Sentences with phrase «between objects in the world»

One of the big selling points is the ease of interaction between objects in the world - in the words of the developers, «Objects dynamically interact with each other — no need to manually make a cup and a water fountain find what they can accomplish together.»

This process of reorganizing and reclassifying the relationship between objects in the world was exemplified by his 2011 curatorial project «Two Peacocks», which transformed Gallery North in Newcastle into a Department Store, as a means of rethinking the group show.

Justice does not exist between objects in the world, nor between objects and people.

Not exact matches

The marriage between hardware and software can then be used by app developers to create all kinds of interesting apps, including those that place 3 - D objects in the real world.

Change and time in our experience of the world are perceived as related to the differences between objects.

Only the dualistic form of the modern Western consciousness, which is grounded in an absolute distinction between the subject and the object of consciousness, instills us with the seemingly irrevocable sense that the world or reality stands wholly outside of consciousness itself.

Vorhanden, which Heidegger uses of the peculiar mode of being characteristic of inanimate objects, as contrasted with responsible human Dasein, I have translated by «tangible», as in Bultmann the antithesis is not so much between Vorhandensein and Dasein as between the tangible realities of the visible world and eternal realities, very much like the Pauline contrast of kata sarka and kata pneuma.

The relationship between subject and object is no longer that relationship of knowing postulated by classical idealism, wherein the object always seems the construction of the subject, but a relationship of being in which, paradoxically, the subject is his body, his world, his situation, by a sort of exchange.

Ninian Smart has shown that although Western religious traditions have been predominantly numinous and Eastern traditions predominantly mystical, all the major world religions have in fact included both types of experience.18 Early Israel gave priority to the numinous; biblical literature portrays the overwhelming sense of encounter, the prophetic experience of the holy as personal, the acknowledgment of the gulf between the worshipper and the object of worship.

Soelle has suggested that the traditional distinction between God and the world is captured in a set of «godly» / «worldly» dualisms — Creator / Created, Lord / Servant, Maker / Made, Artist / Artifact, Will or form / Stuff or matter, Cause / Effect, Subject / Object.

Piaget found an explanation in the fact that initially the childlike subject does not yet differentiate between itself and the object world (RME 155f.).

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 we are not concerned with requirements which have arisen only from contemplation; hence we are not concerned only with «structures of the world» which occur in the experiential contact between consciousness and object.

Being able to see this superfast interaction between electrons gives scientists another tool to unlock the rules that govern the quantum - mechanics world — a world where microscopic objects don't obey the laws of physics we have come to rely on for understanding in the macro world.

Penrose says that rather than seeking to change Einstein's theory of gravity, we should study how gravity affects an object small enough to exist in the borderland between the quantum world of atoms and the human world of visible objects.

Having binocular vision gives humans and other animals much better depth perception, which is our ability to perceive our world in three dimensions and estimate the distance between objects.

The Swapper features a unique art style that uses real - world clay - models and found objects to create an explorable space station realised in unique detail; gameplay sees players swap between different bodies to achieve otherwise impossible tasks.

The Aether, was introduced in «Thor: The Dark World» as the object that spawned a war between the Asgardians and an evil race of Dark Elves led by a tyrant named Malekith.

«What I object to is the lack of parity between religious beliefs and non-religious world views in the school curriculum, which in the eyes of children may well lead to the belief that religion, in whatever form, has a monopoly on truth and on morality.»

Tapping the ruler icon allowed me to use the measurement tool to get real - world dimensions for objects in my photos, either by drawing a line between two points or drawing a box with four points.

Bethesda games are a lot more than just graphics: Huge worlds, thousands of objects with their own physics, hundreds of NPCs to interact with, lots of interiors, etc... While those aspects have been common in all Bethesda games, Fallout 4 introduces a lot of new features: Seamless transition between in and outdoors, massive customization options -LSB-...]

Building a virtual world means striking a balance between making it vivid, rich with objects in number and details, and render fluidity.

Unlike previous Tales titles where characters are driven by the need to save the world, in Tales of Berseria the protagonist murders everyone and everything that stays between her and the object of her quest: revenge.

The gameplay is also quite intriguing; the connections that you make between locations, objects, and visuals is deliciously non-linear in a way we don't experience in the real world.»

Built from scratch with the DC3D Engine 1 huge hub world with over a dozen unique levels Real - time 3D combat engine Jump, Dash & Fight in responsive environments Pick up and throw objects at enemies Customizable characters with in - depth class / job system Smart audio system that is influenced by environment with 3D positional sound effects Over 20 ambient and pulse pounding tracks by Richard Evans Save file tool to easily move between platforms

It's like being stuck between a rock and a hard place, though, because players don't buy new items with currency, but combine them together with objects found in the world.

Do Ho Suh: in between introduces the attempts of the artist in a global era in which economies and societies would come to a halt without the intersection of people, objects and information to explore the self and make the world a smaller place, while negotiating cultures of different origins and moving to and fro between tradition and innovation, individual and group.

In negotiating the space between body and object, we rely on the memory of use and familiar patterns in a world where binary assumptions are common: in versus out, hard versus soft, resistance versus floIn negotiating the space between body and object, we rely on the memory of use and familiar patterns in a world where binary assumptions are common: in versus out, hard versus soft, resistance versus floin a world where binary assumptions are common: in versus out, hard versus soft, resistance versus floin versus out, hard versus soft, resistance versus flow.

Participants flop like mute ventriloquist dolls caught between two worlds — literally part of Mayer's object narrative — Peter Rabbit and Roger Rabbit — a tourist in their own time.

A Stroll through the Worlds of Animals and Men» Jacob von Uexkull (1957) / EXTRACT:» We are easily deluded into assuming that the relationship between a foreign subject and the objects in his world exists on the same spatial and temporal plane as our own relations with the objects in our human world.

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.

We hope to isolate the audience from the real world temporarily, and provide a space for them to rethink and reconsider the way we behave, and ultimately, think about the relationship between ourselves, objects and the environment with technology in a more conscious way.

«Kelly's visual vocabulary is drawn from observation of the world around him — shapes and colors found in plants, architecture, shadows on a wall or a lake — and has been shaped by his interest in the spaces between places and objects and between his work and its viewers.

In her embroidered panels, strings have great symbolic sense — this is an allegory of complex relations between objects, people, worlds, and the embroidery itself is a kind of drawing technique for the artist.

In the artist's own words, «their relation to the natural world suggests a link between man and nature, implying the sculptures are found objects in a human forest.&raquIn the artist's own words, «their relation to the natural world suggests a link between man and nature, implying the sculptures are found objects in a human forest.&raquin a human forest.»

Exhibitions include Dos Mundos: Worlds of the Puerto Ricans 1973, Mira, Mira, Mira, Museum of the City of New York 1974, Ten Japanese Artists, 1975; Legacy of James Vanderzee, 1977; Sacred Artifacts: Objects of Devotion, 1982; Disinformation: The Manufacture of Consent, 1985; Repulsion: Aesthetics of the Grotesque, 1987; Foreign Affairs: Conflicts in the Global Village, 1988; Dia De Los Muertos, 1988; Prisoners of Image: Ethnic and Gender Stereotyping, 1989; Mon Reve: Haiti after the Duvaliers, 1989; Artists of Conscience, 1992; Peoples Choice: Komar & Melamid, 1994; Expansion Arts, I, II, III, 1995 - 1998; (Mickey) Mouse: An American Icon, 1998; The Artists as Patron, 1999; Honeymoon Series by Yoshio Itagaki, 2000; Between the Real and the Unreal: Recent works by Simen Johan, 2000, Genochoice an installation by Virgil Wong, 2000.

My new body of work for Charlie James is centered around a conversation both visual and textual between myself, William Powhida (my bad idea), aesthetics (other people's bad ideas), and the prevalence of the object in a post-internet (tech's bad ideas), socially mediated / market oriented art world (Capitalism's bad ideas).

A beautiful and humble object, where neither artist plays the dominant role, thus sits perfectly in the world of concrete poetry for which Finlay was such a catalyst in the 1960s, suggesting real friendship between the two artists skilfully exploited by the publisher.

It was not simply a statement against an ivory towered «high art» but an effort to shed light on the relationship between art and life, an investigation of our daily experience of the world.1 In Kounellis's «objects,» the convergence of two - and three - dimensional materials engages the senses, imagination and emotion.

Engaged in a reassessment of the definition of the artwork and role of the artist, making the turn from a conceptual outlook where artistic authenticity lied in the artist's inner world towards interaction with popular media and mass - products that reflected artistic vision, his work ranges somewhere between the art and life, his pieces questioned the relation of artistic and everyday objects.

Biography: Danish artist Susanne Wellm explores the everyday world in serene color, revealing potential links of real or imaginary stories between objects and persons.

The photograms that are created reveal a silhouetted image that varies in darkness due to the opacity of the objects ultimately creating a delicate amalgamation between the natural and man made world.

Boasting almost 200 objects, many on view in the U.S. for the first time, «Beyond the Nile: Egypt and the Classical World» looks at connections between ancient Egypt, Greece, and Rome, from the Bronze Age to late antiquity.

His work in recent years investigates the relationship between the aesthetic world of geometric and biomorphic form, and the aesthetic world of the organic, where natural materials take on synthetic forms and synthetic materials at times look like natural objects.

Pop Art Design, an exhibition organized by the Vitra Design Museum, one of the preeminent furniture and design museums in the world, pairs iconic design objects with artworks from this celebrated era to show the cross-pollination between these creative worlds.

His practice is located somewhere in the standoff between words and objects, in the visual and verbal slippages that occur between what may be spoken or written, and the physical stuff of the world.

In her distinguished career the painter Ellen Lanyon has explored a range of visual imagery, from the exotic manifestations of the natural world to material culture: objects such as antique tools or kitchen equipment, somehow bridging the distance between categories through evocative titles and scrupulous examination of form.

This radical approach to art making set them apart from artists who commanded the greatest market interest at the time, and by rethinking the connection between objects and concepts in the 1980s, they changed the landscape of the art world forever.

The exhibition Life Itself stretches from the early 20th century, when artists in and alongside the abstract avant - garde were endeavouring to categorise existence, and up until today's world of objects existing in a state somewhere in between what we call the living and the non-living.

«Beyond the Nile: Egypt and the Classical World» Getty Center Los Angeles OPENS: March 27 Some 200 rare objects (Egyptian stone vessels, Greek pottery and portraits, Roman luxury goods) spanning the Bronze Age to the late Roman Empire are brought together in this exploration of the cultural exchanges between Egypt, Greece, and Rome.