Architects are accustomed to identify
organicism with anti-classical tendencies that emerged in the nineteenth century and flowered in the work of Wright and others in the twentieth.
Colon's "Glo-Pods," 2013-, irregularly shaped wall-mounted acrylic orbs, recall the languid
organicism of Craig Kauffman's candy-colored bubbles; their intimation of light emanating from within the impossibly smooth contours additionally channels Helen Pashgian's illuminated monoliths.
Chantler's third chapter, "Hoffmann's Musical Hermeneutics Revisited," takes up the issue of musical
organicism in light of Ian Bent's earlier work on the topic ("Plato--Beethoven: A Hermeneutics for Nineteenth-Century Music," in Music Theory in the Age of Romanticism, ed.
Kelsall points out conflicting commitments within Romantic-period historical writings: Rousseauism, progressivism such as Adam Smith's, Hume's conservatism, Burke's
organicism, Herder's multiracialism, and he writes that 'these oppositional generalizations merely indicate the limitations of any overarching contextual generalizations, whether shaped in terms of an historicist "Romantic ideology" or a modernist "post-colonial theory"' (p.
What is especially instructive, nevertheless, is the lucid distinction that Van den Toorn offers between Schenker's
organicism (and its nineteenth-century background) and the narrative strategies evinced by the 'new musicology'.
As Bullen analyzes it, The Stones of Venice employs Romantic premises about
organicism and imagination to characterize the Renaissance and its art as repressive, lifeless, and unimaginative; Ruskin saw it, Bullen feels, as a sinister "impersonal natural force" that killed medieval vitality.
Gallery Seomi introduces contemporary design works that reflect the new constructionism and
organicism of Korea.
Meyer as metaphorical mappings of contrapuntal texture and melodic pattern, respectively, and therefore of continuity and discontinuity, or
organicism and pragmatism.
In this volume we have gathered together and reordered individual items, proceeding from his preface through essays on such general principles as
organicism, idea, coherence, and comprehensibility, to the core of his theory of musical form, finally culminating in the essay "The Constructive Function of Harmony".' The text is presented as faithfully as possible, with appropriate imitation of such features as marginalia, arrows, erasures and variations in handwriting size wherever the layout of the original page reflects thought processes.
Their work was typically a curiously manneristic amalgam of
organicism, geometry, and Op illusion--a sort of abstract uncanny.