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Passive apperception may be characterized simply by saying that here the associative form of representational connection is predominant,[52] whereas when "the active apperception successively raises representations into the focal field of consciousness," this active passage of representations obeys the special laws of what Wundt calls "apperceptive connection" (PP II: 279).
He and Sickert, though, both made good on the suspicion that careful, tandem attention to reality and the painted surface could be the basis of a form of representational picture-making that might not turn art on its ear, like Cubism, but that would be, and remains, indelibly modern.
The quantitative data was collected in the form of Representational Competence assessment test score, self-reported mental difficulty score, and self-reported mental effort score for both groups.
The use of gesture as a form of "representational expressivity" (Hegedus and Moreno-Armelia 2012, p. 49) in conveying ideas on possible designs was an unexpected observation.
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People like Kandinsky and Eliot may have felt that traditional forms of representational art were exhausted, but they would never have reduced their work to the business of exploring the limits of the medium.
Given that the idea that art should exist as a primarily functional, representational form of representation — the idea, simply, that artworks should reflect reality in as real a way as possible — was shunted into a ditch in about 1950, it's not surprising that our galleries and museums don't drip with portaits of gurning ravers.
Picciuto (2011) points out, however, that Kriegel's form of self-representational theory still permits a mis-match between the first-order and higher-order components of the integrated state.
The next morning, he writes, "I quickly cleared away the papers from my desk" and set to work with the cardboard, trying to come up with a new shape and pattern to form representational pairs of cardboard bases connected by notional hydrogen bonds.
Chip has expounded on the meaning and perception of landscape through innovative forms of pedagogy, representational techniques, and writing.
Modernity has weakened the traditional Islamic injunction against the depiction of images of humans and animals; thus, in addition to traditional architecture, decorative design, and various handicrafts, it is possible to find non-utilitarian forms of both representational and abstract painting and sculpture.
(Formerly R3202) Painting II: Extension of VIAR UN2100 This course explores the transition of representational form towards abstraction in the early 20th century (Cubism) with full consideration to recent movements such as geometric abstraction, organic abstraction, gestural abstraction, color field and pattern painting.
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