Sentences with phrase «between live objects»

Not exact matches

The connectivity between any kind of object and humans will reinvent life in terms of sustainable energy, smart living and healthcare.

Whitehead nowhere in Process and Reality argues explicitly for such intermediate entities, but it is interesting that he maintains a gradation of enduring objects, from the one extreme of the atomic material body to the opposite extreme of the presiding thread: «But just as the difference between living and non-living occasions is not sharp, but more or less, so the distinction between an enduring object which is an atomic material body and one which is not, is again more or less.»

«From indetermination accepted as a fact,» Bergson claims that he can «infer the necessity of a perception, that is to say, of a variable relation between a living being and the more or less distant influence of objects which interest it» (MM 24).

Water binds all animate objects to the earth and is the source of affinity among living things, the ground of a profound, animistic empathy between humans and both animals and plants.

Understanding that emotions take objects and are dependent on beliefs allows us to see that we can to a large extent pattern and form our emotional lives, and that we can — and should — choose between those emotions which the world encourages and those to which the Holy Spirit leads us.

As Whitehead allowed cognition to be grounded in real prehensions, which occur between a subject and its object world, so also it was for Piaget: the «epistemic» subject, as an organism, previously an «open system» which simply lives in interaction with its environment, acts — and finally, thinks (BC 477).

Thus an enduring object gains the enhanced intensity of feeling arising from the contrast between inheritance and novel effect, and also gains the enhanced intensity arising from the combined inheritance of its stable rhythmic character throughout its life - history....

They really don't see the difference between manufactured objects and living, breeding organisms.

The state governments, Madison argues, are closer to the people and can focus on the welfare of the people, regulating ordinary affairs such as the lives, liberties, and properties of the people, as well as the internal order of each state, and should have numerous undefined powers to do so, while the national government, being bigger and possessing national resources, can bring victory in war, protect the people's liberty, and maintain peace between the states, and should have clear, few, defined powers to do so, mostly focusing on external objects such as war, peace, negotiation, and foreign commerce and national taxation.

To clarify the relationship between «neophobia» — a fear of novelty associated with shyness in both animals and humans — and life span, Cavigelli and her team classified baby male rats based on their reaction to unfamiliar objects.

Human eyes, primarily sensitive to shorter wavelength visible light, are unable to detect or differentiate between the longer - wavelength thermal IR «signatures» given off both by living beings and inanimate objects.

Fraden's work sought to answer key questions, such as why is there such a void between the animate and inanimate that we never confuse the two, and if engineers could create materials with similar attributes to living organisms, but constructed from inanimate objects, can we do so using only chemicals and eschew use of motors and electronics?

Each chapter in the book is devoted to one of five objects and each builds on the cultural relevance of materials, exploring the connections between artists» materials and their everyday life; showing how materials could be used philosophically and playfully.

The knowledge that objects of some kind could comfortably carve out a life between Mercury and the sun was enough to keep some astronomers wondering.

That rare scientist who is willing to use her own life as an object of research, she openly discusses how ambivalent she was 25 years ago when «I found myself torn between my work and an admittedly adorable but insatiably demanding human baby.»

New research shows a difference between the sexes in immature chimpanzees when it comes to preparing for adulthood by practising object manipulation — considered «preparation» for tool use in later life.

Researchers studying the difference in tool use between our closest living relatives, chimpanzees and bonobos, found that immature bonobos have low rates of object manipulation, in keeping with previous work showing bonobos use few tools and none in foraging.

A firefighter's ability to push, pull, and lift heavy objects in the line of duty can mean the difference between life and death.

Most lifting in real life is done with objects between your hands (e.g. picking up your baby, your cat, or a sandbag).

While Haynes's statement suggests the two films may share a kinship of some sort beyond structural similarities, their treatment of human behavior couldn't be any more at odds, as David Lean's adaptation of Noël Coward's play Still Life seeks to penetrate the inner psychological life of Laura (Celia Johnson), a married British woman and mother, while Haynes keeps his characters at arm's length, emphasizing surfaces and crucial overlaps between appearances of objects and humLife seeks to penetrate the inner psychological life of Laura (Celia Johnson), a married British woman and mother, while Haynes keeps his characters at arm's length, emphasizing surfaces and crucial overlaps between appearances of objects and humlife of Laura (Celia Johnson), a married British woman and mother, while Haynes keeps his characters at arm's length, emphasizing surfaces and crucial overlaps between appearances of objects and humans.

Water was «read» by their mind, heart, sensorial attitude, into a valuable process of transdisciplinary knowledge.3 The visit to The Water Tower4 of the town and its museum facilitated the real knowledge of the objects and instruments that were used during the centuries by the rural and urban civilization concerning the use of water; the creative workshops facilitated unexpected «meetings» between poetry, music and painting in the artistic imaginary frame of water; the presentations revealed the magic powers of the water as they are known in folklore, mythology and also the astonishing Bible significations of the water and its use in religious rituals; the scientific outlook on water brought forward for discussion its physical - chemical properties, its role in the human metabolism and in all living beings.

Year 4 Science Assessments Objectives covered: Recognise that living things can be grouped in a variety of ways Explore and use classification keys to help group, identify and name a variety of living things in their local and wider environment Recognise that environments can change and that this can sometimes pose dangers to living things Describe the simple functions of the basic parts of the digestive system in humans Identify the different types of teeth in humans and their simple functions Construct and interpret a variety of food chains, identifying producers, predators and prey Compare and group materials together, according to whether they are solids, liquids or gases Observe that some materials change state when they are heated or cooled, and measure or research the temperature at which this happens in degrees Celsius (°C) Identify the part played by evaporation and condensation in the water cycle and associate the rate of evaporation with temperature Identify how sounds are made, associating some of them with something vibrating Recognise that vibrations from sounds travel through a medium to the ear Find patterns between the pitch of a sound and features of the object that produced it Find patterns between the volume of a sound and the strength of the vibrations that produced it Recognise that sounds get fainter as the distance from the sound source increases Identify common appliances that run on electricity Construct a simple series electrical circuit, identifying and naming its basic parts, including cells, wires, bulbs, switches and buzzers Identify whether or not a lamp will light in a simple series circuit, based on whether or not the lamp is part of a complete loop with a battery Recognise that a switch opens and closes a circuit and associate this with whether or not a lamp lights in a simple series circuit Recognise some common conductors and insulators, and associate metals with being good conductors

She would be «Mutti» all his life, even when the name began to sound babyish to him: his Mutti, his alone, a thin woman with a reedy voice and straggly hair and a hesitant way of moving from room to room in the small apartment, as if afraid of discovering, between one space and the next, objects — or even people — she had not prepared herself to encounter.

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It's the difference between using your mouse to rotate an object in an editor and walking around it in real life.

These works, like «Providence Spirits (Gold)» (2017), are the most lovely objects in the show and are meant to stand out as carry horses for the metaphor of wealth and the gap between the lives these heavily aestheticized and finely crafted paintings represent and the lives (alluded to in other rooms) that are deemed worth significantly less.

In the still - life, Table and Skull, 2012, the objects take form creating a poetic dialogue between object and paint.

In a short, circa 1895 unfinished essay on the artists Chardin and Rembrandt, Marcel Proust noted the strange friendship that seems to exist between the objects in Chardin's still lifes, and genera scenes: «As happens when beings and objects have lived together a long time in simplicity, in mutual need and the vague pleasure of each other's company, everything here is amity.»

Looking at and questioning relationships and hierarchies between man and science, space, history and nature, the exhibition draws on the museum's past as artists dig into records and objects from its previous lives.

A photo of a barely recognizable object, by Michal Rovner, connects to the gap between art and life downstairs.

Breaking with the lyrical, abstract styles then dominant in Paris, the nine artists present declared their commitment to «new perceptions of the real,» incorporating found objects and quotidian materials into their work in an attempt to blur the distinction between art and everyday life.

Interstitial seeks to answer this question through the examination of new and recently - created free - standing sculptures by contemporary Los Angeles - based object makers whose work exists in the interstices, the spaces between the historical genres of the decorative arts, still life, and abstraction.

The artist aims to capture content, specifically in search of «giving narrative life to objects, to alter their course, utility, and to amplify their charm; inscribing meanings and stories to these same objects, removing their varnish so as to not be perceived as «the [immutable] originals»; provoking collisions between images and assembling vernacular history with fantasies; fomenting a contemporary prosopopoeia, where a simple leather cushion, a tennis racket, or a lid of a tin biscuit box bare faces and voices.»

A final work, I Don't Know About the Ear (2016), resembling the ear of a goblin and pinned to the wall, is the relic of the performance work The Adventure of Mr. Kim and Mr. Lee (two of the most common surnames in Korea)(2010 — 12), in which a live performer wearing a prosthetic ear stood motionless like a sculpture and, like the artificial body part itself, straddled the line between states of being object and prop, human and mythical.

Throughout the duration of the exhibition, her performers continuously enact a form of live installation in the gallery and the museum's outdoor spaces, bridging the conceptual and physical divide between performer and object, bystander and viewer, while addressing the ways in which dance and the spectacle of performance are presented in theatrical and exhibition contexts.

Based in color theory, these three - dimensional still lifes address the perception of objects and the spaces between.

Atlanta artist Mario Petrirena used found and treasured family objects to create a kind of self - portrait of his life as an evacuee from Cuba when he was only eight years old in his show The Distance Between at the Museum of Contemporary Art of Georgia (February 25 — April 29, 2017).

Including casts of her sons and of animals, videos of children at play and people praying, agglomerations of domestic objects and works in unfired clay, Wright's art is mostly concerned with relationships — between people, humans and animals, and between the living and the dead.

His watercolors, gouache, and oil paintings not only explore and expand the conventions of still - life painting, but also illuminate the relationship between pictorial space and depicted objects.

Fascinated by the relationship between the natural and built environments, Pedro Cruz - Castro's recent work pushes the boundaries of these interactions to often humorous and absurd limits, suggesting that daily objects have a hidden life.

Often building on screen - used props, special effects castoffs and other materials integral to cinematic production, her protean objects function as organic semiconductors that mediate encounters between spectator and object, fictional histories and lived experiences.

What begins as an innovative subversion of artistic conventions develops into an exploration of the permeable boundaries between artworks, objects, architecture, and daily life.

Her fresh understanding of the relationship between design objects and the development of our societies and histories is an exciting perspective on the world we live in today.

Through performances, films, texts, and most importantly sculpture incorporating found materials and household objects, he sought to subvert the separation between art and lived experience, and to interrogate mass consumerism and the rise of technology.

For him, silence was a landscape of unintentional sounds experienced between intentional sounds; as such, it was absolutely substantive, inseparable from and interdependent with sound.22 By extension, we might expand our view of the White Paintings, considering them not as inert screens waiting to be activated by life's subtle projections but rather as provocative agents of activity and profoundly physical objects that link our actions and perceptions, making us aware of the same perceptual interdependency that was central to silence for Cage.

Her solo exhibitions include Bees and Meat (Ace Gallery, Los Angeles); Not a Cornfield, a thirty - two - acre living sculpture on a plot of land between Chinatown and Lincoln Heights, Los Angeles; and Project Room: Hand Held Objects (Santa Monica Museum of Art).

Narrative and formal connections are created between images, objects, cultural lineage and the basic routine of life.

«These works address the «energy» between every object in a still life.

By representing common objects in the realm of fine art, Jasper Johns broke the boundary between fine art and everyday life.

What / Why: «Painter RJ Grady transforms the historical tradition of still life painting, subtly playing with perspective and reflection, pushing the edges of perception to create an unexpected narrative between object and ground.