Sentence examples for contemplation of objects from inspiring English sources

Discovering what we think or feel about something or someone through language, the revivifying effects of the contemplation of objects or memories through words, is something we can all practise – the impulse to do so is one of the things that makes us human.

I have been very critical of such apps, which often distract from what is being seen, and can seem to cherish the chatter of social media over the contemplation of the objects being presented.

The two main conceptual advances offered by these findings are that there is an identifiable neural pattern associated with perception and contemplation of individual objects, and that part of the pattern is shared across participants.

Instead of saying that it is correct, or fitting, to have a certain emotional reaction to a certain object, we can say that contemplation of that object requires that emotional reaction.

The respect that is owed to all things, it can be argued, is a very basic form of attentive contemplation of the object combined with a prima facie assumption that the object might have intrinsic value.

Dutch still life paintings depicting oysters, herrings, crabs, bread, butter, beer, wine, excite the appetite and are objectionable for the exact same reasons as erotic paintings and sculptures, which excite sexual appetite, are objectionable: they stimulate the will and as such put an end to any aesthetic contemplation of the object.

Moore's other chief good of personal love also involved admiring contemplation, but now of objects that are not just beautiful but also intrinsically good (Principia Ethica 251).

While validating the contemplation of intelligibles (extrasensory objects or phenomena), they divided visions into metaphorical expressions of intelligibles on the one hand and unreliable fantasies on the other.

The resulting exhibition is an adventure in juxtaposition and visual argumentation; either way it's a far cry from the quiet contemplation of isolated art objects.

Drawing upon work by Pepper, D. W. Prall (1929, 1936), and George Santayana (1923), Lewis held that an aesthetic appreciation of art is based on the contemplation of an "aesthetic object" presented by the work.

During the same period the range of objects of contemplation was increased to include the Passion of Christ, visions of saints, and tours of heaven and hell.