Abstract
Our study of coherence has sought to lay bare both the potentials for form inherent in the materials the artist engages himself with and the devices and stratagems he may use to gain his purposes, making them virtually extensions of himself. But form will ever suggest “empty formalism,” the “merely formal,” and watchwords such as “formal” and “coherence,” even when used as they are here, may too often suggest only the cerebral or intellectual if not frigidity and death.
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References
Karl Aschenbrenner: 1974,The Concepts of Criticism, D. Reidel, Dordrecht, pp. 82–84, 230–233.
Karl Aschenbrenner: 1971, The Concepts of Value, D. Reidel, Dordrecht, § § 1.0 and 2.0.
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© 1985 D. Reidel Publishing Company, Dordrecht, Holland
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Aschenbrenner, K. (1985). Feelings, Forces, and Form. In: The Concept of Coherence in Art. Springer, Dordrecht. https://doi.org/10.1007/978-94-009-5327-7_14
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DOI: https://doi.org/10.1007/978-94-009-5327-7_14
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