The topsy-turvy "Incidental Sketches" by Michelangelo and his pupils displays the generative force of deviation.
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Kalman is not using the void of her womb to create a child to nurture; rather, she has created a formula for seeing herself not as a collection of empty spaces, but as a generative force capable of nourishing herself through this exploration.
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The ornamental "We Know Very Little" likewise demanded my aesthetic contemplation of emergence, suggesting a vegetal generative force-field of reverberations that resonate like a web of interconnected intensities, something that resonates with my interest in Classical Greek poetry, where things often become other things.
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Chris Kraus documents her narrator taking pleasure in the intoxicating (and generative) force of an unrequited crush in "I Love Dick" (1997) and Kathleen Stewart explores daily sources of relief in "Ordinary Affects" (2007) — one car paying for the toll of the car behind; sleepy strangers gathered around the free breakfast buffet at an airport hotel.
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But contemporary military metaphors and practices as a generative force animating the sphere of Christian spiritualism is becoming more and more notable as social militarization of everyday life increases, and should be questioned in the context of efforts to spread a particular religious faith.
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See section below for details. Romans believed the genius of somebody was an entity that embodied his essential character, personality, and also originally his vital, generative force and raison d' être. However the genius had no direct relationship with sex, at least in the conceptions of the classical period, even though the nuptial bed was named lectus genialis in honour of the Genius and brides on the day of marriage invoked the genius of their grooms.Paulus ex Festo p. 214 L 2nd s. v. genialis lectus; Arnobius Adversus Nationes II 67.
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Caelus or Coelus was a primal god of the sky in Roman myth and theology, iconography, and literature (compare caelum, the Latin word for "sky" or "the heavens", hence English "celestial"). The deity's name usually appears in masculine grammatical form when he is conceived of as a male generative force, but the neuter form Caelum is also found as a divine personification.Neuter, for instance, at Varro, De lingua latina 5.57, where a masculine form might be expected for the partner of Terra. Neuter also at Hyginus, Fabula pr.
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Graham and Bachmann's examples of revolutionary ideas might better be described as evolutionary; both Marx and Copernicus having built upon pre-existing concepts within new or different contexts. Similarly, the description provided for artistic innovation represents one perspective. More-nuanced understandings, such as that expressed by Stephen Nachmanovitch in Free Play: Improvisation in Life and Art, recognize the generative force technical and perceptual limitations provide within specific arts practices. In painting, for example, technical limitations such as the frame, the surface and the palette, along with perceptual constraints like figure/ground relationships and perspective, provide creative frameworks for the painter.
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Archaic Rome's Etruscan neighbours practiced domestic, ancestral, or family cults very similar to those offered by later Romans to their Lares.Ryberg, pp. 10 - 13: a wall painting at the Tomb of the Leopards, at Etruscan Tarquinia, shows offerings are made to Lares-like figures, or di Manes (deified ancestors) in a procession preparatory to funeral games. A black-figured Etruscan vase, and Etruscan reliefs, show the forms of altar and iconography used in Roman Lares- cult, including the offer of a garland crown, sacrifice of a pig, and the representation of serpents as a fructifying or generative force.
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According to Shrimad Devi Bhagwat Puran goddess Gayatri is ultimate reality and exist in 24 forms one form for each syllabus of the Gayatri Mantra : 1 Adi Shakti: The manifest cosmos arises from the desire of the absolute (Brahman) to engage in the joy of creation of which we ourselves are a part. The force of that desire of the absolute is Gayatri (Adyashakti or Brahmi-Shakti). All other powers of the manifest cosmic creation are dependent for their existence on this primordial generative force whose attributes are production, development and transformation, and which is the Divine Mother Adya-Shakti Gayatri. 2\. Brahmi or Brahmani: Brahma, Vishnu, Shiva: creation, development, transformation.
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However, Jinsai never mentions Sokō or his ideas, and Jinsai's own statements of philosophical meaning were strongly and systematically criticized by Sorai. Rather than as a thinker aligned with the so-called Kogaku movement, Jinsai's ideas are best understood on their own terms. Jinsai is widely known for his outspoken affirmation of the validity of human emotions, and his articulation of a metaphysics highlighting the pervasiveness and infinite creative potential of a "unitary generative force" (Jpn: ichigenki). Indicative of his renown in the larger world of East Asian philosophy, Jinsai's writings have frequently been compared to those of the Qing dynasty scholar Dai Zhen 戴震 (1724–1777), whose key work, Mengzi ziyi shuzheng (The Meanings of Philosophical Terms in the Mencius) is very similar in theme and method to Jinsai's opus, the Gomō jigi (The Meanings of Philosophical Terms in the Analects and Mencius).
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Component of the Barbara Blackman Lecture, Canberra International Music Festival, 2014. Far from being isolationist, however, the surface of Edwards’ music is often highly eclectic, making oblique references to many cultures in what he describes as an "intuitive search for unity within diversity". He has also stated that underlying all his music "the natural environment remains the supreme generative force". In spite of his natural reticence, Edwards' works have been featured at such international music festivals as the Vale of Glamorgan Festival, Wales; the Edinburgh International Festival; the Australian Festival of Chamber Music, Townsville; the Mostly Mozart Festival, New York; the City of London Festival; the Darwin International Guitar Festival; the Canberra International Music Festival; the Adelaide Festival; the Melbourne Festival; the Tucson Winter Chamber Music Festival, Arizona; International Society for Contemporary Music Festivals in Stockholm, Basel, Warsaw and Sydney; and the Festivals of Sydney and Perth.
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