Sentences with phrase «century work force»

Not exact matches

A few years into the wars, American and coalition forces started to realize the twentieth century military mechanism wasn't going to work against a dangerous, dynamic and vastly decentralized enemy.

The issue is not solely a 21st - century concern: In 1915, Henry Ford became increasingly worried about the quality of health care available to his growing work force in Detroit, so he opened the Henry Ford Hospital.

Moreover, given the political and economic forces that combined to limit economic development throughout the South in the first half of this century, and that ultimately encouraged massive migrations of blacks out of the region, one may doubt that Washington's strategy would have «worked,» in the sense of negating the effects of these structural factors, even had it been assiduously followed.

That is the work ahead for those of us who have escaped the 20th century's more horrendous forms of violence but who now find the forces of cruelty working within our own traditions.

So Marx saw a parallel between the way the British and French used guns to force opium on the Chinese people in the mid-nineteenth century and the way the Christian church used religion to deaden the social awareness of the working people.

But he never asks what social, economic, political and ideological forces were at work in the creation of the modern scientific world view, any more than he looks at the role of those forces in the eighteenth century celebration of it, the romantic reaction against it, or the nineteenth and twentieth century codification of positive science.

Over the centuries ancient man learned to express his thinking about the world in the form of myths, or stories of the gods, in whom were personified the unseen forces he presumed to be at work in the phenomena he observed.

That worked from the late 20th Century until about six years ago when Xcm bacterial blight again showed up in force on the cotton crop in Texas and other states, wasting even varieties that previously could ward it off.

The story takes place in late - 19th - Century London, and revolves around supernatural forces at work in a «demimonde» of demons and other evil creatures.

C The Organizer: Criterion Collection Unrated Italian with English Subtitles Getting the Criterion treatment here is a relatively little - known 1963 Italian film about a group of textile workers in Turin, Italy at the turn of the century that join forces under the leadership of a traveling professor in order to fight for better working conditions.

These moments work because they're unexpected and different, forcing us to look at centuries - old, repeatedly produced material in ways that one might not previously have considered.

Developments in the last century — the evolving global economy, an unprecedented migrant crisis, massive social changes, and increasingly seamless digital connectivity and convergence across work, play and life — have forced a challenging shift in the way we think about what matters most to teach and learn.

As E-School News reported, «when it opened its doors in 2006, Philadelphia's School of the Future (SOF) was touted as a high school that would revolutionize education: It would teach at - risk students critical 21st - century skills needed for college and the work force by emphasizing project - based learning, technology, and community involvement.

In describing how this model works in practice, two leading proponents, Richard Kahlenberg of the Century Foundation and James Ryan, the dean of the Harvard Graduate School of Education, cite an amalgam of institutional and interpersonal forces.

We led a national task force convened by the Council of Chief State School Officers that developed a set of far - reaching policy recommendations to improve students» readiness for the 21st century world of work.

It's a model that worked well for more than a century, until recent years when declining ad and subscription revenue forced many magazines to either close down or severely cut back.

The first and definitive biography of the celebrated collectors Dominique and John de Menil, who became one of the greatest cultural forces of the twentieth century through groundbreaking exhibits of art, artistic scholarship, the creation of innovative galleries and museums, and work with civil rights.

Over the centuries, mankind has tried many ways of combating the forces of evil... prayer, fasting, good works and so on.

Works by John Mason, Ricky Swallow, and Shana Lutker are mired in 20th - century formal concerns, and Louise Fishman, Jacqueline Humphries, Dona Nelson, and Amy Sillman present a chorus of large painterly, Abstract Expressionist work whose relation to recent strains of American art seems oddly forced.

Profoundly influenced by Chinese painting traditions and techniques — especially the marks of the eighth - and ninth - century Yi - pin «ink - splashing» (or «flung ink») painters — mentorships from John Cage and Agnes Martin, and the harmony between man and nature espoused by Taoist philosophy, Steir considers elemental forces active participants in her work, intentionally removing herself from the action and allowing gravity, time, and the environment to determine the work's result.

That artists continue to pursue the process of working with spaces outside the bounds of the classic painting — «opting out of the painting,» as Laszlo Glozer observed about twentieth - century art — shows the explosive force of this groundbreaking art form.

Leonard Nelson left an extensive body of work in paintings and printmaking, proving how prescient his early vision and stylistic impulses have been and what a quiet, yet formidable, force he became in the evolution of 20th - century American art.

Despite its half - century historical sweep, in essence «The Painting of Modern Life» felt like an intimate group show, presenting several works by each of the 22 featured painters, sequenced and hung with intelligence and restraint, never forcing the argument but letting the arrangement suggest its own rich conversation.

Eighteenth century English painter and printmaker William Hogarth used his work to satirize class differences, populating his pictures with caricatures of the flawed modern citizen, while lampooning the systemic inequality that forced them into that position.

The mirroring acts and repetitive motifs feel forced, similar to Levin's placement of Bill Rauhauser's Woman on Bus, forcing the woman's gaze into the last century of Robert Duncanson's 1870s Landscape, an unsubtle gesture that neither decontextualizes nor animates the works.

The works illustrate a time when free black women living in 18th - century, Spanish - ruled Louisiana were forced to cover their hair.

Profoundly influenced by Chinese painting traditions and techniques — especially the marks of the eighth - and ninth - century Yi - pin «ink - splashing» painters — mentorships from John Cage and Agnes Martin, and the harmony between man and nature espoused by Taoist philosophy, Steir considers elemental forces active participants in her work, intentionally removing herself from the action and allowing gravity, time, and the environment to determine the work's result.

After working with coarsely stitched burlap, scorched wood, and torched iron, Burri turned the elemental destructive force of fire to plastic — the material ne plus ultra of the 20th century.

There are enough forces at work to ensure that the new century imitates and perhaps even outperforms the last in this regard.

These graphic works challenge the image of nature as free and uncontaminated, as projected in nineteenth - century American painting and photography, and show that man and beast are in reality forced to live side - by - side.

Oehlen's spatially intriguing works, in which figuration and abstraction collide, are a strong reminder of the complex forces that were involved during the resurgence of painting at the latter part of the previous century.

From there, the field of investigation moves towards modernity: in the nineteenth century the themes of spirituality, dreams, mysticism, and the «panic» force in nature saw new developments and, at the dawn of the next century, played a decisive role in the birth of abstractionism, with the work of Vassily Kandinsky, Paul Klee and Hilma af Klint.

While 20th century experiments with the effects of pure color — particularly Color Field painting and abstract expressionism — often relied upon immersive force and the use of large canvases to envelop the viewer's entire body, Amm's work elicits sustained acts of seeing and a more consciously analytical stance.

MashUp will explore how artists incorporate found images, objects, sounds and words into their work, starting with the movement's emergence at the turn of the twentieth century and showing how it has become a dominant force in our world today.

This expanded version of that exhibition fills our galleries as never before, presenting a thematic journey that reveals the breadth of America's modernist vision, beginning with the great heroes of American art of the late 19th century, whose work set the course for modern art in the United States, and concluding with a grand display of the Abstract Expressionists, whose new visual language turned American art into a global force.

The individual titles are appropriated from data gathered about the modern labor force since the mid-nineteenth century; the dawn of the Industrial revolution through today, reinforcing what has and has not changed about the way we work in this relatively short period of history.

MashUp is a thorough investigation of how artists incorporated found images, objects, sounds and words into their work, starting with the movement's emergence at the turn of the twentieth century and showing how it has become a dominant force in our world today.

This exhibition presents a thematic journey that reveals the breadth of America's modernist vision, beginning with the great American art heroes of the late 19th century, whose work set the course for modern art in the United States, and concluding with the Abstract Expressionists, whose new visual language turned American art into a global force.

The MoMA show, which featured an untitled hanging wire sculpture by Asawa from circa 1955, led The New York Times critic Holland Cotter in his review to assert «the reality that work by women, feminists or not, was the major inventive force propelling and shaping late - 20th - century art.»

[It is helps us to understand what natural forces are currently at work that could be causing changes... But note that some natural forces like the ones that I talked about above work over much longer timescales than the century timescale over which we are making significant changes in greenhouse gas levels.

A forcing will result in warming that will appear perhaps 40 % in a decade, the bulk of the rest over the next century with a portion of warming still at work in the following centuries (this the portion which makes Climate Sensitivity very difficult to nail down).

Mike's work, like that of previous award winners, is diverse, and includes pioneering and highly cited work in time series analysis (an elegant use of Thomson's multitaper spectral analysis approach to detect spatiotemporal oscillations in the climate record and methods for smoothing temporal data), decadal climate variability (the term «Atlantic Multidecadal Oscillation» or «AMO» was coined by Mike in an interview with Science's Richard Kerr about a paper he had published with Tom Delworth of GFDL showing evidence in both climate model simulations and observational data for a 50 - 70 year oscillation in the climate system; significantly Mike also published work with Kerry Emanuel in 2006 showing that the AMO concept has been overstated as regards its role in 20th century tropical Atlantic SST changes, a finding recently reaffirmed by a study published in Nature), in showing how changes in radiative forcing from volcanoes can affect ENSO, in examining the role of solar variations in explaining the pattern of the Medieval Climate Anomaly and Little Ice Age, the relationship between the climate changes of past centuries and phenomena such as Atlantic tropical cyclones and global sea level, and even a bit of work in atmospheric chemistry (an analysis of beryllium - 7 measurements).

Ironically, while some continue to attack this nearly decade - old work, the actual scientific community has moved well beyond the earlier studies, focusing now on the detailed patterns of modeled and reconstructed climate changes in past centuries, and insights into the roles of external forcing and internal modes of variability (such as the North Atlantic Oscillation or «NAO» and the «El Nino / Southern Oscillation» or «ENSO») in explaining this past variability.

Co-sponsored by: First Church in JP Unitarian Universalist, Social Justice Action Committee Racial Justice Task Force of Theodore Parker Church Jamaica Plain Forum As persons of faith living in 21st century America, we feel called to question how we might work, take action, do our part, to dismantle white supremacy.

For the problem where there is strong integral forcing over the period of say a half century (such as greenhouse gas forcing), this is more predictable, but trying to tie down a prediction on the timescale of a decade just doesn't work owing to the temporal - spatio chaos that is present.

Next, the model is run in changing conditions, simulating the last couple centuries using our best estimates of the climate «forcings» (or drivers of change) at work over that time period.

... our results indicate a greater role for volcanic aerosols in past decade - to - century climate than found in some previous work and a lesser, but still significant, role for solar forcing.»