Sentences with phrase «at least a working sense»

Not exact matches

They were doing what made sense to them, and that is, they'd buy up these debts, they had a phone number attached to it, at least the one for Gus, and they'd just work»em over, and keep working»em over and working»em over.

But despite the linguistic problems associated with this designation, it seems that the epithet «preacher,» in the sense of «pastor,» is indeed an appropriate one, at least theologically.36 According to Duncan Macdonald, we have done Qoheleth an injustice by viewing his work as reflecting only a spirit of resignation and despair.

Nevertheless, it is «the productive capacity of modern economies» that has made at least some peace between the social meaning of fit (which requires that society's needs be met) and the more personal meaning of fit (for which work is integral to one's sense of self).

It might make sense that, say, technology bloggers would be disproportionately male, since many more men than women work in high - tech (and obsess about it), but politics is a different animal — women may still be underrepresented in top elected offices, but at least as many women as men work as political activists and political staff or as volunteers.

Conservative backbenchers and party members alike want to see it retain its own distinct identity, and a sense that Liberal Democrat concerns are more important to Downing Street than their own helps to explain, at least in part, recent rebellions and discontent, and hence the Government working less effectively than it might.

The massive complexity of the problems it is tackling, from mapping the functioning brain to making petabytes of data meaningful and accessible to training a new generation of neuroscientists who are equipped to work across disciplines to make sense of it all, do not lend themselves to easily assembled and discretely defined teams and tasks — at least, not quickly.

In the human genome, there are at least 20,000 pseudogenes; some gene families, like the one that controls our sense of smell, have more of these genetic train wrecks than working members.

[45,46] And focusing on the critical - path work receiving the least investment from alternative government and industry sources, Matthew O'Connor's team at SENS Research Foundation's Research Center project on mitochondrial mutations continue their work toward obviation of these lesions, advancing both AE protein and mRNA strategies.

Automatic sensing systems are superior candidates to dogs, working at least as well or better than nature.

Babies do produce functional enzymes (pepsin and proteolytic enzymes) and digestive juices (hydrochloric acid in the stomach) that work on proteins and fats.12 This makes perfect sense since the milk from a healthy mother has 50 - 60 percent of its energy as fat, which is critical for growth, energy and development.13 In addition, the cholesterol in human milk supplies an infant with close to six times the amount most adults consume from food.13 In some cultures, a new mother is encouraged to eat six to ten eggs a day and almost ten ounces of chicken and pork for at least a month after birth.

It can be tempting to give someone who you sense has issues but is at least pleasant to talk to a second chance, but that has never worked in my experience.

«Lucy» doesn't make a lick more sense than «Transcendence» did — even though both feature Morgan Freeman working overtime to talk us through the proceedings — but at least «Lucy» has the good fortune to be written and directed by Luc Besson, which means that while the results may be cuckoo - bananas, they're never boring.

These filmmakers are intellectual property: They will never produce blockbusters, at least not in the traditional sense, but their names trigger a passionate, arthouse fanbase eager to devour their work.

And of course, Hoffman brings a foreboding sense of menace to even the most incidental lines, but he's given so little to work with that I can only hope he'll have a larger role in future films (or at least received a sizable paycheck).

Where most of its mega-budget studio brethren treated its characters» freak agencies as vehicles for brand extension, Chronicle was the rare work that managed to convey a sense of the burden of those powers, at least until it decided to become a tentpole showreel, anyway, which is probably why we're here.

Get Out turns out to be more fun, and more provocative, than it is scary, at least in the traditional midnight - movie sense: The film works so well as a gauntlet of social horror that Peele almost didn't need the more traditional thriller elements he introduces in the third act, when a carefully calibrated build in just - because - you're - paranoid dread gives way to some disappointingly conventional survival games.

But since the field itself is not rigorously gathering data on what works — and the risk for the students of new teachers is so great — it makes sense to establish reasonable guidelines as to what should go into teacher training to ensure, at the very least, that new teachers «do no harm.»

Whether they work inside or outside a school system, they bring a passion and sense of outrage that come from having spent at least two years learning about the challenges that low - income students and schools face.

It works as long as the car senses you have your hands at least lightly on the steering wheel, and as long as curves aren't too sharp.

ComiXology is at least having a sense of humor around the situation (for example, the tweet embedded below), and has been working around the clock to get all the kinks worked out to make the site work properly again.

What's new (at least as far as Amazon is concerned) is the touch sensing, which is actually embedded in the bezel and works optically, meaning you can use it with gloves on, and there's nothing on top of the E Ink to lessen readability (a problem with early touch e-readers).

Most particularly, Kindle Worlds is built at least in part on substructure developed for Amazon's self - publishing business — and if Amazon (as seems likely) ends up charging KW authors any sort of setup or service fees to those uploading works to the KW publishing program, I think it would be next to impossible to argue that works uploaded on that basis were somehow «works for hire» in the proper legal sense.

But the chances of doing so on a sustained basis have never been better, and my sense is that if you are delivering work that is exceptional for your genre, that readers can't get from other authors, you will prosper, or at least will never starve.

Sense works great and makes for a superior UX than Honeycomb, at least in terms of speed, functionality and intuition.

If you're still working, your income is high, or at least higher than it will be in retirement and you don't need the pension for cash flow, it may make sense to delay receipt to as late as age 70.

I think that lenders want to get their money and will generally at least try to work with the people if they get a sense that the person truly does want to pay.

Certainly, it makes sense that if you are applying to work in an institution that demands at least average accounting skills, your ability to demonstrate that you have good credit may be important.

One thing that holds me back from a traditional contribution, at least in my first year of work, is that I am an international student so if I do not get a work Visa I will need to leave the country and it will not make sense to incur that 10 % penalty.

While it is certainly more complicated than that, you at least can get a sense of how this works.

I have no idea why they want to add two more tiers to this scheme that's been working so well for them (in a sense that normal redemptions are never available anyway, at least to places where you want to go).

There's nothing too perplexing (in fact, it's mostly a case of hitting levers) but it at least adds a sense of variety to the exploration and makes you work a little.

He believes that Windows Phones and Windows Tablets make more sense, at least from a Microsoft stand point with hint of «Maybe with controller support someday,» insinuating that maybe Windows Phones and tablets will allow Xbox controllers to work on them.

- the team has been adding weapons one by one because they want the same amount of attention for each weapon - the team learned that when they added two new weapons at once, one would end up getting overshadowed by the other - there were more new stages than returning stages because bringing back old stages would have little surprise - since they want to satisfy both new and returning players, they changed the order of stage additions - there weren't any major direction changes in balancing from Splatoon 1 - there have been more pattern combinations between weapons and stages, so there was more involved to balance them all - matchmaking is handled by getting 8 players with similar rank points, and then they're split by weapons - the rank point gap between S + players is bigger than ordinary players - only about one in 1,000 active players are in the S +40 to S +50 region in Ranked Battles - there's even less than one in 10 players that reach S +, while 80 % of the overall player base are in A or less - about 90 % of S + ranked players are within a + / -150 hidden ranked power range - rock was the popular genre in Splatoon, so they tried changing it for the sequel - they prioritized making good background music first before forming the band to play that music - the design team would make the CD jacket - like artwork afterwards - due to this, the band members would often change; some getting added while some others removed - Off the Hook is an exception, as they first decided they would be a DJ and rapper along with their visuals first - Off the Hook's song came afterwards - In Splatoon street fashion was the trend, but in Splatoon 2 they tried adding more uniqueness - the aim was to add Flow with ethnic clothing and Jelfonzo with high fashion - all Jellyfish in this world are born by splitting, which means Jelfonzo was born by splitting from Jelonzo - Jellyfish are like a hive mind - when they hold a wedding ceremony, they're just simply holding the ceremony - Jelonzo and Jelfonzo start gaining their own consciences so they can speak - Flow used her working holiday to go on a trip before reaching Inkopolis Square - during the trip, she met the owner of Headspace - the owner liked her, so she got hired to work there - Bisk has a unique way of speaking: anastrophe - the team tried to express him as an adult man - they made him into a giant spider crab because they wanted someone with high posture - he came from a cold country and broke up with his girlfriend to join a band - just like Flow, he became attracted to squids - Crusty Sean finally has his own shop, but he opened it because he's someone who follows the current trends - one of the trends happens to be people opening their own shops - drink tickets aren't stacked, but the probability is higher than a single brand - the music in Inkopolis Square changes depending on the player's location - sounds contribute to creating atmosphere in the location - the song at front of Grizzco Industries had an atmosphere that feels like some smell can radiate from the game screen - as for Salmon Run, they imagined it as a Japanese restaurant outside Japan that is not run by a Japanese person - each time the player moves between the shops, the game uses an arrange shift that shows the personality of each inhabitant - the arrangement in Shella Fresh is related to Bisk's guitar and mystery files that describe his past - with the Squid Sisters moved to Hero Mode, Off the Hook was put in charge in guiding battles and festivals - Bomb Rush Blush has an orchestra «because it would sound like the final boss» - the team wanted to express the feel of the story's real culprit with this music - the probability of each event occurring in Salmon Run is different - there are no specific requirements, meaning they're picked randomly - this means it's possible for fog to appear three times in a row - the Salmon have different appearances based on the environment they're raised in - if the environment is harsher, they would become large salmon - Steelheads and Maws have big bodies, while Scrappers and Steel Eels have high intelligence - Salmons basically wield kitchenware, but everybody else has a virtue in fighting to actually cook the Salmons - Grill is the ultimate form of this - when Salmons are fighting to the death, they can feel the same sense of unity - they would be one with the world if they were eaten by other creatures, and they also fight for the pride of their race - MakoMart is based on a large supermarket in America - the update also took place on Black Friday in America, which was why Squids are buying a lot of things in the trailer - Arowana Mall looks like it has more passages because there are changes in tenants and also renovation work - Walleye Warehouse has no changes at all, because the team wanted to have at least one map that stayed intact - the only thing different in this map is the graffiti, which is based on the winner of Famitsu's Squid Fashion Contest - all members in the band Ink Theory graduated from music university - they are well - educated girls who also do aggressive things - the band members wearing neckties are respecting the Hightide Era from the prequel - the team will continue adding weapons and stages for a year, and Splatfests for two years - the team will also continue to make more updates including balancing

I wanted to write a massive segment on the multiplayer but sadly i struggled to find a game online, luckily AgriusRage was at hand to play some private games but I was rather disappointed the matchmaking wasn't working / busy, basically you can play the Progressive mode in a multiplayer Lobby it felt more like a really short co-op campaign mission, enjoyable to say the least, it made me think about playing the campaign in co-op and how it would have transformed my overall opinion, but sticking to the previous release it wouldn't have made sense.

I have two dogs so I'm always finding things on our walks, if nothing physical or directly something that will inspire my work, then at the very least a sense of clarity and peace in myself that I haven't found as easily anywhere else which always helps to be more receptive to new ideas.

Since the work is about that reach of circulation, it can't be site - specific — at least not in the rigorous, historical sense that I understand it — but neither can it be fully autonomous or independent.

For «Recent British Painting», I began with a small number of artists I'd worked with before at the Hayward Gallery and elsewhere (Phoebe Unwin, Milena Dragicevic, Cullinan Richards, Edwin Burdis, Alexis Teplin) and built the show around them until it made sense, at least to me.

To foster this sense of community, FLATS usually does group shows with one golden rule: There must always be at least one artist no one on the team has ever worked with before.

In many of the 85 works by 28 artists, from painting to video to photography to sculpture, there's a visceral sense of voices alternatively speaking out and staying silent — or at least hewing absurdly close to the status quo.

At London's Whitechapel Gallery, where a retrospective of Struth's work opens on Wednesday, it strikes me that, in his pristine prints of streets, cities, museums, churches and jungles, Struth has set himself the impossible task of trying to capture some sense of the invisible or, at least, the latenAt London's Whitechapel Gallery, where a retrospective of Struth's work opens on Wednesday, it strikes me that, in his pristine prints of streets, cities, museums, churches and jungles, Struth has set himself the impossible task of trying to capture some sense of the invisible or, at least, the latenat least, the latent.

Despite its offensive nature to some religious groups, the work was quite beautiful, essentially substituting a reddish glow instead of a golden halo to a traditional religious subject, a substitution that at least in terms of color made some sense.

But if truth is beauty, as Keats insists, then perhaps we can better understand what Johns means in this quote touted in the exhibition's collateral material: «One hopes for something resembling the truth, some sense of life, even of grace, to flicker, at least, in the work.»

Otherness as a gap, however — as something that was not appropriated as a symbol, but that could be sensed only obliquely as an oddity and a strange discomfort that we are reluctant to face — existed only in a handful of works, some of them installations that included at least two objects and some digital media work.

Rothenberg also writes that «Resnick was a very visible & dynamic artist when we met him in the early 1960s, but beyond that he was also a persistent practitioner of poetry, less in a public sense than as a release for feelings & ideas that were a necessary supplement to his life's work as a painter» Rothenberg continues, noting that Resnick «left behind at least 16 envelopes of unpublished, often handwritten poetry with some 40 poems in each.

Due to the scale of the work, at least some of the artwork will remain in the viewer's peripheral vision, contributing to the overall sense of scale, similar to the vast expanse of the Mediterranean sea.

The title references something the artist said in 2006: «One hopes for something resembling truth, some sense of life, even of grace, to flicker, at least, in the work.»

At the very least, it gives us a sense of whose work he likes: Rachel Harrison, Joseph Kosuth, Shelly Silver, etc..

What I'm trying to say is that the «triggers» (good word) of the space illusion are only going to work because they are associated with a particular type of spatial sensation in the real world, so that the illusory space that is evoked is actually tied to that particular spatial sensation, making the pictorial space at least in this sense figurative.

There is an implicit populism to the exhibition, a trumpeting of each artist's outsider status, or at least a sense of frustration with the art world's perceived exclusivity, but a great deal of the work hinges on the viewer's ability to pick up on insider - only references, exacerbated by the exhibition's lack of sufficient explanatory texts for conceptual projects.

However there is also yet another sense of the word, that I want to explore, at least speculatively, for a moment, in relation to Blannin's work and that's the sense of «system» used in cybernetics, where a central concept is that of «feedback», the process in which information about the past or present influences the same phenomenon in the present or future, forming a chain of cause - and - effect, a circuit or loop: output becomes input.