Word: circularity
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...version of pointillism, with light and shadow played out in multicolored dots. But 1933 brings an abrupt, definitive change in subject matter and style. The pale, thickly painted watercolor-and- plaster Head of a Martyr fills its small frame with downcast eyes and a battered, gap-toothed mouth. The circular face of Marked Man (1935), painted in scratchy russets and browns, is a target scarred with black crosshairs. In 1936, Klee returned to his Bauhaus preoccupation with constructing colored forms, but with a more foreboding turn: In the small The Gate to the Depth, blocks of distressed color lead...
Ridley provided an excellent summary of the research on genetics and the debate over nature vs. nurture. I was offended, however, by the article's conclusion, which stated that "it may be in our nature...to seek simple, linear, cause-and-effect stories and not think in terms of circular causation, in which effects become their own causes." This line of thinking may be true for the inheritors of the Western scientific and philosophical traditions, but it is not for the many people who think much more holistically and to whom the concept of "circular causation" seems very familiar indeed...
...nature, however, to seek simple, linear, cause-and-effect stories and not think in terms of circular causation, in which effects become their own causes. Perhaps the idea of nature via nurture, like the ideas of quantum mechanics and relativity, is just too counterintuitive for human minds. The urge to see ourselves in terms of nature versus nurture, like our instinctual ability to fear snakes, may be encoded in our genes...
...There is a circular problem going on here. The program has been so weak for so long that there was a skepticism among the administration regarding student interest in environmental law courses,” Giovinazzo said...
...scene from The Italian Job. The staircase takes you to Hirst's sliced-up bovines, Some Comfort Gained from the Acceptance of the Inherent Lies in Everything, brooded over by Ron Mueck's London Angel. A corridor, giving a distant view of the shark, leads to the double-height circular conference room, now staffed with Saatchi icons. Offices that once held bureaucrats - each with its own unique marble fireplace - now contain single works like Hirst's giant (full) ashtray. It's not the only work that assaults the senses: the miasma of Wilson's 20:50 is all-pervasive...