Sentences with phrase «by emotional images»

They were found to be highly distracted by emotional images, whether positive or negative, when the search was easy.

Not exact matches

Man seeks to form for himself, in whatever manner is suitable for him, a simplified and lucid image of the world, and so to overcome the world of experience by striving to replace it to some extent by this image... Into this image and its formation, he places the center of gravity of his emotional life, in order to attain the peace and serenity that he can not find within the narrow confines of swirling, personal experience.

Our anxiety might be between emotional drives and repressive norms, between different drives trying to dominate our personality, between our hope to achieve in our studies or profession and a lack of confidence in ourselves between the desire to be accepted by others and the experience of being rejected, between our real selves and the image of ourselves we try to give others or between our sense of loneliness and the need for friendship.

Just as theological reflection is today dominated by the fact that the entire mental, emotional and image context of the past is eroded, so a way of preaching proper to that fact must be wrought out.

Not being dependent on their audience for financial support, they do not need to cultivate audience loyalty by the provision of centralized images, services, and emotional satisfaction.

«It is disheartening that the image of our Client is being tarnished by mischief makers whose jaundiced publications and statements have had a negative impact on our Client's emotional wellbeing, family and his fan base.

(1871 - 72) Taken by photographer Oscar Rejlander (c. 1813 - 75), this image features Rejlander himself imitating the emotional expressions of the infant in the photograph, which he had also taken.

After only one night without sleep, participants were distracted by every single image (neutral and emotional), while well - rested participants only found the emotional images distracting.

It's that slipperiness of creation and that psychosis that finds us repeating ourselves by repeating images of ourselves (Multiplicity is a trickier flick than given credit for) which informs a trio of new science - fiction films reaching North American movie screens simultaneously (though only one is American in origin)-- we are the world's new cultural / emotional wasteland and the films of our new millennium reflect that status.

My Prairie Home / Canada (Director: Chelsea McMullan)-- A poetic journey through landscapes both real and emotional, Chelsea McMullan's documentary / musical offers an intimate portrait of transgender singer Rae Spoon, framed by stunning images of the Canadian prairies.

The Salesman Rated PG - 13 for mature thematic elements and a brief bloody image In Persian with English Subtitles Rotten Tomatoes Score: 97 % Iranian writer / director Asghar Farhadi claimed his second foreign film Oscar with this latest tale about a modern Iranian couple struck by tragedy and emotional damage when the wife is brutally attacked in their home.

Spanning circa 140 emotional words it is divided into three sections: - ranges of emotions (offering a visual spectrum to be referred to by writers unsure of the intensity of feelings)- synonyms (each image has similar images and words underneath it along with a sentence to help a new writer see how it can be embedded into a story)- antonyms — opposite pairs of feelings that are useful when wishing to create contrast in a storyline The Blob Visual Emotional Thesaurus will be a vital reference for every classroom and can be used individually or in whole class acemotional words it is divided into three sections: - ranges of emotions (offering a visual spectrum to be referred to by writers unsure of the intensity of feelings)- synonyms (each image has similar images and words underneath it along with a sentence to help a new writer see how it can be embedded into a story)- antonyms — opposite pairs of feelings that are useful when wishing to create contrast in a storyline The Blob Visual Emotional Thesaurus will be a vital reference for every classroom and can be used individually or in whole class acEmotional Thesaurus will be a vital reference for every classroom and can be used individually or in whole class activities.

Children and young people should: keep themselves fit through regular physical activity; have a positive self - image; talk about the benefits to their health through participation in physical outdoor activities; adopt a healthy lifestyle, including healthy eating appropriate to the demands of their activities; understand the risks to fitness and health posed by smoking, alcohol and drugs, and set an example in their own lifestyle; walk or cycle where this is a realistic and safe option, or take other regular exercise; want to continue their interest in outdoor activities beyond school and into adult life; independently participate in follow up courses where these are available; understand how much exercise is required to remain healthy; and are aware of the links between physical and emotional well - being.

Practice connotation with this worksheet by describing your feelings and emotional connections to the following images.

Developed at the Acura Design Studio in Los Angeles, California, and inspired by the Acura Precision Concept, the all - new RDX presents a more emotional, athletic and aggressive form to match its premium performance - luxury SUV image.

By shortening the emotional distance with the subject, my images question our own humanity.

The visceral images communicate both the physical and emotional trauma of anxiety, from being unable to breathe to feeling haunted by an sinister presence.

In groundbreaking works from the 1970s like Mary Kelly's Post-Partum Document (1973 — 79) and Martha Rosler's Semiotics of the Kitchen (1975), the tenets of conceptual art — with its integration of language and image, its embrace of photography and the video camera, and its unfolding over time and space — are enmeshed with questions of subjectivity, the body, and indeed, emotional affect, subjects generally avoided by an earlier generation of conceptual artists.

By eliminating any trace of narrative from his compositions, which are simple in appearance, he clears the path to a more direct emotional response to the image.

Surrounded by suspended, propped, and perched objects, I consider perceptions of weight: the weight of things, the weight of images, the weight of representations, and the emotional ties interlaced throughout.

By using several artistic practices, Paolo Cavinato creates multisensorial spaces, where images of reality, mental and emotional projections merge.

As a moving - image memoir and deeply disturbing confessional, First Person Plural covers the years 1984 to 1996 when Hershman Leeson was grappling with her emotional scars and the psychological blowback from a childhood of physical and sexual abuse, followed by a period in her life as a battered wife who, with her daughter, eventually found the courage to walk away from that situation.

The images build upon themselves in a layered stream of consciousness driven by the autobiographical, the conceptual and the emotional.

Surreal Dialogue: Works by Ji Yoon Hwang and Soyoung Kim, a new exhibition of painting and fabric installation works by two young Korean artists whose diverse, complimentary works explore the language of emotional discomfort in modern society through subtly unsettling images and tactile sensations.

Schnabel's ability to add personal, emotional content to his art and to pay homage to his sources and inspirations demonstrates a sensitivity otherwise concealed by his larger - than - life public image.

Visually his images are strikingly beautiful, composed by the hand of a master in control of a wide range of tools and a rich palette, that above all, create a direct emotional appeal to the heart of the viewer.

Thus while he painted individuals from photographs, Richter's replica images were often blurred and bore nothing distinctively identifiable about the subject, an effect that forced the viewer to consider the fundamental components of the painting itself, such as composition, color scheme, and so forth, rather than leaving the viewer to identify with, or be distracted by, a picture's implied content or its emotional element of «humanity.»

Hapless, Helpless and Hopeless is a video by Rob Kennedy and Peter Dowling produced entirely of sampled television advertisements that attempts to adapt and re-define the codes at work in these sales pitches, building a «grammar» that can be used to suggest other readings, other outcomes, other problems, than those nominally prescribed in the role of the advertisement, This is not in some vain attempt at trying to negate the power of these adverts, but in order to construct a constantly shifting series of relationships that mines the psychological, emotional and semiotic power of these highly produced images and sounds.

Karsten writes: «Weight's paintings are captivating for many reasons - his color sense is perfectly in tune with his mysterious imagery, his realism is modified by the emotions of fear and anguish, and his compositions reveal a deep understanding of 2 - d image structure... It isn't mastery over materials that keeps me looking at Weight's work though - it's his crazy, compelling, haunted voice, and how he gives us a frank look at the unknowable world of individual emotional lives.»

He creates emotional images that brim with genuine exuberance, tinged by nostalgia for moments past.

You can see images of all of the pictures included in the exhibition by clicking on the exhibition section in the tab above or following this link: www.howard-hodgkin.com/exhibitions Alberto Fiz's essay, «Painting's Emotional Site», printed in the exhibition catalogue, can be -LSB-...]

Incorporating an original score by Walsh, the video plays nonstop and its musical notes guide the viewer through the exhibition, providing an emotional though unsettling grounding to the still images.

The exhibition «One Hundred Masterworks» presents an extraordinary selection of vintage photographs by Curtis that highlights both iconic and previously little known images, revealing the aesthetic, emotional, and spiritual qualities, which are the cornerstone of his art.

Conceived of by artists Pavla Sceranková and Dušan Zahoranský, Apparatus for a Utopian Image borrows from cultural theorist Aby Warburg's Mnemosyne Atlas, an unfinished visual atlas that maps out how images of great symbolic, intellectual, and emotional power emerge and reappear over time.

His use of blown glass is an effort to explore materials that allow for both an aesthetic and emotional experience to create a piece that's sinister and somehow active while remaining functionally inert; he cites seeking out images of parasites and viruses as part of his research process for this piece, inspired by their ability to alter the space and living bodies around them without ever fully revealing themselves.

The graininess and blurriness of the image underscores the emotional vitality of the subject, a pivotal moment that would lead to a new way of thinking by American street photographers.

There seemed at that time to be no emotional need that could not be satisfied by the chevron, the diamond, the irregularly shaped canvas and, as of 1967, the long, narrow, horizontal striped images that stretched out forever.

Narrative: The exhibition also explores the narrative possibilities of photography found in the interplay of image and text in the work of Robert Frank, Larry Sultan, and Jim Goldberg; the emotional drama of personal crisis in Nan Goldin's image grids; or the expansion of photographic description into experimental video and film by Victor Burgin and Judy Fiskin.

«Shades of Black (ness),» Davison Art Center, Wesleyan University, Middletown, CT, January 25 — March 3, 2005 «Collection Remixed,» The Bronx Museum of the Arts, Bronx, NY, February 3 — June 5, 2005; catalogue «Landscape,» Whitney Museum of American Art, New York, NY, March 24 — September 18, 2005 «The Shape of Time,» Walker Art Center, Minneapolis, MN, April 17, 2005 — October 25, 2009 «Very Early Pictures,» Luckman Gallery, California State University, Los Angeles, CA, May 26 — July 23, 2005; traveled to Arcadia University Gallery, Glenside, PA, September 6 — October 30, 2005 «African American Art: Masterworks of Contemporary Art,» Saint Louis Art Museum, St. Louis, MO, June 24 — August 28, 2005 «Wordplay: Text and Image from 1950 to Now,» Davison Art Center, Wesleyan University, Middletown, CT, October 25 — December 11, 2005 «The Painted Word: Language as Image in Modern Art,» Williams Center for the Arts Gallery, Lafayette College, Easton, PA, October 28 — December 14, 2005; brochure «Between Image and Concept: Recent Acquisitions in African American Art,» Princeton University Art Museum, Princeton, NJ, November 12, 2005 — February 6, 2006 «Beauford Delaney in Context: Selections from the Collection,» Philadelphia Museum of Art, Philadelphia, PA, November 13, 2005 — February 26, 2006 «A Brief History of Invisible Art,» CCA Wattis Institute for Contemporary Arts, San Francisco, CA, November 30, 2005 — February 21, 2006 «Linkages and Themes in the African Diaspora,» Museum of the African Diaspora, San Francisco, CA, December 1, 2005 — March 12, 2006 «Looking at Words: The Formal Presence of Text in Modern Contemporary Works on Paper,» conceived by Barbaralee Diamonstein - Spielvogel, Andrea Rosen Gallery, New York, NY, October 28, 2005 — January 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 9, 2005 — September 26, 2006 «Drawing from the Modern, 1975 - 2005,» Museum of Modern Art, New York, NY, September 14, 2005 — January 9, 2006 «ROMANCE (a novel),» curated by Adriano Pedrosa, Cristina Guerra Contemporary Art, Lisbon, Portugal, September 14 — October 15, 2005; catalogue «A Thousand Words,» Inman Gallery, Houston, TX, July 9 — August 27, 2005 «Getting Emotional,» Institute of Contemporary Art, Boston, MA, May 18 — September 5, 2005 «Double Consciousness: Black Conceptual Art Since 1970,» organized by Valerie Cassel Oliver, Contemporary Arts Museum, Houston, TX, January 22 — April 17, 2005

Azambuja puts into circulation a form of criticism by signaling elements, buildings, streets, squares, having a deep emotional connotation and identity, but often do not perceive in his complex sensibility, they are cast before our eyes and the same time imposing and monumental fix their image.

In compelling and diverse images by 16 artists selected by curator Ralph Rugoff, we are invited to contemplate the strong emotional and psychological ties that connect these artists to their relatives and partners, as well as the powerful social and economic forces that shape the family.

His images allowed the viewer to experience these mysterious and magical places in a deep emotional way, capturing their unnamed shades of green, darkness broken by rays of light streaming down into natural cathedrals.

They sell their campaigns through emotional images of poverty, not by developing an understanding of what the political and social antecedents to poverty are.

«If you are feeling lonely, exhausted, stuck, and troubled by a loss of drive, facing difficult relationships or family conflicts, suffering from stress and anxiety or body image and eating issues, then psychotherapy, an active collaboration between therapist and patient, can be a powerful and positive emotional learning experience.

Written by Andrea Wachter, LMFT; June 10th, 2016; Posted in Blog, Child Counseling, Emotional Eating & Body Image, Parenting & Family, Teen Counseling and with tags: disordered eating, overeating, parenting

Written by Andrea Wachter, LMFT; May 27th, 2016; Posted in Blog, Child Counseling, Emotional Eating & Body Image, Parenting & Family, Teen Counseling and with tags: disordered eating, parenting

A study led by Gaëlle Desbordes at Massachusetts General Hospital indicated that both compassion and a mindfulness meditation training decreased activity in the amygdala in response to emotional images; this suggests that meditation in general can help improve emotion regulation.

Written by Rachel Eddins, M.Ed., LPC - S, CGP; June 3rd, 2016; Posted in Child Counseling, Emotional Eating & Body Image, Parenting & Family, Teen Counseling and with tags: disordered eating, parenting

The individual deals with emotional conflict or internal or external stressors by compartmentalizing opposite affect states and failing to integrate the positive and negative qualities of the self or others into cohesive images.

«Splitting: The individual deals with emotional conflict or internal or external stressors by compartmentalizing opposite affect states and failing to integrate the positive and negative qualities of the self or others into cohesive images.