Sentences with phrase «use of abstract forms»

Not exact matches

Part of the problem the way the question is posed is by assuming that we can abstract an ethical ideal from one part of scripture and use it to judge the actions of God in another part of scripture, as though scripture were given us so we could form such dehistoricized abstract ethical judgments!

«9 Correlatively, Smith observes the word «religions» (plural form) comes into use only as one «contemplates from the outside, and abstracts, depersonalizes, and reifies the various systems of other people of which one does not oneself see the meaning or appreciate the point, let alone accept the validity.

Moving in tightly, using natural light to achieve a kind of luminescent quality, he now works with what might be called commonplace objects of nature, creating abstract studies of the form and fabric of lichens, ice crystals, seeds, wind - blasted wood, insect - eaten leaves.

Read an abstract of the chapter «Developing and Using Distractor - Driven Multiple - Choice Assessments Aligned to Ideas About Energy Forms, Transformation, Transfer, and Conservation» and order a copy of the chapter.

From a practical perspective, the implant could empower patients to use their abstract thoughts and feelings to control a medical device — a nuanced form of biofeedback.

So he uses the familiar thin plate to define drag, and a similarly abstract «body» forms the basis for a discussion of viscosity in the lead - up to the definition of the Reynolds number.

It's the difference between writing «We further showed that X is dependent on Y» and writing «Paramagnetic bipolar tolography revealed that X was dependent on Y.» This section should form the bulk of the abstract, so cram as many key words as possible in there, as the five or so key words that journals allow you to specify as such will soon get used up.

The main benefits of Talk a Lot are: • Students have to think in English during lessons in a controlled and focused way • Students learn how to memorise correct English structures naturally, without abstract and unrelated grammar lessons • Students learn how to construct eight different common verb forms, using positive, negative and question forms, as well as embedded grammar appropriate to their level.

The following are common characteristics of gifted children, although not all will necessarily apply to every gifted child: • Has an extensive and detailed memory, particularly in a specific area of interest • Has advanced vocabulary for his or her age; uses precocious language • Has communication skills advanced for his or her age and is able to express ideas and feelings • Asks intelligent and complex questions • Is able to identify the important characteristics of new concepts and problems • Learns information quickly • Uses logic in arriving at common sense answers • Has a broad base of knowledge; a large quantity of information • Understands abstract ideas and complex concepts • Uses analogical thinking, problem solving, or reasoning • Observes relationships and sees connections • Finds and solves difficult and unusual problems • Understands principles, forms generalizations, and uses them in new situations • Wants to learn and is curious • Works conscientiously and has a high degree of concentration in areas of interest • Understands and uses various symbol systems • Is reflective about learning • Is enraptured by a specific subject • Has reading comprehension skills advanced for his or her age • Has advanced writing abilities for his or her age • Has strong artistic or musical abilities • Concentrates intensely for long periods of time, particularly in a specific area of interest • Is more aware, stimulated, and affected by surroundings • Experiences extreme positive or negative feelings • Experiences a strong physical reaction to emotion • Has a strong affective memory, re-living or re-feeling things long after the triggering euses precocious language • Has communication skills advanced for his or her age and is able to express ideas and feelings • Asks intelligent and complex questions • Is able to identify the important characteristics of new concepts and problems • Learns information quickly • Uses logic in arriving at common sense answers • Has a broad base of knowledge; a large quantity of information • Understands abstract ideas and complex concepts • Uses analogical thinking, problem solving, or reasoning • Observes relationships and sees connections • Finds and solves difficult and unusual problems • Understands principles, forms generalizations, and uses them in new situations • Wants to learn and is curious • Works conscientiously and has a high degree of concentration in areas of interest • Understands and uses various symbol systems • Is reflective about learning • Is enraptured by a specific subject • Has reading comprehension skills advanced for his or her age • Has advanced writing abilities for his or her age • Has strong artistic or musical abilities • Concentrates intensely for long periods of time, particularly in a specific area of interest • Is more aware, stimulated, and affected by surroundings • Experiences extreme positive or negative feelings • Experiences a strong physical reaction to emotion • Has a strong affective memory, re-living or re-feeling things long after the triggering eUses logic in arriving at common sense answers • Has a broad base of knowledge; a large quantity of information • Understands abstract ideas and complex concepts • Uses analogical thinking, problem solving, or reasoning • Observes relationships and sees connections • Finds and solves difficult and unusual problems • Understands principles, forms generalizations, and uses them in new situations • Wants to learn and is curious • Works conscientiously and has a high degree of concentration in areas of interest • Understands and uses various symbol systems • Is reflective about learning • Is enraptured by a specific subject • Has reading comprehension skills advanced for his or her age • Has advanced writing abilities for his or her age • Has strong artistic or musical abilities • Concentrates intensely for long periods of time, particularly in a specific area of interest • Is more aware, stimulated, and affected by surroundings • Experiences extreme positive or negative feelings • Experiences a strong physical reaction to emotion • Has a strong affective memory, re-living or re-feeling things long after the triggering eUses analogical thinking, problem solving, or reasoning • Observes relationships and sees connections • Finds and solves difficult and unusual problems • Understands principles, forms generalizations, and uses them in new situations • Wants to learn and is curious • Works conscientiously and has a high degree of concentration in areas of interest • Understands and uses various symbol systems • Is reflective about learning • Is enraptured by a specific subject • Has reading comprehension skills advanced for his or her age • Has advanced writing abilities for his or her age • Has strong artistic or musical abilities • Concentrates intensely for long periods of time, particularly in a specific area of interest • Is more aware, stimulated, and affected by surroundings • Experiences extreme positive or negative feelings • Experiences a strong physical reaction to emotion • Has a strong affective memory, re-living or re-feeling things long after the triggering euses them in new situations • Wants to learn and is curious • Works conscientiously and has a high degree of concentration in areas of interest • Understands and uses various symbol systems • Is reflective about learning • Is enraptured by a specific subject • Has reading comprehension skills advanced for his or her age • Has advanced writing abilities for his or her age • Has strong artistic or musical abilities • Concentrates intensely for long periods of time, particularly in a specific area of interest • Is more aware, stimulated, and affected by surroundings • Experiences extreme positive or negative feelings • Experiences a strong physical reaction to emotion • Has a strong affective memory, re-living or re-feeling things long after the triggering euses various symbol systems • Is reflective about learning • Is enraptured by a specific subject • Has reading comprehension skills advanced for his or her age • Has advanced writing abilities for his or her age • Has strong artistic or musical abilities • Concentrates intensely for long periods of time, particularly in a specific area of interest • Is more aware, stimulated, and affected by surroundings • Experiences extreme positive or negative feelings • Experiences a strong physical reaction to emotion • Has a strong affective memory, re-living or re-feeling things long after the triggering event

Geoform is an online scholarly resource, curatorial project, and international forum whose focus is the use of geometric form and structure in contemporary abstract art.

To contrast the digital nature of the talks, the team used the tactility of paper and created abstract forms to convey key ideas from each lecture.

The precedents of modern abstract art are investigated through works by the followers of Hindu Tantric art (17th century) and the Theosophists (19th century) who used forms - color as sources for meditating and the immaterial transmission of thought.

John Hoyland (b. 1934, Sheffiled, United Kingdom; d. 2011) was one of Britain's leading abstract painters, renowned for his bold use of color and inventive forms.

Marcel Wanders» total environment will include several bodies of work: large abstract figural mirrors, such as Dysmorphophobia 1, 2 and 3, with carved details and cutouts, create an illusion of a character or ghostly figure; Self 2 is a steel cabinet and kinetic piece, balancing a sculptural ovoid form that abstracts a human head and physically rocks on the top surface; Tempter, an over-sized adult rocking unicorn is cast in bronze with metal chain stirrups; Shiqule Nuhai, two ceramic vases, monumental in height, reference Marcel Wanders» Delft Blue collection with a darker sensibility, using black glaze.

John Hoyland (b. 1934, Sheffield, United Kingdom, 2011) was one of Britain's leading abstract painters, renowned for his bold use of colour and inventive forms.

Challenging and re-inventing ideas about pictorial space, the paintings on view relate to Color Field painting and Op Art, and reflect Fangor's distinctive use of saturated color and blurred silhouettes to create striking abstract forms and mesmerizing optical illusions.

Using the representation of factual ideas — life, nature and structure — and throwing them into an abstract form, Daniel embraces the apparent limitations of a black surface.

Using a palette of the same four colors, Cranston reworks an abstract painting by one of the key figures in Modernism, Swiss / French artist, architect and designer Charles - Édouard Jeanneret, better known as Le Corbusier (1887 - 1965) in six variations, identical in form and composition but in different color combinations.

Included in the exhibition are a series of paintings, photographs and collages that use the crystalline abstract structures of rocks and minerals to create visual relationships between seemingly disparate forms.

In Hog on Ice, Pinks, and Creamed Onions (1989), John Chamberlain uses black and white lucite relief to form varying lines in abstract forms, evoking the linear patterns that appear as a result of manipulation and exposure in the artist's crushed automobile sculptures.

The exhibition's underlying mission is a compelling one: to inspire a close inspection and fresh discussion of two seemingly disparate topics — contemporary abstract painting by a New Orleans - based artist and Edo - period Japanese landscapes — using visual and conceptual links to form an effective springboard for joint exploration.

This exhibition focuses on the analysis of a set of works from the Berardo Collection in which the artists have made free and creative use of line, form and colour, elements which are intrinsically linked to our lives, to all that we see, touch and feel and can be considered the main building blocks of abstract art since the beginning of the 20th century.

While in her previous series, including Mom's Friends (2007) and The Stylist Project (2010), the artist used figures to construct narratives, here the female form is part of a broader abstracted landscape.

Using the skills they acquired at the College, each artist moved beyond a realist interpretation of the landscape to create abstract forms rooted in nature and geometry.

On the one hand, you have these really beautiful, minimalist, abstract works (in the kind of traditional sense of thinking about Donald Judd, Anne Truitt, that kind of concern for color and form), and then you have your video works, or your use of flowers, like the way a flower or an arrangement of flowers can stand in for something.

Her sculptural works are often site - specific, making use of architectural space and working in tandem with abstract wall drawings to form the installations as a whole.

She uses a varied range of gestural marks to create expansive and abstract forms that reveal internal and external body systems.

Also on view is a group of bronze sculptures from Nagle's Hands On series (1991), which use the cup as a formal vehicle rather than a utilitarian tool, employing slight variations in structure and texture to create abstract geometric and architectural forms.

Often prints use symbolic depictions of natural forms and are recognized as similar to her abstracted natural shapes.

Using both abstract forms and re-constructed copies of found objects, the artist asks how we might use such things and how they solicit bodily engagements from us.

In 1943, Gottlieb, together with Rothko and Barnett Newman wrote a letter to one of their most vocal detractors, New York Times critic Edward Alden Jewell, outlining the use of mythic themes and abstract forms that were hallmarks of the New York School.

In my work I use the complexity of abstract forms and tangible elements as a response to the undeniable beauty of colour.

The sculpture in this show furthers the artist's use of vernacular craft forms and materials in abstract yet iconic objects.

In 1966 Alloway coined the term Systemic Art to «describe a type of abstract art characterized by the use of very simple standardized forms, usually geometric in character, either in a single concentrated image or repeated in a system arranged according to a clearly visible principle of organization».

Using sheets of pigmented handmade paper, she creates assured abstract forms by applying dense repetitive marks.

This exhibition features five artists whose recurring, yet widely divergent, use of circular shapes, dots, droplets and spots are technical and aesthetic tools used for the exploration into objects, places, popular culture, abstract forms and the self.

While these sculptures can be seen as purely abstract forms, they also can be read as directly indexing nature, due to the grains of sand affixed to the plastic cloth used in the casting process.

We're not sure what exactly to call Lena Henke's printed - on boxes of transparent plastic — in the traditional of Donald Judd's «specific objects,» they hang on the wall but are clearly sculptural, and they use photographic images, but in abstracted forms.

Using chocolate, fat, felt, steel, signs, texts, and threads of alchemical connection Crotch re-stages Beuys» work from the gallery to the body, from the sculptor to the dancer, adapting abstract forms to express grief and loss.

The exhibition closes with Etel Adnan's (b. 1925, Lebanon) two - metre tapestry Champs de Petrol (2013) that uses brightly coloured abstract forms in the form of a map to suggest a sequence of oilfields.

Wangechi Mutu will present a new inter-disciplinary work that further expands on a recent shift in her art in which the paper materials typically used in Mutu's collages are fermented, dyed or saturated with dirt before being deployed in a form of an abstract work.

Also on show is Etel Adnan's Champs de Petrol (2013), a two - metre tapestry that uses brightly coloured abstract forms in the form of a map to suggest a sequence of oilfields, while Iman Issa imagines a shimmering and fragile glass monument for Tahrir Square in Cairo with Proposal for a Crystal Building (2014).

In doing so, I always aim to capture a sense of depth and form using abstract elements such as colour, colour relationships, texture, mark - making and composition.

Despite using purist notions of abstract form and color that date back to 1950s art critic Clement Greenberg's domineering brand of New York School formalism, Lawson fashions nothing short of a vicious attack on photography's «objective eye» via these modestly sized canvases.

From when he was a child he was interested in creating abstract forms - triangles and spirals - through the use of drawing tools.

Both works are constructed with rhythmic, overlapping shaped canvas planes, strings and struts, using an abstracted lexicon of forms derived from crosses, diamonds, zigzags and arcs.

Through abstract paintings, such as Abstract Painting No. 20 (1942), many of which use forms from landscape, he sought to portray a binding and healing conception of the universe and to make the sublime visual.

An early 20th - century school of painting and sculpture in which the subject matter is portrayed by geometric forms without realistic detail, stressing abstract form at the expense of other pictorial elements largely by use of intersecting often transparent cubes and cones.

The expressions of everyday life and vibrantly abstracted forms presented in Pattern Scheme evoke qualities of time, balance, repetition, focus, and design that emerge from the unique styles, subjects, and stories of each artist, connected through their varying use of pattern.

I have always enjoyed his subtle, modern, abstract forms shaped by the natural world and by ordinary objects, his refined use of simple materials...