A Quote by Michael Jackson
This extravagant dwelling, as domineering as it was distant, brought home to me the intimateconnection between tyranny and abstraction, and put me in mind of John Berger's observation that "abstraction's capacity to ignore what is real is undoubtedly where most evil begins."
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In the development of the understanding of complex phenomena, the most powerful tool available to the human intellect is abstraction. Abstraction arises from the recognition of similarities between certain objects, situations, or processes in the real world and the decision to concentrate on these similarities and to ignore, for the time being, their differences.
If I wrote about "being [abstraction]" I would be ignoring existential issues (such as death, limited-time, the arbitrary nature of the universe, the mystery of consciousness) that I feel affect me most in my life and think about most of the time. Another reason is that it doesn't seem specific or accurate, to me, to write about "being [abstraction]." I think there are some other reasons.
The first type of abstraction from objects I shall refer to as simple abstraction, but the second type I shall call reflective abstraction, using this term in a double sense.
Only since the turn of the century has abstraction again become recognized as an artistic means of representation. It was then that one returned to the recognition of the immense role abstraction plays in the human mind by its power of concentration upon absolute essentials.
Popular music was this abstraction - an abstraction that I was relating to immensely but was ultimately far away.
I still believe in abstraction, but now I know that one ends with abstraction, not starts with it
Yes, there was an element of abstraction and unreality in misfortune. But when an abstraction starts to kill you, you have to get to work on it.
My work has the abstraction underneath it all now & what I deliberately set out to do down here, for this is the perfect realistic abstraction in landscape.
Remember that every science is based upon an abstraction. An abstraction is taking a point of view or looking at things under a certain aspect or from a particular angle.
In past times when one lived in contact with nature, abstraction was easy; it was done unconsciously. Now in our denaturalized age abstraction becomes an effort.
Music, first of all, is completely about abstraction, which is exactly what architecture is not. In a way, it has been incredibly constructive to know what true abstraction is. So you don't fall into the trap of thinking that what you do is abstract.
Music, first of all, is completely about abstraction, which is exactly what architecture is not. In a way, it has been incredibly constructive to know what true abstraction is. So you dont fall into the trap of thinking that what you do is abstract.
I think I'm just generally more interested in figuration than abstraction. I think that painting abstraction often feels like painting colors to me, whereas portraits always feel like something connected. I like the exchange, the collaborative aspect of sitter and subject for sure.
To criticize mathematics for its abstraction is to miss the point entirely. Abstraction is what makes mathematics work. If you concentrate too closely on too limited an application of a mathematical idea, you rob the mathematician of his most important tools: analogy, generality, and simplicity. Mathematics is the ultimate in technology transfer.
To think of abstraction as an end in itself is undoubtedly letting oneself be led into a cul-de-sac and can only lead to exhaustion and impotence.
Abstract understanding doesn't mean arbitrary sloshing and messing. Abstract art is controlled visual magic based on laws and methodology. Abstraction generally involves implication, suggestion and mystery rather that obvious description. Like a good poem, a good abstraction attacks your feelings before your understanding. Abstraction within realism adds zest and excitement to otherwise dull subject matter. Abstract understanding takes time and patience.
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