Sentence examples for non-representational forms from inspiring English sources

(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.

"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.

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.

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.

Because today's culture bombards our students with non-discursive representational forms, it's especially important to teach the analysis of such forms (Murray 2009).

(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.