AEsthetic Analysis |
Dall'interno del libro
Risultati 1-3 di 27
Pagina 36
In color we distinguish hue from brightness , as in extension we distinguish
breadth from length . No color is presented concretely without extension . No
presented visual surface lacks two spatial dimensions , as no physical object
lacks three .
In color we distinguish hue from brightness , as in extension we distinguish
breadth from length . No color is presented concretely without extension . No
presented visual surface lacks two spatial dimensions , as no physical object
lacks three .
Pagina 96
And we must remember that in being periods of time they are not spatial lengths .
Their sort of length is a longer or shorter duration , not a spatial distance . The
danger is that language may confuse us on the point . For we use length to refer
to ...
And we must remember that in being periods of time they are not spatial lengths .
Their sort of length is a longer or shorter duration , not a spatial distance . The
danger is that language may confuse us on the point . For we use length to refer
to ...
Pagina 98
In other words , since it is not the absolute lengths of time involved , their length ,
that is , in terms of the units of time of our established clocks , it must be their
relative lengths , the temporal relations of these lengths to one another . But we
can ...
In other words , since it is not the absolute lengths of time involved , their length ,
that is , in terms of the units of time of our established clocks , it must be their
relative lengths , the temporal relations of these lengths to one another . But we
can ...
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abstract accent acquaintance actual adequate æsthetic analysis appears apply apprehended artists aspect attention basic basis become body called character characteristic clear clearly color complex concrete conscious constitute course criticism defined definitely determinate direct directly discriminating distinct distinguished Dominant duration effect elements emotional example exhibited experience expressive fact familiar feeling felt field formal function fundamental give given grasp human indicate individual intelligible intensity interest intervals intrinsic kind knowledge language least length less marked matter means measure merely names nature notes object obvious octave once organism particular pattern physical pitch possible present processes qualitative relations require response rhythm scale scheme selected sense sensuous simply single sort sound spatial specific structure suggested surface systematic taken temporal temporal pattern theory things tion Tonic variations verse vibration whole