Sentences with phrase «at as a form of entertainment»

However, food is now looked at as a form of entertainment, a substance that people want made available to them in a unique, fun and out - of - the - box variety.

Not exact matches

As an industry content leader, Participant annually produces up to six narrative feature films, five documentary films, three episodic television series, and more than 40 hours of digital short form programming, through its digital subsidiary SoulPancake — all aimed at entertainment that inspires social awareness and engaging audiences to participate in positive social change.

The Liberator Devil therefore encourages more democratic forms of desecration that combine moral outrage with entertainment, as is the case with rap artists like Ice - T or the rock singer G. G. Allin, who, in an expression of artistic freedom, once defecated on stage and threw the feces at the audience.

MMA is a sport for sure but UFC is here to produce entertainment content in the form of combat fighting, they try to «regulate» it and «administer» it as much as possible so it appears like a sport (e.g. fake rankings that no one know how it works), reebok deal etc. but at the end of the day it is a entertainment show similar to WWE, the only difference being that as long as fighters to rig the fights, the UFC can not determine the outcome...

At the end of the day, football exists entirely as a form of entertainment.

Healthy family entertainment - Reading aloud together introduces children to books as a form of entertainment and enables families to entertain themselves with topics of their own choosing, instead of being at the mercy of the television channels!

At first, Faith thought of her mother in law as a friend (this lady must have been blind in the first place to even think this way) and confided some of her frustrations and fears only to find out later that her life became a form of entertainment gossip for her mother in law.

As you probably know, at times, people spend money as a form of entertainment, even when they don't really «need» bought itemAs you probably know, at times, people spend money as a form of entertainment, even when they don't really «need» bought itemas a form of entertainment, even when they don't really «need» bought items.

Guests at the event will have the opportunity to interact with Boris and Nicole as they are engaged with different forms of entertainment on the night.

Entertainment One of our lovely friends basically formed a band to play at our wedding and they spent hours practising to get it just right, they played lots of classics with a jazz twist on instruments such as the double bass and a keyboard.

As an industry content leader, Participant annually produces up to six narrative feature films, five documentary films, three episodic television series, and more than 40 hours of digital short form programming, through its digital subsidiary SoulPancake — all aimed at entertainment that inspires social awareness and engaging audiences to participate in positive social change.

Like its patients, the film lacks energy, which could be considered a compliment, I guess, since Brea makes no attempt at charisma but is content to allow its viewers to take the doc seriously and not as a form of entertainment.

As if Dungeon Defenders 2 wasn't wonderful enough in its current form, costing $ 0.00 and brimming with content, the developers at Trendy Entertainment have announced the first of many updates that will bring even more content to an already full game.

Designers initially located the clusters in the center to give children in the back seats something to look at, perhaps as a form of entertainment, says Tracey Matlock, chief product specialist - product planning.

The experts suggested investing in quality measures such as editing and cover design, at minimum, noting that as a content creator, other indie authors aren't your main competition — you're actually competing with authors who are household names, as well as with other forms of entertainment and content, such as television, the internet and social media.

At Wattpad we have a very different view of content, which is that the container format isn't as important as the ability to share and connect with audiences through a new form of mobile - first reading entertainment.»

A reader's time is precious and he or she not only has an incredible selection of books to choose from, but many other forms of entertainment at their fingertips as... Continue Reading

But, despite this, every Monday evening at our Oyambre surf camp the night's entertainment comes in the form of a walk to the hills overlooking the bay of San Vincenzia and the mountains beyond as the sun sinks into the sea... And this week was no exception.

«In just five days of sell through Call of Duty: Modern Warfare 2 has become the largest entertainment launch in history and a pop culture phenomenon,» said Robert Kotick, CEO, Activision Blizzard, Inc. «The title's success redefines entertainment as millions of consumers have chosen to play Modern Warfare 2 at unprecedented levels rather than engage in other forms of media.»

«The teams here at Mojo Bones are both extremely proud and excited to partner with BANDAI NAMCO Entertainment for the release of IMPACT WINTER» said Stuart Ryall Co-Founder and Designer at Mojo Bones Ltd. «As gamers, we formed Mojo Bones in 2011 with the intention of using our newfound creative freedom to explore and design unique ideas and concepts.

«The title's success illustrates the mass appeal of interactive entertainment as millions of consumers are choosing to play Call of Duty: Black Ops at unprecedented levels rather than engage in other forms of media.

Being somewhat limited in my freedom to be entertained as a kid, for many years of my life, gaming served as a diverse means of escape for me away from the trappings of a mostly mundane, repetitive life, at the end of the school day I would often think to myself «alright... so what are some of the good things that I have to look forward to when I get home...», one of the first things that I would do as soon as I got home after school was play FINAL FANTASY on PlayStation, I would eagerly walk home as quickly as I could just so that I could continue playing from the part where I had last left off the day before, as pathetic as this may come across, I can confidently say that many of the happiest moments that I have had in my life have been while being utterly enthralled by the developments in the games, I think that reminiscing about aspects of a video game with great fondness is a hallmark of an impactful form of entertainment, I would often be so «in the zone» while playing that anything aside from what was taking place on the screen would become completely null and void in my mind to the point where I forget that I was playing a video game, even though I did not live the events of the game, I can emphatise with them as if I had, that is the sort of impact that the emotional depth of the story, the characters, the music, the design and the overall world of the series have had on me, what appeals the most to me is that FINAL FANTASY allows us the luxury of divorcing ourselves of our current reality to assume that of a world of fantasy for a precious moment in time, which is a sentiment that makes me wish that our world as whole had a little more «FINAL FANTASY» within it so as to make us all want to wake up as soon as possible to enjoy another day

At the same time, new people are entering the medium who intrinsically understand games as a form of self - expression, rather than just as entertainment products.

Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Höller, Maria Lind, Apolonija Šušteršič, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blur.

«The unstable identity of the present begs for the return of power of the mask from ancient times, when it was used as a form of protection, disguise, performance, or just plain entertainment», states curator and artist Bogomir Doringer in the catalogue for his newly opened exhibition Faceless II at the Freiraum Quartier21 International of MuseumsQuartier Wien.

With painterly brushwork and sketchily drawn forms, artists such as John Sloan, George Bellows, and Everett Shinn restituted the value of vernacular with subjects not necessarily considered artistic, such as grimy streets, popular entertainment, and children at play.

Born 1982, Auckland, New Zealand Education 2009 Meisterschule, Städelschule HFBK, Frankfurt am Main 2005 BFA, Elam School of Fine Arts, University of Auckland Solo exhibitions 2018 «Games of Decentralized Life» Galerie Buchholz, Cologne 2018 «The Founder's Paradox», MOCA Museum of Contemporary Art, Cleveland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «Shenzhen Entrepreneurial Form», Fine Arts, Sydney 2017 «FaaS — Feedback as a Service: Reflecting on messaging, debate and criticality inside a parliamentary discussion on internet governance», Bozar, Brussels 2017 «Simon Denny: Real Mass Entrepreneurship», C2 Space, OCT - LOFT, OCAT Shenzhen 2017 «Hammer Projects: Simon Denny», Hammer Museum, Los Angeles 2016 «Secret Power», Museum of New Zealand Te Papa Tongarewa, Wellington 2016 «Blockchain Future States», Petzel Gallery, New York 2016 «Business Insider», WIELS, Brussels 2015 «Products for Organising», Serpentine Sackler Gallery, London 2015 «Secret Power», New Zealand Pavilion, 56th Venice Biennale 2015 «The Innovator's Dilemma», MoMA PS1, New York 2014 «The Personal Effects of Kim Dotcom», Adam Art Gallery, Victoria University, Wellington 2014 «New Management», Portikus, Frankfurt am Main 2014 «The Personal Effects of Kim Dotcom», Firstsite, Colchester 2014 «TEDxVaduz redux», T293, Rome 2014 «Disruptive Berlin», Galerie Buchholz, Berlin 2013 «The Personal Effects of Kim Dotcom», mumok, Wien 2013 «All You Need is Data — The DLD 2012 Conference REDUX rerun», Petzel Gallery, New York 2013 «All You Need is Data — The DLD 2012 Conference REDUX», Kunstverein München 2012 «Full Participation», Aspen Art Museum, Aspen 2012 «Envisaging Vocational Rehabilitation» (with Joanna Fadyl), Westfälischer Kunstverein, Münster 2011 «Corporate Video Decisions», Friedrich Petzel Gallery 2011 «Corporate Video Decisions», Michael Lett, Auckland 2011 «Cruise Line», NAK Neuer Aachener Kunstverein, Aachen 2011 «Chronic Expectation: CFS / ME Documentary Restoration», T293, Rome 2011 «7 Unreachable Elevators», IMO, Copenhagen 2010 «Negative Headroom: the broadcast signal intrusion incident», Contemporary Art Museum, St. Louis 2010 «Negative Headroom: the broadcast signal intrusion incident», Halle Für Kunst, Lüneburg 2010 «Remote Tutorial: hate poems for travelers», Landings Project Space, Vestfossen 2010 «Introductory logic tutorial video», Artspace, Sydney 2009 «Celebrities» houses at night: a projection», Standard Oslo, Oslo 2009 «Starting from behind», Michael Lett, Auckland 2009 «Deep Sea Vaudeo», Galerie Daniel Buchholz, Cologne 2009 «Watching Videos Dry», T293, Naples 2009 «7 Drunken Videos `, Luettgenmeijer, Berlin 2008 «Aquarium Paintings (with Nick Austin)», Center, Berlin 2008 «Ruined by Sheer Confidence», Caribic Residency, Frankfurt am Main 2008 «Alexandra Bircken / Simon Denny», Ursula Blickle Stiftung, Kraichtal 2008 «Recent Haircuts», Uplands Gallery, Melbourne 2008 «Recent Haircuts», Gambia Castle, Auckland 2007 «Compression Club», Michael Lett, Auckland 2007 «Monthly Cowards», Gambia Castle, Auckland 2007 «Paltry Motion», Dunedin Pubic Art Gallery, Dunedin 2006 «Old Entertainment System», Window, Auckland 2006 «Scape», Art & Industry Biennial, Christchurch 2006 «Old Things», Michael Lett, Auckland 2005» Arranging Sympathies», Volume Series, The Physics Room, Christchurch