A prime specimen of this form is his Wenfu ("On Literature"; Eng. trans. The Art of Writing), a subtle and important work of literary criticism that defines and demonstrates the principles of composition with rare insight and precision.
In Deleuze's work, these two halves of aesthetics are reunited: if the most general aim of art is to "produce a sensation," then the genetic principles of sensation are at the same time the principles of composition for works of art; conversely, it is works of art that are best capable of revealing these conditions of sensibility.
Every effort was made to meet the principles of composition of the focus groups described above.
Moreover, component instantiation found in hardware designs is almost identical to the principle of "composition" used in C++ for creating hierarchical design.
Berlioz built vast, reverberating halls of sound on foundations that did not include, critics said, the "principles of sound composition".
A book of Jane's early, pre-portrait work, The Unknown Bown (2007): reveals a technical virtuosity and an innate understanding of the principles of good composition.
Drawing was considered a foundation of the plastic arts, and students investigated relationships between color and form, and the principles of spatial composition.
In contrast, the recently published SPHINX algorithm [ 14] utilizes the principles of both composition and similarity based binning algorithms.
The actual molecular enlightenment of the circadian and ultradian oscillators (rhythms) as well as the undeniable influence with which the glial system acts on the neuronal system is a challenge to reconsider the integrative decision function of the reticular formation using the principles of musical composition as a paradigm.
As in the time of Haydn, Mozart, and Beethoven, success will continue to reward those who develop musical forms that grow naturally from the specific principles of composition used in their works, much as the sonata form grew out of the principle of contrast, conflict, and resolution of tonalities that characterized the sonatas, symphonies, and chamber music of the 18th and 19th centuries.
William Strunk and E. B. White, in their famous book The Elements of Style, suggest, in rule 16 (one of the "Elementary Principles of Composition") that a writer ought to always "use definite, specific, concrete, language".
