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objectivity

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It is often asserted that, in view of the situation in quantum theory, object and subject can no longer be sharply separated. 1 To use Heitler__ words, the __eparation of the world into an __bjective outside reality_, and __s_, the self-conscious onlookers, can no longer be maintained. Object and subject become inseparable from each other_. 2 This, according to Bohr, is due to __he impossibility of any sharp separation between the behaviour of atomic objects and the interaction with the measuring instruments which serve to define the conditions under which the phenomena appear_. 3 Heitler elaborates the point in some detail. __ne may ask_, he writes, __f it is sufficient to carry out a measurement by a self-registering apparatus or whether the presence of an observer is required._ And he arrives at the conclusion that the self-registering apparatus is insufficient, and that __he observer appears, as a necessary part of the whole structure, and in his full capacity as a conscious being_.

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It turns out that the men who ultimately, who unpretentiously value peace are willing to sacrifice their own peace of mind in order to render it. The question is, 'Who, between opposing forces, would do such a thing?' It seems only theoretical albeit true that men who accept an objective rather than subjective moral standard are, in a general sense, more capable of making such sacrifices for the sake of peace.

CJ
Criss Jami

Diotima, Battery, Electric Personality

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These two developments throw light on what is perhaps the most fundamental difference between the Renaissance and all previous periods of art. We have repeatedly seen that there were these circumstances which could compel the artist to make a distinction between the "technical" proportions and the "objective;" the influence of organic movement, the influence of perspective foreshortening, and the regard for the visual impression of the beholder. These three factors of variation have one thing in common: they all presuppose the artistic recognition of subjectivity. Organic movement introduces into the calculus of artistic composition the subjective will and the subjective emotions of the thing represented; foreshortening the subjective visual experience of the artist; and those "eurhythmic" adjustments which alter that which is right in favor of what seems right, the subjective visual experience of a potential beholder. And it is the Renaissance which, for the first time, not only affirms but formally legitimizes and rationalizes these three forms of subjectivity.

EP
Erwin Panofsky

Meaning in the Visual Arts

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Those who like to interpret historical facts symbolically may recognize in this the spirit of a specifically "modern" conception of the world which permits the subject to assert itself against the object as something independent and equal; whereas classical antiquity did not as yet permit the explicit formulation of this contrast; and whereas the Middle Ages believed the subject as well as the object to be submerged in a higher unity.

EP
Erwin Panofsky

Meaning in the Visual Arts