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    Query was: world

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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    • survey of the modern idea of the world of colour, we notice that
    • for the knowledge of the objective nature of the world of colour — a
    • what the artist has to say about the world of colour must be bound up
    • to look into the world of colour in many ways. In so doing we have
    • what we perceive as a coloured world really exists only for our senses,
    • whereas in the world outside, objective colour presents nothing but
    • world of colour. In order to arrive at the objective nature of colour we
    • must try to keep to the world of colour itself and not leave it; then
    • given us from the whole wide, varied world of colour. Then in order to
    • our surrounding world. In a sense we shall best proceed by means of an
    • shall not understand the world of colour. If we wish to acquaint
    • Now this makes it possible to see something in the world of colour
    • itself, as such. There is something in that world which we shall have
    • 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.
    • of the soul. If, however, we go far into the world around, we must
    • say that white is peculiar to any being in the outer world. We might
    • which we must trace back all the natural illumination of our world.
    • relationship as that of our ego to the world, yet, again, not the
    • truly as I have there the world which surrounds me, so truly have I
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  • Title: Colour: Part One: The Luminous and Pictorial Nature of Colours
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    • world with the character of pictures; but we saw also that something
    • turn it as it is in the next higher world, if I were to bend the warm
    • Here you see the Colour-Cosmos. You see the world in its
    • spiritual world. Colour is that thing which descends as far as the
  • 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
    • typical. And this would be the colour applied to the external world,
    • green in the vegetable world?
    • clumsy methods of approaching the world of colour, has driven all
    • origin of the green in the vegetable world. Because of it the plant
    • from this world of feeling by means of an artistic appreciation of the
    • but not when they paint the everyday world. Nor did they pay attention
    • colours. Why? They stand in a different relationship to the world of
    • image-character to what in the world of colours is luster, if you have
    • necessary to understand the matter with sensibility. The world of
    • itself; how it is possible to regard the world of colour as such as
    • particularly the case with such a fluctuating element as in the world
  • Title: Colour: Part Two: Thought and Will as Light and Darkness
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    • It is a one-sided view of the world to consider it, like Hegel, as
    • From this point of view such a grouping together of the world under
    • bring man back again to a concrete view of the world, in agreement
    • important intelligences, see, is of course visible in the world; but
    • direct. He could naturally not have it unless the world were filled
    • with thought. For how should a man, who perceives the world by his
    • unless the thought were already in the world?
    • thought from the world. It is formed indeed from thought. It points at
    • world, a new edition of it, as it were, if we contemplate thinking man
    • physical external world. Put accurately it is like this: Man has a
    • world, we may say: We have the light in us; only it does not appear to
    • forth light. If I were to leave the light-flooded world, and look at
    • how? In thought or put differently, in light, a previous world
    • That is one of the world-secrets. We look out into the Universe. It is
    • light there is a dying world. The world is continually dying in light.
    • When someone like Hegel regards the world, he really looks at the
    • become, for the most part, men of thought. And in dying the world
    • world. For the world's beauty shines in the light in which it dies.
    • The world does not become beautiful if it cannot die, for in dying the
    • world becomes luminous. So that it is really beauty which is created
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  • Title: Colour: Part Two: The Connection of the Natural with the Moral-Psychical. Living in Light and Weight.
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    • materialistic, seeing physical events as the only thing in the world,
    • requires as it were, a second world — created out of the abstract.
    • This second world, if one recognizes the first as given only to
    • must have its compensation in the world; there must be something which
    • one hand a world-order which excludes the reality of the moral, and on
    • pointed out to you that we see around us, first of all, the world of
    • light-phenomena, that we therefore see in the outer world everything
    • you how dying world-thoughts are to be seen in everything that
    • surrounds us in the form of light: world-thoughts which one in the
    • untold past were thought-worlds of definite beings, thought-worlds
    • from which world-beings in their time drew their world-secrets. We
    • of thought, world-though that is dying. This meets us as light. You
    • and say: as we now go through the world as thinking men, these also
    • went as thinking beings with human character through that world. That
    • which lived then in them has become external world-thought; and
    • thought-worlds. Now darkness interplays with these
    • with a more oriental application, love. If we look out into the world
    • therefore, we see on one side the light-world, if I may so call it;
    • but we should not see this light-world, which was after all always
    • which lives in us as will. Just as the outer world can be regarded as
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  • Title: Colour: Part Two: Dimension, Number and Weight
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    • world, as man has. The higher animals,
    • part of the surrounding world.
    • world and the outer world. Why does he recognize an outer world? How
    • does he come at all to speak of an inner and an outer world? Because
    • etheric bodies and is among those things which are outer world. During
    • bodies and are therefore described as outer world, so, during sleep,
    • our own astral bodies and our ego belong to the outer world. And here
    • happens when we face the world in a perfectly normal condition of
    • world as can be weighted, measured and counted. The content of our
    • When we go about in our physical world and see something or other, we
    • sense-experiences. Then we enter the positive spiritual world, and the
    • expand imponderably into the world-spaces and by measuring colour by
    • to recognize an outer world. If man had an organization which was not
    • designed for sleep, he could not recognize an outer world.
    • arranged that man attains an outer world and to a vision of it, just
    • because in sleep he passes the time in the outer world with the things
    • he calls, when awake, the outer world.
    • sound-colour world, it means we are still half outside our body. If we
    • differentiate ourselves in the same way from the outer world. Our
    • of the world is seen with the physical body still, but already also
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  • Title: Colour: Part Three: The Creative World of Colour
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    • The Creative World of Colour
    • The Creative World of Colour
    • Ways to a New Style in Architecture: Lecture V: The Creative World of Colour.
    • In quarters where they are anxious to blacken us before the world, it
    • world again.
    • world of forms? One could unroll the history of human art in the
    • not artists at all any more, they are world observers from a
    • world-philosophy. Men have become as theoretic in their thought as
    • pursuits of modern science and the artist's conception of the world is
    • in world relationships which must spring from them actively if Art is
    • makes of the world is in itself inartistic, and makes an effort to be
    • in which the living connection of the flowing colour-world with coloured
    • raises himself from this sea of colour with his ego; the animal-world
    • nonsense to believe that even the higher animals see the world as man
    • world-outlook. And man had to be come in his form neutral towards the
    • made part of the living world, because it shines in colour. If you have
    • out from the form, and the whirl of the world, the whirl of
    • directly with soul, with the world-soul, because the colour does not
    • environment, yes, in its full relationship with the world. One might
    • painted into this world, something depicting the elementary powers of
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  • Title: Colour: Part Three: Artistic and Moral Experience
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    • derive from this world-outlook can also flow into the understanding of
    • the world from the point of view of Art. We have recently tried to
    • but there will be a much more intimate union with the external world;
    • the experience: you are now in the world, you yourself have become
    • colour in this world, your innermost soul has become colour. Wherever
    • you go in the world, your soul will be filled with red, everywhere you
    • experience. If we float through the world as red, and have become
    • world in which one is oneself red is pierced with the substance of
    • the world of forms out of colours. We shall learn to experience
    • the world into which one carries the yellow oneself.
    • world with the desire, as one proceeded, to overcome the egoism, to
    • to meet the divine mercy. Thus one would go through the world feeling
  • Title: Colour: Part Three: Colours as Revelations of the Psychic in the World
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    • Colours as Revelations of the Psychic in the World
    • Colours as Revelations of the Psychic in the World
    • manifold world of colour becomes one whole world. One gradually takes
    • the world. Then all visible colour becomes a revelation of the psychic
    • in the world.
    • world-word which tells us how life in the plant weaves and flows.
    • You see the world is beginning now to come alive in colours. The living
    • world.
    • And think now how one can live in colours! We experience the world as
    • world.
    • spirit and soul as they appear in the world.
    • And when we follow with our sensibility how the world becomes luminous
    • and our feeling if we realize everywhere how a world forms itself out
    • this manner lives in the luster and the image-character of the world
    • produce the form out of the colour, that is, to paint out of the world
    • If we experience the world as colour in this way, it will not occur to
  • Title: Colour: Part Three: The Hierarchies and the Nature of the Rainbow
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    • myself, but: the world is, and I am the world and the world is
    • element of the Thrones as bearing up the world in grace.
    • the dark and gloomy world of the Saturnian existence arises light,
    • the shining forth of colour in a world continuity. And there remained
    • necessary for one to have no knowledge at all of the spiritual world.
    • And if one is still inwardly spurred by the spiritual world, as was
    • perfectly well that the origin of colour lay in the spiritual world.
    • darker. Everything lives in colours. They are a world of their own, and
    • the psychic element feels in the colour-world the necessity for
    • with two legs and the tendency to decay that wanders about the world
    • require — Life. And life came into the colourful world which
    • iridescent world became alive. It is not only then that Angeloi,

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