For me, it was more distant, more abstracted, but still very real.
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I've always known this, and my annual struggle with it grows more abstracted by the year.
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Then the point became just a broader, or more abstracted, platform for that kind of concept.
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And that story has become more and more abstracted as the complexity of our technology has increased.
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Keep these more abstracted qualities in mind when you get news of an outer planet entering retrograde.
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And the more abstracted he became, the less attention his defenders paid to the things he was actually saying.
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Evocative of Bosch's painting, the forms are far more abstracted and disjointed than the fantastical scenes of the original nude bodies.
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The work evokes the purest transitions: of birth, or aging, or between spiritual planes, or in a more abstracted state of moving and becoming.
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When Karl turns up at Danny's 38th birthday party, the two men haven't seen each other in a year, and Danny seems more abstracted and separate from the world than ever.
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The work in the show reads as quite antiquated, not only because this genre of painting has largely been relegated to tedious ceremonial use, but also because our current state of affairs is so much more abstracted.
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I remember vividly the first time I played it, where you walk either alone or with a companion through a tunnel of pixelated colors, in five minutes growing old and the world becoming more abstracted until your unavoidable death.
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The great accomplishment of The Lost City of Z is how its narrative pace slows, almost imperceptibly, as it glides smoothly from history-rooted concreteness — Fawcett, his associates, and the society are all real — and toward a more abstracted way of telling the story.
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Many of those have to do with its divergences from C, including an abandonment of the system calls that nicely bind together C and the Unix operating system; the offspring language's more abstracted approach to system memory; and many things to do with C++'s handling of the programming abstractions known as objects.
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Leslie Shows' earlier works were mixed-media collages depicting abstracted landscapes. Her more recent paintings, while retaining the use of mixed media, have become more abstracted and focus on mineral textures and geologic features.
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The paintings that she made during her first years in New York often focused on the architecture of building facades, evidently inspired by her architectural studies in Paris in the 1960s. During the mid- to late-1970s, her work became more abstracted as her focus shifted to the portrayal of centralized objects isolated in space. In the 1980s, her work became even more abstracted with works like Summer Heat (1981). With this work she introduces the use of ambiguous, calligraphic marks that allude to written language.
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During the 1970s Albrecht's work became more and more abstracted, although it often still began with observations of the landscape, making studies in places like Auckland's West Coast and Manukau Harbour. Art historian Linda Gill notes that as Albrecht's paintings became more abstracted, her titles – originally prosaic, such as Table-Cloth with Curtain – became 'as poetic as her use of colour: Grey Ledge, Winged Spill, Storm Swell, Fritillary, Cushioned Fall, Penumbra.' An exhibition of American painter Morris Louis' large abstract acrylic paintings at the Auckland Art Gallery in 1971 encouraged Albrecht's commitment to her abstract style and encouraged her to be more bold.
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New York: Oxford University Press. Bebop musicians employed several harmonic devices which were not previously typical in jazz, engaging in a more abstracted form of chord-based improvisation. Bebop scales are traditional scales with an added chromatic passing note;. bebop also uses "passing" chords, substitute chords, and altered chords.
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Succour incorporated a darker, more abstracted sound than their first album, and while commercially a more difficult record, was nevertheless again well received. Writing in the NME, Sharon O'Connell stated "Succour provides both everything and nothing and is just as much a minefield as a treasure trove. It's beautiful. Be careful".
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Beboppers introduced new forms of chromaticism and dissonance into jazz; the dissonant tritone (or "flatted fifth") interval became the "most important interval of bebop"Joachim Berendt. "The Jazz Book". 1981. Page 15. and players engaged in a more abstracted form of chord-based improvisation which used "passing" chords, substitute chords, and altered chords.
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Howe created a series of miniature sculptures to simulate the idea and feeling of an assembly, without any attachment to an actual event.McCulloch, Ann. Can art change minds where science can’t Theconversation.edu.au, 11 Feb The dioramas were photographed and rendered in paint, using a technique that appears photographic from a distance, yet becomes more abstracted and painterly with proximity.
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Maldarelli's classical training allowed him to obtain commissions for both garden decorations and architectural sculpture. However as he grew older his work became more and more abstracted, though it would remain basically figurative. He taught at both Sarah Lawrence College and Columbia University. He died in New York City in 1963 at the age of 70 from a heart attack.
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Middleditch was a painter, draughtsman and printmaker. He drew his motifs from the natural world: grasses, water, feathers, opening petals, reflections etc. Gradually shifting observed patterns became fleeting abstracted movements often caught from water currents and light effects. His later work became much more abstracted, concerned with repeating patterns as if seen from above and filling the picture-frame; drawing influence from kilims and Persian carpets.
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The first season was shot on location in a half Dutch, half Belgian town. It was broadcast every Sunday for a half-hour in the afternoon. For the second season, a realistic town square was built inside the studio, which slowly evolved into a more abstracted, colourful town, featuring Pino's nest, Sien's store, a workshop, two houses, an apartment building, a trailer and a treehouse.
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The brown trunk, black garments, white hats and red field are painted with minimal color shading. Gauguin is showing it is possible to move away from naturalism towards a more abstracted, even symbolic, manner of painting. While formal elements of Gauguin's paintings reflect the influence of Japanese prints, his choice of subject matter and composition are uniquely his own. Gauguin structures the painting by placing a tree trunk diagonally through its center.
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The RuneQuest combat system has a subsystem for hit location. Successful attacks are normally allocated randomly (or can be aimed) to a part of the target's body. In RuneQuest, a hit against a character's leg, weapon arm, or head has specific effects on the game's mechanics and narrative. This was an innovative part of the game's combat system and helped to separate it from the more abstracted, hit-point-based combat of competitors such as Dungeons & Dragons.
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Penguin Books Australia Ltd, Melbourne. . pp. 55-56. They also sometimes created works within the narrative conventions of Victorian painting. The Australians had little direct contact with the French impressionists; for example, it was not until 1907 that McCubbin saw their works in person, which is reflected in his evolution towards a looser, more abstracted style. The Heidelberg School painters were not merely following an international trend, but "were interested in making paintings that looked distinctly Australian".
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The Tilled Field (French: La terre labourée; Catalan: Terra llaurada) is a 1923–1924 oil-on-canvas painting by Catalan painter Joan Miró, depicting a stylised view of his family's farm at Mont-roig del Camp in Catalonia. The painting shows development from Miró's earlier works, such as The Farm, and is considered to be one of his first Surrealist works, created around the same time as the more abstracted Catalan Landscape (The Hunter). It is held by the Solomon R. Guggenheim Museum in New York.
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He painted Woman in bath (1963) as part of a series of works he was doing of bathroom pictures. It has primarily black on one side and has an image of his wife Wendy in a bathtub, seen from behind. Another in the series was a more abstracted Woman in the bath II, which owed a debt to his yellow and red abstract paintings of the early sixties. In 1964, while in London, Whiteley became fascinated by the murderer John Christie, who had committed murders in the area near where Whiteley was staying in Ladbroke Grove.
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In Aesthetic Theory, Adorno is concerned not only with such standard aesthetic preoccupations as the function of beauty and sublimity in art, but with the relations between art and society. He feels that modern art's freedom from such restrictions as cult and imperial functions that had plagued previous eras of art has led to art's expanded critical capacity and increased formal autonomy. With this expanded autonomy comes art's increased responsibility for societal commentary. However, Adorno does not feel that overtly politicized content is art's greatest critical strength: rather, he champions a more abstracted type of "truth-content" (Wahrheitsgehalt).
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A Tibetan tiger rug (modern) with and abstract pelt design. Rugs like this were used as meditation seats when tiger skins were unavailable The interest of western collectors of Tibetan rugs was particularly piqued by tiger rugs, in part because of their associations with Tantric meditation; many Tibetan tiger rugs were gifts for lamas in the monasteries.The Tiger Rugs of Tibet, by Mimi Lipton, Thames and Hudson, 1988Of Wool and Loom, by Trinley Chodrak, Weatherhill, 2000 There are several kinds of Tibetan tiger rug designs. Some consist of "realistic" renderings of tiger pelts, while closely related rugs show more abstracted versions of tiger stripes.
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Between 1986 and 1988 she worked for the Johannesburg Art Foundation while teaching at the Alexandra Art Centre. Her work was part of the group exhibition "Bild/konst i södra Afrika (Art/Images in Southern Africa)" which was shown at the Culture House in Stockholm from 19 May to 19-September 1989 and toured the Nordic countries until May 1990. In the late 1980s, her works became more abstracted without losing their figurative content. Miracle (1987) and Tears of Africa (1988) were two of her seminal works from this era, both in mixed-media charcoal and depicting "contorted, cramped figures with distorted or multiplied features and faces sometimes meeting at right angles".
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Some C and C++ compilers provide non-portable platform- specific intrinsics. Other intrinsics (such as GNU built-ins) are slightly more abstracted, approximating the abilities of several contemporary platforms, with portable fall back implementations on platforms with no appropriate instructions. It is common for C++ libraries, such as glm or Sony's vector maths libraries, to achieve portability via conditional compilation (based on platform specific compiler flags), providing fully portable high-level primitives (e.g., a four-element floating-point vector type) mapped onto the appropriate low level programming language implementations, while still benefiting from the C++ type system and inlining; hence the advantage over linking to hand-written assembly object files, using the C application binary interface (ABI).
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In the post-war years, Bishop's interest turned to more abstracted scenes of New Yorkers walking and traveling, in the streets or on the subways. Her signature changed many times over her career, ranging from the use of various pseudonyms to initials; some early pieces are signed I.B, or I. Bishop in both block and script. Her work remains significant as an example of the thematic concerns of the Fourteenth St. School, as well as her contribution to feminism and the "new woman" emerging in urban landscapes. The "Fourteenth Street School," was a loosely affiliated group named for the area around Union Square, where Bishop, Reginald Marsh, and the brothers Raphael Soyer and Moses Soyer worked.
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2001 saw the release of Randy Greif’s "War Of The World" on Soleilmoon. As a follow-up to his 6-hour electro-psycho adaptation of "Alice In Wonderland", Greif returned to putting classic literature through the sonic meat-grinder. This time around, though, the work was far more abstracted, and used the novel as more of a springboard for contemporary ideas relating to war—on a global level, a psychological level, and our own resistance to evolving from organic to digital beings. Even more than the novel itself, Greif incorporated the Orson Welles radio-drama hoax to explore the realm of disinformation and scrambled information, as well as the audience reaction of fear, even to the point of suicide, when faced with the unknown.
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During this time, he taught at the National Gallery school, and later served as president of both the Victorian Artists' Society and the Australian Art Association. Concerned with capturing the national life of Australia, McCubbin produced a number of large landscapes that reflect the melancholic themes then popular in literary accounts of European settlers' interactions with the bush. Several of these works have become icons of Australian art, including Down on His Luck (1889), On the Wallaby Track (1896) and The Pioneer (1904). During his first and only trip to Europe in 1907, McCubbin gained first-hand exposure to works by J. M. W. Turner and the French impressionists, inspiring a shift in his art towards freer, more abstracted brushwork and lighter colours.
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The paintings vibrate with the contrasts of light and dark, bright and dull and warm and cold. She is today more than ever an avid traveler, and she captures the essence of the places she visits in vibrant sometimes more descriptive while sometimes more abstracted pictures. Gardens with lush tropical vegetation and ornaments, busy landscapes with swirling clouds, Botanic Gardens of Singapore, Thai King's Phu Ping Palace Gardens in Chiang Mai, gardens in Bali and Kuala Lumpur, Castello di Miramare gardens in Trieste, located only about 20 km from her Slovenian residency and studio at Branik village... Through her use of color and shape she captivates the viewer with her joyful celebration of life through her art. The explosive energy of South East Asia is making her paintings even more vivid and vibrant.
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Subsequent works more provocatively focused on the vagina as an object and, by implication, examined the taboos that surround this body part and its functions within Jamaican culture. This also led to 3-dimensional constructions made from intimate female articles such as sanitary napkins and tampons and more abstracted and surreal hybrid organic forms that appeared in her large paper collages of 2007. This early body of work has a sober and at times even majestic visual beauty which as she puts it, references "beauty through the use of the grotesque but visceral, confrontational and deconstructed." Patterson's 2016 solo show at the Museum of Arts and Design, Dead Treez, incorporated several appliquéd commercially-woven Jacquard weavings in which Patterson used restaged images of photographs that had been taken of murder victims in Jamaica and then circulated on social media.
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From around 300 Early Christian art began to create new public forms, which now included sculpture, previously distrusted by Christians as it was so important in pagan worship. Sarcophagi carved in relief had already become highly elaborate, and Christian versions adopted new styles, showing a series of different tightly packed scenes rather than one overall image (usually derived from Greek history painting) as was the norm. Soon the scenes were split into two registers, as in the Dogmatic Sarcophagus or the Sarcophagus of Junius Bassus (the last of these exemplifying a partial revival of classicism). Nearly all of these more abstracted conventions could be observed in the glittering mosaics of the era, which during this period moved from being decoration derivative from painting used on floors (and walls likely to become wet) to a major vehicle of religious art in churches.
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Another expansion was to the East: "The practice of decorating facades in Chinese Buddhist caves with figures combined with leaf scrolls was derived in its entirety from provincial forms of Hellenistic architecture employed in Central Asia"; they appear in China from the 5th century.Rawson, 23 (quoted), and Chapter 1 The (Nelumbo nucifera) lotus flower was a symbol of Buddhism, and so very often included in these religious scroll designs from the 6th century on,Rawson, chapter 2 which was to have a profound influence on Asian scroll designs, long after the religious significance had been largely or entirely forgotten, and in places where the actual lotus water plant was unknown.Rawson, 31-32 It was several centuries before these designs were adapted by Chinese potters, via their earlier adoption in metalwork;Rawson, 26, 65 indeed an isolated gilt- bronze cup with a vine scroll comes from the 5th-century Northern Wei, probably influenced by metalwork from the West,Rawson, 39-40 and more abstracted or geometrical scroll designs appear earlier in Chinese art. The paeony seems to have become very fashionable in China during the T'ang dynasty, and often replaced the lotus flower.
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After advancing his formulation of a desirable literary school, a realism that depicts objective reality, Lukács turns once again to the proponents of modernism. Citing Nietzsche, who argues that "the mark of every form of literary decadence ... is that life no longer dwells in the totality," Lukács strives to debunk modernist portrayals, claiming they reflect not on objective reality, but instead proceed from subjectivity to create a "home- made model of the contemporary world." The abstraction (and immediacy) inherent in modernism portrays "essences" of capitalist domination divorced from their context, in a way that takes each essence in "isolation," rather than taking into account the objective totality that is the foundation for all of them. Lukács believes that the "social mission of literature" is to clarify the experience of the masses, and in turn show these masses that their experiences are influenced by the objective totality of capitalism, and his chief criticism of modernist schools of literature is that they fail to live up to this goal, instead proceeding inexorably towards more immediate, more subjective, more abstracted versions of fictional reality that ignore the objective reality of the capitalist system.
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