Not exact matches
One can see here the connection between the internal relation between eternal
objects,
and the fact that from the standpoint of the prehending occasion, its datum, as a logical
subject placed
within a functional context, is internally related to it.
Moreover, since potentials are repeated
within actualities, it follows that if being present in a
subject, or actuality, is made the criterion for being a universal, then again actual entities
and eternal
objects are alike universals.
There are similarities between the two accounts of perception, as we have already indicated: perception has as its
object an individual; it introduces the
object within the percipient; it comes about through the causal efficacy of the
object;
and it presupposes the transmission of form from
object to
subject.
I will note here that Catherine Keller's analysis of hetero - reality in terms of the separate self - hood of men
and the soluble selfhood of women corroborates the stunted character of relations
within the dominant patriarchal worldview, which diminishes both relationality
and individuality with its dualistic patterning of
subject -
object in male - female relationships.
This dialectic provides categories,
within our contemporary context, for discerning how communal expressions, when they are cut off from transformative communal experiences, become «objective»
and «institutionalized» in ways which dichotomize
subjects and objects, experiences
and expressions.
Consequently as regards the fundamental contention we are examining, it is not appropriate, in view of the historical associations that burden the word «material» to subsume under the term «matter» the subjectivity which is also met with
within the primordial unity we have described, because to do so would at least obscure the equally fundamental difference encountered in that unity between the knowing
subject and the
object which is merely met with.
Because of this transmutation the experience is sometimes said to be devoid of
object, but it is more proper to say that it is an experience of
object as
subject and subject as
object, in which the two are felt as a contrast
within oneness, each the manifestation of the other.
He
and his team have
subjected the theory to its toughest test yet, to see if its predictions can properly describe an
object — the double pulsar — that is barely
within the grasp of our human imagination.
Analysis of exploration times during the test revealed significant
object / age interaction (P = 0.0293, 3 - way ANOVA with age
and treatment as between -
subjects factors
and object as
within -
subjects factors), indicative of preferential exploration of the
object in the novel location by the younger animals
and a lack of such preferential exploration in 20 - month - old mice.
Pellington
and screenwriter Alex Ross Perry make their point
within the film's first few minutes
and keep making it — establishing that, yes, certain
objects obviously do matter to us as harbingers of the narratives we assemble out of the incidents in our lives — as if they're the first artists to broach the
subject.
Haynes charts the play of desire between them — the interchange
and merging of
subject and object —
within a darkened mise en scène that makes the sudden illumination of a face literally breathtaking.
The environment design is faithful to the
subject matter as it includes iconic environments from Star Wars films such as the remote desert planet of Jakku
and the ice planet of Starkiller Base containing a deadly energy weapon
within the core of the planet, while a new feature which generally sets environments apart from this game in comparison to other LEGO games is the introduction of multi-build paths that effectively allows players to build an
object to complete a new objective or reach a new area, dismantle it, then re-build it as an alternative
object in order to complete another new objective or reach another new area.
The individual works
within this installation share an interest in negating the conventions of portraiture
and feature
subjects adorned with personal
objects.
As both actors
and victims of ecological alterations, human agency is now so embedded
within nature that the distinction between
subject and object becomes obsolete.
His
subject matter was inescapably melancholy, but was always leavened by his humour
and individuality; his ability to reconstruct the world from
within the formal structure of his imagination rendered the most mundane
objects and scenes memorable.
While Khedoori's emphasis the quotidian as
subject matter serves as a sober update of Pop Art's embrace of common
objects, her placement of these everyday
objects within undefined
and thus mysterious surroundings invites an almost surreal unease.
* Like above, the concept of materiality is currently
subject to a shift from thinking of
objects as mere static entities to understanding them as events in a continuum, moving
within different networks
and always on their way to be transformed into something else.
Recent completion of a series of wall paintings
and mural installations at various venues: Pace London, MMK Frankfurt
and the Museum Ludwig in Cologne, has led to a further articulation of Ostendarp's fields in extreme proportions, as well a reading of the
subject /
object connection
within his own work.
Bormuth has constructed a paradigm of motherhood by representing the mother as
object rather than
subject as he searches for realism
within motherhood in art historical
and societal roles.
Shaw is a painter whose
subject matter is the council estate in Coventry where he grew up —
and often the mundane everyday
objects within it.
And his use of actual
objects — crystals mined then enhanced — brings Malevich to mind: his Suprematist Composition: White on White (1918),
subjects the logic of the square to a dissolute essence that resonates
within Lima's abstractions.
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