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Pagina 82
Architects are obliged to complete their idea before its translation into a complete
object of perception takes place. Inability to build up simultaneously the idea and
its objective embodiment imposes a handicap. Nevertheless, they too are ...
Architects are obliged to complete their idea before its translation into a complete
object of perception takes place. Inability to build up simultaneously the idea and
its objective embodiment imposes a handicap. Nevertheless, they too are ...
Pagina 83
of, a complete experience, rendering it more intensely and concentratedly felt. It
is not so easy in the case of the perceiver and appre- ciator to understand the
intimate union of doing and undergoing as it is in the case of the maker. We are ...
of, a complete experience, rendering it more intensely and concentratedly felt. It
is not so easy in the case of the perceiver and appre- ciator to understand the
intimate union of doing and undergoing as it is in the case of the maker. We are ...
Pagina 241
Things, it is true, are not complete without minds, but minds, again, are not
complete without things; not any more, we might say, than minds are complete
without bodies. Our resources in the way of sensation, and our experiences in the
way of ...
Things, it is true, are not complete without minds, but minds, again, are not
complete without things; not any more, we might say, than minds are complete
without bodies. Our resources in the way of sensation, and our experiences in the
way of ...
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Sommario
Having an Experience From Art as | 62 |
Intuition | 89 |
Desire and the Unconscious | 127 |
Copyright | |
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Parole e frasi comuni
abstract activity ANDREW CECIL BRADLEY appears appreciation artist aspect attitude beauty become Benedetto Croce called character CHRISTOPHER CAUDWELL Clive Bell color concrete connection consciousness contemplation contextualist criticism daydreams Distance distinction distinguished dream effect elements empathy esthetic emotion esthetic experience existence expression external reality fact feeling Freud genotype give Gurney Hanslick HERBERT READ human I. A. RICHARDS ideas images imagination imitation impulse individual instinctive interest intrinsic intuition JOHN HOSPERS judgments kind language latent content live manifest content material means Melvin Rader ment merely mind moral nature object objectified organization ourselves painter painting perception phantasies philosophy physical picture pitch play pleasure poem poet poetic poetry practical present principle produce psychological pure relation rhythm rience scientific sensation sense sensuous social soul sound spatial super-ego theory things tion truth type patterns unity variation Vernon Lee whole WILHELM WORRINGER words