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    Query was: object
  

Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

  • Title: Colour: Part One: Colour-Experience (Erlebnis)
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    • for the knowledge of the objective nature of the world of colour — a
    • the nature of colour and its quality in the objective sense. At the
    • according to the surface of the objects presenting themselves to us as
    • the coloured object.
    • whereas in the world outside, objective colour presents nothing but
    • in mind, and seek for something objective. They then wander away from
    • world of colour. In order to arrive at the objective nature of colour we
    • penetrate into the objective nature of colour — as a rule the
    • the image. Thus we remain entirely within the world of objective fact
    • by means of which we can place this colour objectively in the world.
    • human flesh-colour. We do not really find it in external objects. What
    • objectively to the colour, not merely to reflect upon the subjective
    • supposed to be objective. It is palpable that it is an absurdity to
    • objective idea of white. If we have white before us and expose it to
    • to us upon the object. Such a thing as the white of the sun, which for
    • us represents light, does not appear to us directly on objects. Later
    • objects; but we cannot say that light belongs to something, it is
    • We have now obtained a remarkable circle respecting the objective
    • This leads us to the objective nature of colour. This we had to set
    • must image itself outwardly as green. That is something objective.
    • Maximum number of matches per file exceeded.
  • Title: Colour: Part One: The Luminous and Pictorial Nature of Colours
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    • colours. (Blanz-farben,) in yellow, red and blue, objects glisten: they
  • Title: Colour: Part One: The Phenomenon of Colour in Material Nature
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    • pictorial character we meet most visibly in the objective world is
    • element by which we can understand how colour is attached to an object,
    • at any rate primarily to a vegetable object, how it becomes an
    • substances, the lifeless objects. In this case particularly it is
    • objects: is there any need to understand whatever you are painting
    • objects? You must get from the colour what can be painted. And then it
    • object. You would have only the image — the colour is already that.
    • he paints inanimate objects, he must bear in mind, he must contain in
    • inanimate objects, that in a way his surface is transparent and emits
    • coloured mineral, or any inanimate coloured object the effect of
    • inanimate objects is connected with this departure of the other
    • as radiation, colour becomes incorporated in the object. And we follow
    • inorganic or lifeless objects This does not mean that one is to paint
    • external objective inclination which affects us, our Ego, it is
    • effect of an objective on a subjective colour is nonsense; for the Ego,
  • Title: Colour: Part Two: Thought and Will as Light and Darkness
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    • of a human being, but he sees objectively the thinking man which his
    • the head. Thus the thought-element (See Diagram 1) viewed objectively, is
  • Title: Colour: Part Two: The Connection of the Natural with the Moral-Psychical. Living in Light and Weight.
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    • were, a certain weight which is the object of man's longing, but also
  • Title: Colour: Part Two: Dimension, Number and Weight
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    • wakefulness. There are the various objects outside us. And the
    • of warmth and cold, the real objects of sense-perceptions, these weave
    • countable. If we want to define any physical object, what constitutes
    • red object. In order to convince ourselves that it is no optical
    • object. And the more physical people become, the more inartistic they
    • Giotto was the first to begin painting objects so that they have
  • Title: Colour: Part Three: The Creative World of Colour
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    • beings and objects will again be realized.
    • with this flowing sea of colour. An animal regards objects with its
    • and group-soul. And just as we look at an object which rouses our
    • out of his organism up to the brain: outside him the world, the object
    • that we regard the beginning as perfect: but the objection is as silly
    • as many other objections which the present age makes against our
    • originate in a world which cannot have any idea of what is the object
  • Title: Colour: Part Three: Colours as Revelations of the Psychic in the World
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    • our ego. For this we need light between us and other objects. We need
    • picture, how it brings the object it represents near to us; while blue
    • takes the object it represents into the distance. We paint
  • Title: Colour: Part Three: The Hierarchies and the Nature of the Rainbow
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    • subject and object, who would not say: there are objects outside



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