Sentences with phrase «as a physical object at»

Not exact matches

Also, as I'm wrapping up my doctorate in astrobiology, I will spend a great deal looking at objects I can't see with my physical eye while peering off light years into the galaxy in search of life.

For when Santayana explains what it is for an essence to be exemplified, or for a truth to be about something, he typically talks of their instances or objects as «facts,» meaning by this some particular bit of the natural world as it is at a specific time and place (as it is directly if physical or derivatively if mental).

For Whitehead the physical prehension is the object inasmuch as it reenacts the same subjective form — or at least one aspect of it.

Take, bless, break, give — the bread was taken and offered to God; thanksgiving was said over it — and here we need to recall that for the Jew, all blessings have always been in the form of a thanksgiving to God for the objects which are to be blessed; the bread was broken, as Christ had done at the Last Supper and as His physical body was broken on the Cross; the bread was given — distributed, so that the believer might partake of it and thereby, as the Church believed, partake of Christ Himself and become one with Him.

This question, of course, was at least as important to Locke as the problem of insufficient factual knowledge regarding the interaction of physical objects.

But now we look on a physical object, not as a continuous corporeal reality only relatively at rest, but as a violent activity of infinitesimal organisms.

By considering the simplest instance of the physical ingression of eternal objects as in the case of two sensa (PR 115 / 176f), we see that the physical ingression of any eternal object requires the concurrent ingression of at least two other nonidentical eternal objects so that an actual contrast obtains.

However, if the speed increases beyond a threshold, the object will suddenly experience a large upward positive lift, like an airplane wing, as Patrick Bot of the Naval Academy Research Institute in Brest, France, and Marc Rabaud of the University of Paris - South and colleagues report in a paper in press at Physical Review Letters.

Furthermore, recent studies suggest that this network is already involved in identifying numbers by young children who are not yet at school, and that it is very ancient in evolution, as it is present when macaque monkeys recognise physical objects.

Solondz is the bamboo splinter beneath the fingernail of that shame — his manifesto lies in the decision to confront the ultimate causes behind our embarrassment with fetishism, our horror at the recognition of racial difference (suggested by George Bush Sr.'s boldly insane, «I don't see colour»), and our inability to treat people with physical disabilities as anything other than children or objects of pity.

It was through her work at PZ that Solis expanded her own research into children's cognitive development and how they use objects to understand complex scientific phenomena such as friction, balance, and other physical concepts.

- customize the physical portal with Legos if you want - portal allows up to seven figures and objects at once - portal is divided into three sections - sections don't matter at first - when the Wicked Witch stuns characters with a spell, you have to physically move them on the portal to free them - characters placed on the right color on the portal can be transported to a corresponding colored wormhole in the game - portal will grow / fade green color as you're hunting down secret items - the stronger the green glow, the closer you are to the secret - portal allows use of characters and vehicles.

Phil looks at the landscape as an object rather than a place, emphasising the continuous physical processes that lead, on a geological timescale, to profound change.

Since 1975, you have taken existing materials and presented them on a different plane, encouraging viewers to look at the material or remnant not only as a poetic image, but as a doubling of reality in a physical and cultural sense, as Germano Celant described it in «Object and Display» (2015).

The effect of the reflection is to both enhance the surface as a physical presence whilst at the same time complicating the reception of the image because of the way lighting and the presence of other objects are manifest on the surface.

While Hong Hao continues to work with found objects,» AS IT IS,» his recent solo exhibition at Beijing Commune, deals with the physical forms in a more straightforward manner, creating an interesting dialectic development of both the vocabulary and concept of his art.

This figure, often fragmented, sometimes even completely abstracted, takes on various forms, from the human face, at once raw material and object of symbolic representation, as with Benglis's objectifying caresses, to the full body as place and tool of the trial and pleasure of repetition, as with Nauman's amateur choreography, bordering on the absurd, to the traces and physical prints left by the artist - creator (or the «art worker» in his service), as with the irregular random geometry of LeWitt, to the peers (Donald Judd) and tutelary figures in the history of art who inspire Flavin's evanescent structures... Now a disenchanted statement «Double Eye Poke» offers a challenge to the being of perception and thought.

Paulo Monteiro fills entire walls with beautifully contingent constellations of objects and paintings, marked by his physical engagement or the necessity of their making, much as David Ostrowski starts each painting as if it were his first, or last, questioning his practice at every stage.

Abstracted figures and objects come together in Technicolor scenarios that hint at an almost surrealist sensibility, while still based firmly in the realm of physical space as rooms such as kitchens or living rooms become concretized.

At L.A. Louver, a sharply focused show zeros in on LeWitt's capacity to transform abstract ideas into concrete objects that viewers experience as slippery interminglings of drawing, painting and sculpture — while comparing and contrasting such physical entities with idealized images of geometric perfection, which inhabit the mind's eye but never appear in the real world.

From the tiny aluminium tablets which were shown throughout the Christchurch Art Gallery in 2006 as a part of the Out of Erewhon exhibition, to the bi-chromatic square panels exhibited recently at le Pavé d'Orsay in Paris, the «reasons» consistently underline the comprehension that, above all, a painting is an object to be appreciated in relation to others, and in the context of the physical space of the showroom.

Utilizing a number of different supports including canvas or linen, fiberboard and marble dust panel, Olson plays with the notion of surface and framing as constructs in his work, at times, employing handmade frames and thick borders of unpainted surface around a central painted field that act as both a physical edge to the painting and call attention to its nature as both an image and an object.

Olson considers surface and framing as constructs in his work, employing handmade frames and, at times, thick borders of unpainted surface around a central painted field that act as a physical edge to the painting and call attention to its nature as both an image and an object.

At its core, this formal experiment presents an opportunity to experience an abstract concept — a numerical figure and the economic possibilities it entails — as a visual object and an immersive physical environment.

As an empiricist, you object that no one was there who argued that the temperature response from doubling CO2 was «indistinguishable from zero» or insisted on only real - time empirical evidence based on physical observations to arrive at an estimate for ECS and TCR.

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