Sentences with phrase «symbolic objects with»

Her use of minimal shapes, like the sphere, is often tampered with by a playful take, replacing soul-less, symbolic objects with pop - infused, less alien ones.

Not exact matches

When an event becomes an objective datum in the emerging constitution of some subsequent occasion, its symbolic form is interpreted anew, in relation to other symbolic objects, but always in conformity with the conditions established by its own actualization.

The «word» may be identified with subject - object, or I - It, knowledge while it remains indirect and symbolic, but it is itself the channel and expression of I - Thou knowing when it is taken up into real dialogue.

Universal Algebra, in precisely this sense, is a poor framework for mathematics insofar as it unites spatial manifolds and symbolic logic by introducing the common notion of an algebraic manifold (Whitehead's terminology) or a semi-group (current standard terminology), an object with very little structure or intrinsic interest.9 In this case, generalization comes at the expense of abstract sterility.

As Hunt himself pointed out, nearly every object in the picture is imbued with a symbolic significance.

If Neandertals did have the capacity for symbolic thinking — crucial for using drawings or language to represent ideas and objects — that ability may have developed at least 500,000 years ago in an ancestor shared with humans, the two research teams propose.

McLuhan understood that the consumption and manipulation of symbolic, abstract information is not an adequate substitute for concrete, firsthand involvement with objects, people, nature, and community, for it ignores the child's primary educational need — to make meaning out of experience.

For this study, this fluency was defined as simultaneous awareness of all representations associated with a mathematical concept, as measured by the ability to pass seamlessly among verbal, geometric, symbolic, and numerical representations of the same mathematical object.

Represents natural numbers in different ways or associates a number with a set of objects or drawings: emphasis on place value in non-apparent, non-accessible groupings, using materials for which groupings are symbolic (e.g. abacus, money)

Lenka Clayton, Michael E. Smith, and Reverend Albert Wagner start with pre-existing objects that channel human presence, tending to them in ways that draw out new symbolic potential.

Rural Scots accept such extremes with matter - of - factness, and, in Cocker's sculpture, these attitudes are reflected in the sense of a normality that springs from making objects and finding symbolic threads to link the physical and spiritual aspects of life.

The artist dedicated his later studio practice to the consideration of simple and ordinary objects, often in sparsely composed table studies, imbuing his subjects with symbolic content and an unexpected complexity.

She is one of a generation of artists who have re-engaged with craft techniques and the symbolic resonance of materials, her work draws on architecture and household objects.

She describes these as «valueless objects which I invest with autobiographical or symbolic meaning».

Through such unexpected compositional arrangements, Ward enacts a transformation of everyday objects into visual markers rich with symbolic and narrative implications.

Grouped thematically rather than chronologically or according to nationality, everyday or mundane objects are sometimes juxtaposed with boxes created for ceremonial, aesthetic, or symbolic purposes.

Reut Avisar's multidisciplinary practice deals with culturally loaded, symbolic artifacts, objects and folk craft as they appear in tourism culture and its different manifestations.

In her work Cornaro uses found objects imbued with symbolic potential or...

With a penchant for non-heroic, «anti-art» materials such as spray foam and aluminum, and a keen eye for cultural objects bemired in symbolic notions of power, Bäckström's deeply tactile works create a rich interplay between association, meaning, and materials.

Those dumb one - eyed potato - heads and hooded Ku Klux Klan figures are both self - portraits of sorts; tragicomic figures in a schematic universe filled with symbolic objects like any Renaissance painting.

With distance and coldness, the artist works with common objects to reveal the power mechanisms, but also interrogating more specifically the notion of control of violence by states and institutions (symbolic or effectiWith distance and coldness, the artist works with common objects to reveal the power mechanisms, but also interrogating more specifically the notion of control of violence by states and institutions (symbolic or effectiwith common objects to reveal the power mechanisms, but also interrogating more specifically the notion of control of violence by states and institutions (symbolic or effective).

The next few years represent a rather conceptual phase, and probably the least known to the general public: sculptural pieces — the «oggetto - quadri» («object - pictures») as he called them — with minimalist echoes, drawings and objects characterized by more symbolic, essential and silent signs.

She produced a rich symbolic and figurative language, transposing the human body with architecture, animals, objects, and plants.

This figure, often fragmented, sometimes even completely abstracted, takes on various forms, from the human face, at once raw material and object of symbolic representation, as with Benglis's objectifying caresses, to the full body as place and tool of the trial and pleasure of repetition, as with Nauman's amateur choreography, bordering on the absurd, to the traces and physical prints left by the artist - creator (or the «art worker» in his service), as with the irregular random geometry of LeWitt, to the peers (Donald Judd) and tutelary figures in the history of art who inspire Flavin's evanescent structures... Now a disenchanted statement «Double Eye Poke» offers a challenge to the being of perception and thought.

With autobiographical references, the artist's body of work to date has been developed into a vocabulary of forms and objects that convey certain messages in an almost symbolic way.

Other artists seminal in using the body as a metaphor for psychological conditions are Bruce Nauman, whose severed heads are forever frustrated in their inability to communicate with the rest of the body, and Louise Bourgeois, whose assemblages of cast body fragments and objects inside cubelike interiors, or «cells,» as she calls them, are the symbolic plasma of an individual.

Counts further conveys the symbolic depth of objects with her two most figurative sculptures in the exhibition, Moment A, a massive candle dripping with satisfying layers of blue, white, gray, and silver glazes, and Moment B, a colorful vase full of large ceramic roses.

Tai Shani's work occupies the central gallery space and frames the gallery entrance with vibrant symbolic sculptures; technicolour, psychedelic interpretations of mystical objects and ritualistic architecture.

Working in a classical sculptural lexicon, Dexter Dymoke's practice explores the correlations and tensions between objects, materials and their engagement in space — he describes his work as an engagement with a discrete but rigorous conceptual enquiry into the symbolic and metaphoric role of materials.

The fourteen works on view will reflect art's longstanding relationship with the car as a cultural icon and fetish object replete with physical and symbolic possibilities.

Whether working with text, an actor, a set, or a song, the artist treats symbolic elements as independent objects.

Highlights of the exhibition also include major works, such as Racconti di Guascogna (Tales from Gascony) 1951, and Ragazzo col Tacchino (Boy with Turkey) 1955, which show how Afro's more symbolic representation of objects and figures shifted to become a purely expressive and emotional form of abstraction.

Surreal and at times overwhelming, the compositions often feature a singular human figure — in many instances a portrait of Heffernan herself — intertwined with a myriad of flora, fauna and symbolic objects.

The artist develops a hybrid work, of pictorial and sculptural character, where the image blends with the materiality of the object in a apparent contrast that functions as a symbolic complement.

Consistent with his past work, Haggerty maintains in these paintings a focus on the dynamic gesture of line that embodies not actual objects, but rather, actions or occurrences, like letters or other symbolic abstractions.

The objects needed to fit with Areaware's existing product line, be produced for a $ 30 retail price, and create some sort of symbolic connection to the benefitting charity.

The preoperational stage (ages 2 - 7 years) is marked by the ability to master symbolic functions, including the association of objects with words, and the transition from an egocentric focus to an awareness that events have causes outside themselves.

The main results can be summarized as follows: (1) Synchrony during early mother - child interactions has neurophysiological correlates [85] as evidenced though the study of vagal tone [78], cortisol levels [80], and skin conductance [79]; (2) Synchrony impacts infant's cognitive processing [64], school adjustment [86], learning of word - object relations [87], naming of object wholes more than object parts [88]; and IQ [67], [89]; (3) Synchrony is correlated with and / or predicts better adaptation overall (e.g., the capacity for empathy in adolescence [89]; symbolic play and internal state speech [77]; the relation between mind - related comments and attachment security [90], [91]; and mutual initiation and mutual compliance [74], [92]-RRB-; (3) Lack of synchrony is related to at risk individuals and / or temperamental difficulties such as home observation in identifying problem dyads [93], as well as mother - reported internalizing behaviors [94]; (4) Synchrony has been observable within several behavioral or sensorial modalities: smile strength and eye constriction [52]; tonal and temporal analysis of vocal interactions [95](although, the association between vocal interactions and synchrony differs between immigrant (lower synchrony) and non-immigrant groups [84]-RRB-; mutual gaze [96]; and coordinated movements [37]; (5) Each partner (including the infant) appears to play a role in restoring synchrony during interactions: children have coping behaviors for repairing interactive mismatches [97]; and infants are able to communicate intent and to respond to the intent expressed by the mother at the age of 2 months [98].