Sentence examples for non-representational form from inspiring English sources

"It is perhaps the most indirect method of observation imaginable, a non-representational form of observation mediated by supercomputer simulations".

Kay describes the final results in these processes as an "indirect method of observation; a non-representational form of observation mediated by simulations".

"It is perhaps the most indirect method of observation imaginable, a non-representational form of observation mediated by supercomputer simulations". In creating his aesthetic, Kay drew from a wide array of sources, including science textbook iconography and abstract expressionist paintings.

(There is controversy among Rand scholars as to whether what is re-created in art is certain elements of reality or reality as a whole, i.e., a "microcosm," as well as how and whether the concept of re-creation applies to apparently non-representational forms of art: Torres and Kamhi 2000; Bissell 2004).

Mark Rothko continued Malevich's quest to channel transcendent feelings through non-representational forms with his emotive Color Field paintings.

His careful readings of Shostakovich's Fourth and Fifth symphonies represent the clearest possible refutation of the idea that music is a non-representational art form.

The building thus became iconic and beloved, not for its British application of Le Corbusier's modernist aesthetics, its sumptuous non-representational sculptural forms or for the iconoclastic beauty of its weathered concrete, but because it figured as a location in Britain's sourest and most sadistic film noir.

(That, too, is something of an exaggeration, since politics has become a distinctly non-representational art, a sort of abstract painting of British society).

Although he clearly felt neglected, Kandinsky consoled himself in 1916 with the thought that his achievement in pioneering a meaningful and beautiful form of experimental non-representational art would ultimately be greater than that of the very different form of conceptual abstraction created by the more protean and flamboyant Malevich.

As architectural objects are typically non-representational and designed with manipulation and relation of forms as a primary task, it is natural that their formal properties be seen as playing a central role in our aesthetic appreciation of them.

But they were a very specific and non-representational group, from the 10% or so of the business that formed the so called "Creative Revolution".