The characters represent a certain temporality or boundlessness that Lauren experiences herself, as an incessant traveler.
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The installation imitates the apparent boundlessness of the nano-world using custom software developed by the artist.
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It's impossible to drive across the state and not be reminded of the first boundlessness of American potential.
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Opinion It's impossible to drive across the state and not be reminded of the first boundlessness of American potential.
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After she offered all of the world solace from their heartbreak, it was time for her to know its boundlessness herself.
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To talk about the frontier was a way of talking about American-style capitalism, about its power and possibility and its promise of boundlessness.
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This steamy and intellectual debut novel is an ode to the female body, and to a young woman discovering the potential boundlessness of her pleasure.
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I don't like to be limited to one particular thing so I want to represent that duality and that sense of boundlessness in my art.
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By contrast, his predecessors over the past four decades each found ways of channelling aggression outward by identifying new frontiers and promising boundlessness in a shrinking world.
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That feeling of boundlessness—when every experience is a first, when each day offers the freedom of the unknown is something that she's strained to recapture since.
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Mr. Essiedu was politely reluctant to dwell on this, preferring to deliberate on the differences between Edmund and Hamlet and speculate on the boundlessness of Shakespeare's imaginative geography.
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Feelings of "oceanic boundlessness" and "visionary restructuralization" were followed by positive mood and reduction in depressive scores, which persisted up to six months after the psilocybin treatment ended.
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The Moon enters Pisces today, the sign of boundlessness, and you wonder: Is there any limit to the success, popularity, and fame that can be achieved in your life?
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Books of The Times Maybe you think your obsessive need to find out everything about everything via your personal device is a delightful reflection of the boundlessness of your curiosity and the suppleness of your intellect.
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Martin appears to be tackling the boundlessness of form through the finitude of her own body — the canvases were approximately 8 x 8 feet — and pushing the possibilities of perception with an almost inconceivable austerity of material.
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Murray belongs to what the poet Farnoosh Fathi calls "the radical arc of American metaphysical poets"—writers like Laura Riding, Emily Dickinson, and Lorine Niedecker, whose boundlessness on the page belies the forms of confinement they suffered in the world.
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This is what leads to the phenomenon of ego dissolution or oceanic boundlessness when it feels as if the borders of your body aren't there any longer, and your ego is spread around your environment, as well as the rest of the universe.
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"The experience of oceanic boundlessness during sex can be characterized by a sense of oneness in which there is a disappearance of the psychological borders between self and other," says Rui Miguel Costa, a researcher at the William James Center for Research, Instituto Universitário in Lisbon, Portugal.
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" Due to her use of tessellated forms, Takenaga's work is noted for its challenging optical quality. A sense of infinity and boundlessness are associated with the dizzying patterns created in her paintings. Her series Night Paintings, for instance, are based on "recurring childhood dreams about the origins of the universe." Her upbringing in rural Nebraska is connected to this sense of "boundlessness.
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0012412 First published in 1998 by Adolf Dittrich, the APZ questionnaire comprises three dimensions: "Oceanic Boundlessness (OSE)", "Dread of Ego Dissolution (AIA)" and "Visionary Restructuralization (VUS)".Dittrich, A. (1998). The standardized psychometric assessment of altered states of consciousness (ASCs) in humans. Pharmacopsychiatry, 31(S 2), 80-84.
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History of LSD Therapy. Hunter House Publishers. . Vollenweider & Kometer (2010) note that measuring the "feelings of unity with the environment" can now be reliably assessed using the five-dimensional altered states of consciousness rating scale (5D-ASC) of which "oceanic boundlessness" is the primary dimension.Vollenweider, Franz X.; Michael Kometer (2010).
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Self-transcendence refers to the interest people have in searching for something elevated, something beyond their individual existence. According to Cloninger's model, self-transcendence can manifest as an intuitive understanding of elevated aspects of humanity, like compassion, ethics, art, and culture. Others who experience it may also describe an awareness of a divine presence. People scoring high in TCI Self-Transcendence report frequent experiences of boundlessness and inseparability.
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P. 23. Under the Northern Sky (Под северным небом) came out in 1894 and marked the starting point in his literary career, several critics praising the young author's originality and versatility. The second collection, In Boundlessness (В безбрежности, 1895) saw Balmont starting to experiment with the Russian language's musical and rhythmical structures. Mainstream critics reacted coolly, but the Russian cultural elite of the time hailed the author as gifted innovator.
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Lam Tian Xing (formerly known as Lam Sin), also known as “Master of the Hall of Boundlessness”, is a color ink painter. He has been studying and practicing Chinese painting, Western painting and Chinese calligraphy since age fourteen. During 30 years of artistic exploration, his style blended the traditional framework of Chinese ink color painting with western techniques. He applies rich, vibrant colors to form layered images that are both abstract and concrete.
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In Boundlessness () is a second major poetry collection by Konstantin Balmont, first published in 1895 in Moscow. Following Under the Northern Sky, it features 95 poems, some of which bear first signs of the author's experiments with the Russian language's musical and rhythmical structures he would later become famous for. The book came with an epigraph from Fyodor Dostoyevsky's The Brothers Karamazov: "Kiss the earth and love tirelessly and insatiably; love everyone and everything, keep seeking delight and ecstasy." Balmont read Crime and Punishment at sixteen, and The Brothers Karamazov a year later.
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Cowin's work has been associated with two emerging movements of the 1970s: the Los Angeles experimental photography scene (which also included John Divola, Robert Heinecken and Darryl Curran) and the East Coast Pictures Generation artists. Cowin, and others such as James Casebere, Cindy Sherman, Laurie Simmons and Jeff Wall, challenged the realist, documentary aesthetic of preceding photographers with explicitly fabricated images that partook in artifice and the boundlessness associated with painting and cinema;Grundberg, Andy. "Cindy Sherman: A Playful and Political Post-Modernist," The New York Times, November 22, 1981. Retrieved June 27, 2019.
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In the study researchers used three dimensions of the APZ questionnaire to describe ASC (rating scales of ASC). First, oceanic boundlessness (OB) refers to dissolution of ego boundaries mostly associated with positive emotions. Second, anxious ego-dissolution (AED) includes disorder of thoughts, loss of autonomy and self-control and third, visionary restructuralization (VR) that includes auditory and visual illusions, as well as hallucinations. Results showed strong effects within the first and third dimensions for all conditions, especially with DMT, and suggested strong intrastability of elicited reactions independently of the condition for the OB and VR scales.
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Silence (, subtitled "Lyric poems", Лирические поэмы) is a third poetry collection by Konstantin Balmont, first published in August 1898 in Saint Petersburg, by Alexey Suvorin's Publishing House. Following In Boundlessness (1895), it features 77 poems, most of which were based upon the author's impressions of his 1896-1897 European journey which took him to Germany, France, Italy and Great Britain, where he read Russian poetry in Oxford. The book's epigraph, "There is some kind of universal hour of silence" (Есть некий час всемирного молчанья) comes from Fyodor Tyutchev's poem "Videniye" (The Vision, Видение). The book, divided into several cycles, was constructed as if it were a musical composition, poems linked both rhythms and inner associations.
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Since 2010, Murata has also created artworks that exploit the hyperreality achievable with the use of digital rendering. "I, Popeye," a parodic twist on the original Popeye cartoon series, was Murata's first work in representational animation and "a distinct break from the psychedelic and abstract digital imagery that he was originally known for." Critic Lauren Cornell writes: > At the time it was made, the copyright for the original cartoon character > had expired in the EU but remained in effect in the United States: a highly > anachronistic situation—especially given the boundlessness of contemporary > culture—and one that inspired Murata to test the blurry grounds of fair use. > He used the cartoon's original cast but, their entanglements are too abject > and too contemporary to be mistaken for the real thing—for instance, in one > scene, a remorseful Popeye visits Bluto in the hospital as he recovers from > an apparent assault; in another, Popeye wistfully lays flowers on Olive > Oyl's grave.
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That one > would like to go over the sea but cannot; that one misses any sign of life, > and yet one senses the voice of life in the rush of the water, in the > blowing of the wind, in the drifting of the clouds, in the lonely cry of the > birds ... No situation in the world could be more sad and eerie than this—as > the only spark of life in the wide realm of death, a lonely center in a > lonely circle... Nevertheless, this definitively marks a totally new > departure in Friedrich's art...Quoted with translation in: More famously, Kleist also wrote, "since in its monotony and boundlessness it has no foreground except the frame, when viewing it, it is as if one's eyelids had been cut away."Quoted with translation in: The painting was too minimalist for Johann Wolfgang von Goethe, who had been a supporter of Friedrich by introducing his work to the duke of Weimar and gaining prizes for him at an 1805 exhibition. Goethe said the painting "could be looked at standing on one's head", making a criticism that would be levied against abstract artists a century later.
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