Sentences with phrase «between human memory»

Not exact matches

Myth is not a human narrative of a one - sided divine manifestation, as Buber once thought, but a «mythization» of the memory of the meeting between God and man.

It's a neat way to think about it, and also points to a collective - personality with a memory and an interaction that takes place between individuals, almost a meta - observation on what it means to be human, if you will.

Several themes stand out in Mayernik's accounts of these cities: the persistence of a humanist sensibility grounded in sacred order (including what can only be regarded as a sacramental sense of the relationships among the human body, the city, and the cosmos); the role of memory in the life of traditional cities; the relationship between memory and artistic action; and the city as the physical embodiment of shared aspirations rather than «reality.»

Crosswords can reflect the nature of intuition, hint at the way we retrieve words from our memory, and reveal a surprising connection between puzzle solving and our ability to recognise a human face.

The difference between the memories of a fly and a human might be a matter of degree.

We've worked hard to see how we could bridge the gap between the idea that the hippocampus is a purely spatial memory in the rat to its broader function as an episodic memory system in humans, which is the memory you have for something you did at a particular time and place.

In both humans and mice, learning and memory requires effective communication between brain cells called neurons.

CIRELLI: Another task for the future is to bridge the gap between animal studies, in which we look at memory over very short time scales, perhaps 24 hours, and human studies.

Programmed to be the ultimate law enforcer, RoboCop's not supposed to remember his human past - but memories of life, love and family are flooding in, blurring the line between man and machine, even as RoboCop sweeps the streets of «scum.»

But few popes in living memory have seemed as recognizably human as Francis — for all its access, and for all the inherent empathy of its director, Wenders» film is never able to completely connect the dots between the man and the figure.

«Marjorie Prime» is a moving study of the connections between human emotion, memory and futuristic technology, with some true Hollywood stars to boot.

We believe that games as a medium have a great potential to affect human experience and create amazing social memories between people.

His expression is personal — visceral exchanges between memory and its hues, between emotion and the logistics of its use, between logic's place in the fog of the human heart, and the ways that rationale can be envisioned as painterly «surface.»

The exhibition presents a selection of artistic positions from the Hildebrand collection, which explore individual and collective memory or reflect on the interrelations between remembered places, the human mind and emotional states.

Black is the Day, Black is the Night is a conceptual exploration into the many facets of human identity using notions of time, accumulation, memory and distance through personal correspondence with men serving life and death row sentences in some of the most maximum security prisons in the U.S., all of which had served between 13 - 26 years at point of contact.

Among the highlights of its first eight years are: Bernd Alois Zimmermann's harrowing Die Soldaten, in which the audience moved «through the music;» the unprecedented six - week residency of the Royal Shakespeare Company in their own theater rebuilt in the drill hall; a massive digital sound and video environment by Ryoji Ikeda; a sprawling gauzy, multi-sensory labyrinth created by Ernesto Neto; the event of a thread, a site - specific installation by Ann Hamilton; the final performances of the Merce Cunningham Dance Company across three separate stages; the New York Philharmonic performing Karlheinz Stockhausen's sonic masterpiece Gruppen with three orchestras surrounding the audience; WS by Paul McCarthy, a monumental installation of fantasy, excess, and dystopia; a sonic environment that blurred the boundaries between artist and audience created by the xx; an immersive Macbeth set in a Scottish heath and henge by Rob Ashford and Kenneth Branagh; tears become... streams become..., a genre - defying collaboration between artist Douglas Gordon and pianist Hélène Grimaud, which flooded the Armory's drill hall with an installation of water, light, and music; and HABEAS CORPUS, a performance and installation by Laurie Anderson based on the story of a former Guantanamo Bay detainee that examines lost identity, memory, and the resiliency of the human body and spirit.

The Notion of Family defines the lines between private and public space, emotion, reality, memory, and human complexity.

Like cells in the body or human traces, the fingerprints invite the observer to look for parallels between interior and exterior landscapes, between personal histories and memories, and those that are collective.

Molanders work put emphasis on new relationships between architecture, social environment, living memory and the humans within it.

Dallas - based artist Jungeun Lee's photographs and installations explore the relationship between human experience and cultural memory.

These projects share certain concerns — how natural and artificial systems operate, how media affect memory, and the relationship between humans and animals.

, you are lying on the floor of your place looking up, a small draft runs through the room, between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions of universalism, and I'm glad we don't, but the particles of air bring traces of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound of a drum, like that Kabuki story where a fox recognizes the voice of its parents as a girl plays a drum made out of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all live here now, and we all need visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse of a concrete wall and you can feel the tectonic movements of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign of love, like singing to a corn field, and all acts of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for life in all things declared dead, a kind of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,

Huanca ditched class to hang out with these friends, and during that time they took this photograph — a bit out of focus, appearing as a fuzzy memory of adolescence, it serves as a disembodied psychic connection between the past, present, and future of the artist herself, who appears at the opening both in human and ghosted form.

Her sculptural work made of woven metal strings are informed by her childhood memories and combine her interest in the relationship between human and non-human form with spatial strategies that straddle Tith's domestic sphere with the public arena.

Overlapping View sees the artist once again reflect upon the complex connection between past and present visual practice, but also begin to extend and develop the relationship between photography, painting and human memory.

The exhibition curated by Anka Ziefer presents a selection of artistic positions from the Hildebrand collection, which explore individual and collective memory or reflect on the interrelations between remembered places, the human mind and emotional states.

(BARCELONA)(Brief article) Artforum International; January 1, 2011; Demos, T. J.; 310 words... theorists Kodwo Eshun and Anjalika Sagar, the Otolith Group (a 2010 Turner Prize nominee) examines the nature of human memory and perception... between contemporary political practice and aesthetic form.