Sentences with phrase «about objects in the world»

«The researchers have made use of the imprinting phenomenon to show animals do «think» abstractly about objects in the world.»

Not exact matches

With Bixby Vision, users can learn details about objects and locations, find out how to purchase items they see in the real world, and translate languages, among many other tasks.

Distract the sheep with shiny objects and they will turn their heads and forget all about other things that might be going on in the world.

So my twofold task is first to show what it is about the treatment of eternal objects in Science and the Modern World which makes the Aristotelian move possible, and then secondly to suggest a way of handling the source of subjective aims without there being any need to implicate God in the procedure.

Instead of investing theological significance in a theory about how the mind intuits objects of sense data, or about the reality of the world external to consciousness, or about the extent to which the mind is creative in producing experience, Green focuses on the role of imagination, a term which refers in ordinary conversation to fantasy and illusion, but which also refers to discovery, illumination and reality.

That Judaism has no such theology is due not to any incapacity or lack of development in its thought, but to the fact that Judaism has from the beginning a different conception of God; He does not in any sense belong to the world of objects about which man orients himself through thought.

The units of which the world is made up were thought to be material particles which remained unchanged in themselves as they moved about in space and formed the diverse configurations which made up the physical objects in our world.

Ricoeur thinks away naive, subject - object oriented, assumptions about willing, to explore the way both «self» and «world» are constituted in acts of decision, action, and consent.

For example, Harvard theologian Ronald Thiemann, who studied under Frei, objects that the cultural - linguistic model makes talk about the «text» stand in place of Christian talk about God; Yale biblical scholar Brevard Childs rejects Lindbeck's talk about the text creating its own world.

Indeed, as Ford himself admits, the concept of God as the conceptual valuation of eternal objects was already present in Religion in the Making, Whitehead's previous book.36 There Whitehead wrote about God that» [t] his ideal world of conceptual harmonization is merely a description of God himself,» then added that «the nature of God is the complete conceptual realization of the realm of ideal forms» (154).

If nevertheless he is led to talk about himself - as I have been here - he must do so not only with strict honesty but above all objectively, in detachment, examining himself without romanticism, as a different object; always aware of the promptings of old human nature and always remembering the warning, «Do not be conformed to this world.»

But whatever convenience and expediency require about the way in which the unity of theological study be broken up into manageable parts, the first requirements laid on all the specialists in the community seem to be: that their intellectual participation in the life of the Biblical, the historic and the contemporary Church always have in view the common theological object — God and man in their interrelations; and that it always be carried on in acute awareness of the «world» in which the Church has been assigned its task.

Elana — first — you are doing a good job second — at 9 months your bubba is learning about object permanence — if he fusses when you leave the room — he is developmentally right on track don't worry — it doesn't last — and is actually a good sign — it signals that he is well attached to you — which is highly desirable in terms of raising happy well adjusted children that are willing to explore their world He isn't to young for independent play — It just might be for a little while that it happens while he can see you As he chooses to — allow him to move himself out of your sight (somewhere safe of course) i.e around the edge of a couch, through a door way etc — playing disappearing and reappearing games like peek - a-boo and hiding things under boxes / blankets for him to «find» etc is good too as time goes on — he will learn that things re-appear when they disappear

Instead, Knowledge Vault autonomously gathers and merges information from across the web into a single base of facts about the world, and the people and objects in it.

At an altitude of about 5,200 meters on the Chajnantor Plateau, a Mars - like red expanse in Chile's Atacama Desert, the driest place in the world, ALMA's matching antennas swivel in unison as observers collect light from cosmic objects.

They've already identified four other explosions they think are in the same category, and they write that better understanding of what's occurring in this class of objects could change what we know about how black holes affect the world around them.

Instead of being about beauty and repulsion, though, The Silence of the Lambs wants us to feel what it is to be Starling, and specifically what it is to inhabit a female body in a male - dominated world where you're the choice cut of meat, the object of desire.

Through science education, students should develop understanding of big ideas about objects, phenomena, materials and relationships in the natural world.

Chilean writer Alvaro Bisama has said that Eltesch «writes about the workings of memory in the same way an antiques dealer collects objects: by trying to preserve them in order to save them from the world and time.»

But in order to build, you need to first find the resources scattered about the world by smashing literally any object in the world.

But seriously, play Save The World, because you're miossing a lot of details about the object in the sky and how it's sending communications.

There's something extra special about seeing a game that you've worked on as a physical object, knowing that it will be in people's homes around the world.

Again, though, the amount of lore in Amalur's world does help combat this a little: you might be just be going into yet another cave, but you can be sure that the local villagers have something to say about that cave, the spiders, the object that you're collecting, the guy who used to own the object, the sister of the guy and the history of the spiders.

At the time, I was too focused on the each of the four main characters and their dog, as I felt that the game provided adequate context for each usable object; however, the collectible items should appeal to historians, be they interested in learning more about World War I or testing their knowledge against Ubisoft's.

Lead Animator Zach Volker talks about the use of volumetric lighting and self - casting shadows: «specular mapping on particle effects, environmental tessellation and a drastic increase in the sheer volume of objects create a near - photorealistic world,» he says.

I'd suggest there's also a variable here about positive v negative that you should think about before quitting that job [Bonus Link] US News & World Report: «Selling in a Post-Meatball Era - The quest for «social objects» that create their own Web buzz.»

Using everyday objects and principles of colour and light therapy, her work may remind us of the home of someone we know, but it is actually about people's inner spaces and uncertainties in a changing world.

In 1943, she had a show at Norlyst Gallery called «The Clown as the Center of his World» in which she constructed sculptures about the circus from found objectIn 1943, she had a show at Norlyst Gallery called «The Clown as the Center of his World» in which she constructed sculptures about the circus from found objectin which she constructed sculptures about the circus from found objects.

The series is frequently positioned as among the earliest group of works in which Rauschenberg sought to let the world into his art, and it is put forth as an example of his ongoing involvement with indexical marking, the direct transfer or tracing of an object or body (or in this case, light and shadow) onto the surface of a work.21 Yet these assessments miss much of the subtlety of Cage's thinking about receptivity.

We hope to isolate the audience from the real world temporarily, and provide a space for them to rethink and reconsider the way we behave, and ultimately, think about the relationship between ourselves, objects and the environment with technology in a more conscious way.

Says Jones: «I had wanted for a long time to stop thinking about making art as a way of displaying things, but to think about it as a way of arranging objects almost like ruins and to see how they lie and how the relationships that they set up in the world can create a kind of alchemy.»

ABOUT NOMA AND THE BESTHOFF SCULPTUREGARDEN The New Orleans Museum of Art, founded in 1910 by Isaac Delgado, houses more than 30,000 art objects encompassing 4,000 years of world art.

When sharing more about her process of making the works on view, Mendieta said, «Time passing and change are undeniable aspects of the world around us... Often artistic creation results in the production of art objects.

ABOUT THE CHRYSLER MUSEUM AND GLASS STUDIO The Chrysler Museum of Art in Norfolk, Va., is one of America's most distinguished mid-sized art museums with a world - class collection of more than 30,000 objects, including one of the great glass collections in America.

Longobardi founded the Drifters Project in 2006, which provides a visual statement about the engine of global consumption and the vast amounts of plastic objects and their impact on the world's most remote places and its creatures.

About NOMA and the Besthoff Sculpture Garden New Orleans Museum of Art, founded in 1910 by Isaac Delgado, houses nearly 40,000 art objects encompassing 4,000 years of world art.

ABOUT NOMA AND THE BESTHOFF SCULPTUREGARDEN The New Orleans Museum of Art, founded in 1910 by Isaac Delgado, houses nearly 40,000 art objects encompassing 4,000 years of world art.

About NOMA and the Besthoff Sculpture Garden The New Orleans Museum of Art, founded in 1910 by Isaac Delgado, houses over 35,000 art objects encompassing 4,000 years of world art.

About NOMA and the museum's Sydney and Walda Besthoff Sculpture Garden The New Orleans Museum of Art, founded in 1910 by Isaac Delgado, houses over 35,000 art objects encompassing 4,000 years of world art.

ABOUT NOMA AND THE BESTHOFF SCULPTUREGARDEN The New Orleans Museum of Art, founded in 1910 by Isaac Delgado, houses over 35,000 art objects encompassing 4,000 years of world art.

About NOMA and the Besthoff Sculpture Garden The New Orleans Museum of Art, founded in 1910 by Isaac Delgado, houses nearly 40,000 art objects encompassing 4,000 years of world art.

About NOMA and the Sydney and Walda Besthoff Sculpture Garden: The New Orleans Museum of Art, founded in 1910 by Isaac Delgado, houses nearly 40,000 art objects encompassing 4,000 years of world art.

Located in a place «where the artistic and bohemian atmosphere concentrates most within the contemporary cosmopolitan world of Catalonia», the creative concept is inspired by the house of a nostalgic character — passionate about exploration and a collector of objects linked to his childhood.

Lindquist writes: «We see Guston developing his visual vocabulary and palette... [and] distilling lessons in overlapping form and space... What is most fascinating about this body of work is how worlds of antiquity and the contemporary meld through Guston's touch and organization of objects in space.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

On the surface, the recent and new works in Noh's solo exhibition Information About the Outside World appear as attractive collages of fragmented digital images, mixed materials, and decontextualized objects.

Ceramics Finds Its Place in the Art - World Mainstream Lilly Wei writes... From the first generation of modernists who worked in clay to contemporary practitioners, all have made breakthroughs: in scale, in single objects as well as expansive installations; in technical experimentation; in increasingly original formal resolutions from the abstract to the realistic; and in content, exploring issues about the body, identity, politics, history, feminism, domesticity, means of production, and beauty... more

You always have to think about materials and objects in terms of being malleable — you have to cut them off from what their established use is, to directly interfere with their world - ness.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

I try to reproduce that distance in my works, juxtaposing everyday objects and scientific concepts, in order to produce questions about how we perceive the world.»