Some works dance
with aesthetic harmony whilst others uncover cultural emotions.
Not exact matches
The «more than» is decisive, for the evils God receives are like impulses that God then renders into a richness of contrast, supplementing evil
with its ideal complement, and so achieving
aesthetic harmony.
In our generation there is danger and hope — danger that these noncognitive accouterments will lose their
aesthetic harmony and hypnotic power when integrated
with the basic prehensions of science, and be reverted into impotent and empty symbols, jarring, ugly, and without force in final satisfactions: hope that the power of Jesus as lure will reassert itself in an
aesthetic context devoid of supernaturalism, a context such that (the language now picks up echoes of van Buren) the vision of Jesus, the free man, free from authority, free from fear, «free to give himself to others, whoever they were «1 — such that this vision in its earthly, human purity will lure our aims to a harmonious concrescence, integrating scientific insight and moral vision and producing a modern, intensely fulfilling human satisfaction.
Whitehead's solution to dealing
with (
aesthetic) evil (disharmony) is the introduction of a third system of prehensions which heightens Beauty and heightens Evil into a greater
harmony.
According to Roger Ames (NAT 117), an «
aesthetic order» is a paradigm that: (1) proposes plurality as prior to unity and disjunction to conjunction, so that all particulars possess real and unique individuality; (2) focuses on the unique perspective of concrete particulars as the source of emergent
harmony and unity in all interrelationships; (3) entails movement away from any universal characteristic to concrete particular detail; (4) apprehends movement and change in the natural order as a processive act of «disclosure» — and hence describable in qualitative language; (5) perceives that nothing is predetermined by preassigned principles, so that creativity is apprehended in the natural order, in contrast to being determined by God or chance; and (6) understands «rightness» to mean the degree to which a thing or event expresses, in its emergence toward novelty as this exists in tension
with the unity of nature, an aesthetically pleasing order.
It is because I share
with Kushner (and Ricoeur) the conviction that any theodicy based on the «ethical vision» (such as those of punishment, pedagogy and universal
harmony) is inadequate that I have suggested we experiment
with an
aesthetic vision of the cosmos.
What might qualify any claim as to the
aesthetic character of Wieman's model was his concern to distinguish «organization» from «coordination,» coupled
with his specification that «Coordination means
harmony, but... organization does not» (JPPS14: 539).
We may grasp this
aesthetic notion of value more firmly if we contrast it
with the notion of evil, the contrary of value.10 Evil is a quality associated
with trends, persons or phenomena that remain in or degenerate into chaos or triviality when the possibility of
harmony and intensity is in fact open to them.
Each suite is furnished in contemporary decor in
harmony with aesthetic artistry and the soft furnishing.
With these particular pictures, he was looking more closely at the «geometry of the city — created by light and shadow and their
aesthetic harmony».
The
aesthetic elements of the classic wallpaper decor were complemented
with golden accessories and a wonderful classical sink; the mirror and lighting are in perfect
harmony with the classic design.