aesthetic care; it also feels God as the source of new possibilities.