Sentences with phrase «understood by abstraction»

Natures were understood by abstraction, and being itself was conceptualised in an analogous concept.

Not exact matches

Since there are no such commitments, we are free to entertain the idea that the attempt to understand space by thinking away all contents may yield an eccentric abstraction.

As Bultmann uses them, the former refers to an event so far as it is significant for human existence (e.g., the cross as the salvation - occurrence through which I understand myself as judged and forgiven by God), while the latter refers to an event considered in abstraction from such significance (e.g., the cross as an incident in the annals of ancient history).»

The doctrine (widely held until recently) that «matter» itself is fully real (rather than an abstraction, derived from intellectual analysis of concrete really - existing things, as Aristotle held), and that such self - subsistent «matter» is intrinsically inert (as opposed to self - organizing), arguably reached its full flower in the late Renaissance.18 Part of contemporary divergence between theistic and naturalistic approaches may be understood to arise from overly complete internalization (by both naturalists and theists) of the cosmology that emerged from the scientific revolution of the seventeenth century — the cosmology in which «matter» was full real, but intrinsically inert.

In that revolutionary address he unified geometry and physics into a single set of axioms by symbolic logic.2 While the memoir does not comment theologically, it does propose a theory of intersection points, or interpoints, which in its mathematical abstraction suggests a lucid and stimulating model for projecting Whitehead's understanding of God's relation to space.

By understanding presence as something more than «mere appearances,» Dillenberger has come to consider abstraction the pictorial procedure by which artists penetrate beneath the visible surfaces of nature in search of a subject's «essence» or deeper trutBy understanding presence as something more than «mere appearances,» Dillenberger has come to consider abstraction the pictorial procedure by which artists penetrate beneath the visible surfaces of nature in search of a subject's «essence» or deeper trutby which artists penetrate beneath the visible surfaces of nature in search of a subject's «essence» or deeper truth.

In this current exhibition, Favour creates lush and sensual abstractions of the leaves, flowers and reproductive systems of the figs and nasturtiums filtered through her imagination; yet, informed by a rich understanding of the history of botanical illustration.

The exhibition is certain to expand your vocabulary of early abstraction and modernism, the underlaying historical, literary and cultural factors that allowed for this new visual language to cement its position in history and help better understand later innovations by Mark Rothko, Joseph Albers, Chuck Close, Spencer Finch, Richard Serra, Julian Schnabel and others.

The performative nature of the paintings and the artist's self - awareness on camera recalls Hans Namuth's infamous photographs of Jackson Pollock's dramatic painting process — images that have defined our understanding of his active bodily presence.18 However, in Saint Phalle's hands, there is an explicit refusal of the terms of abstraction that Pollock and others of his generation perfected — i.e., the expression of exquisite anguish that could be exorcized by subjective brushwork from the singular, heroic male artist.

She also cautions that «we should not try to make Mark into an activist; he is an extraordinary artist who, through the power of his abstractions, offers us an understanding of the multilayered perspectives of communities marginalized by location and identity.»

Bryan Robertson: I've always understood, maybe over-simplistically, that the great abstract art of this century came about by a process of working through reality or some aspect of the physical world — the nude, landscape, the interior or still - life — in stages towards simplification, and then, like a sort of exorcism, a casting away of what Rothko called «crutches», venturing into some form of abstraction without any obvious references to the physical world, but maybe with some distilled, remembered vestiges of its appearance — like Mondrian's sequence of trees.

But Hawkins didn't retreat to a prelapsarian, idealist understanding of abstraction; instead, his understanding of abstract painting as a continuous circulation of signs without origin or terminus was informed by his reading of Gilles Deleuze.

Through a profound exploration of his personal relationship with figurative painting over the years, compounded by his personal conception of abstraction, with My Wall Tweedy achieves an deep understanding of his own history as a painter, laying the foundation for a future of infinite possibilities.

My thinking and understanding is that in painting one begins abstract, with a welter of abstractions, be they formal, conceptual, emotional, sensory, psychological and then pushes towards the painting, which by definition becomes figured.

Through a pragmatic study of the societal changes of this time period, Nesbit attempts to understand the break towards abstraction, best characterized by artists Pablo Picasso and George Braque with the rise of Cubism, in which Nesbit interprets the Cubist line as an «embrace of the language of industry».

Inspired by nature and the spirit, the new body of work seeks to understand «order, chaos, creation and human connection» through abstraction.

(Flat - footed, as in an intentional awkwardness to the handling of the medium best exemplified by Philip Guston's return to figurative abstraction — his thick, deliberate marks forced critics to talk about things like «the speed» of his paint as they tried to understand his aesthetic decisions.)

I could never really understand what was meant by abstraction in dance.»

Now understood to be a key founder of abstraction, she was also a theosophist and a medium who understood her «automatic» paintings to be guided by spirits; messages received from the «High Powers».

Kevin Blake: Chicago artist Sophia Leiby recently turned me onto an essay in the Brooklyn Rail, Worlds With Us by Katy Siegel, in which she suggests, «In terms of art, unthinking the opposition between representation and abstraction is particularly vital to understanding art objects and practices afresh.»