Scientists often rely on backyard astronomers to patrol the skies for newly appearing pinpoints that are brighter and
clearer than the objects around them.
Not exact matches
Touch, furthermore, as the sense of bodily pleasure and pain, involves to a high degree the effective response that, according to Whitehead, is more primitive
than the
clear perception of a distinct and definite
object.
Here is where Buber's terminology shows itself as
clearer than Heidegger's «Dasein ist Mitsein» (existence is togetherness) and Marcel's understanding of knowledge as the third - personal
object of the dialogue between a first and a second person.
If we now place under a concept a representation of the imagination belonging to its presentation, but which occasions in itself more thought
than can ever be comprehended in a definite concept and which consequently aesthetically enlarges the concept itself in an unbounded fashion, the imagination is here creative, and it brings the faculty of intellectual ideas (the reason) into movement; i.e., by a representation more thought (which indeed belongs to the concept of the
object) is occasioned
than can in it be grasped or made
clear.21
Nevertheless, it is
clear that regarding the status of nature, conceived as the
object of perceptual experience, Whitehead is closer to a phenomenalistic position
than to a naïve - realistic one:
And so the list goes, with the actual numbers changing somewhat from year to year, yet the fact that more people are killed with blunt
objects each year remains constant.For example, in 2011, there was 323 murders committed with a rifle but 496 murders committed with hammers and clubs.While the FBI makes is
clear that some of the «murder by rifle» numbers could be adjusted up slightly, when you take into account murders with non-categorized types of guns, it does not change the fact that their annual reports consistently show more lives are taken each year with these blunt
objects than are taken with Feinstein's dreaded rifle.Another interesting fact: According to the FBI, nearly twice as many people are killed by hands and fists each year
than are killed by murderers who use rifles.
There is
clear evidence that the risk of SIDS is associated with the amount of clothing or blankets on an infant and the room temperature.182, 218,294,295 Infants who sleep in the prone position have a higher risk of overheating
than do supine sleeping infants.182 It is unclear whether the relationship to overheating is an independent factor or merely a reflection of the increased risk of SIDS and suffocation with blankets and other potentially asphyxiating
objects in the sleeping environment.
While there are more members who would
object to Cameron on the right (17 %)
than the left (7 %), there doesn't seem to be any large body of ideological opposition to him (indeed, amongst «
clear blue» Tories there are more opponents of Fox (20 %) and Davis (20 %)
than Cameron).
The group defined a plutoid as an
object orbiting the sun at an average distance greater
than Neptune's, massive enough to assume a nearly spherical shape (as planets do) but not massive enough to
clear its orbital path of other bodies (as planets also do).
The intermediate stage, taking pebbles and joining them together into
objects the size of asteroids, is less
clear, but with more
than 3,500 planets already found around other stars, the whole process must be ubiquitous.
Capturing
clear images of
objects as tiny as a single virus or a nanoparticle is difficult because the optical signal strength and contrast are very low for
objects that are smaller
than the wavelength of light.
The planet, he says, «can't possibly be more
than three Jupiter - masses,» because a more massive
object would
clear its gravitational sphere of debris, meaning that the dust belt would have to be farther away
than it is.
In 1946, an astrophysicist named Dr. Lyman Spitzer Jr. proposed that a telescope in space would reveal much
clearer images of distant
objects than any ground - based telescope.
It's far from an insurmountable issue, but the limitations of an analog stick are never more
clear than when trying to very accurately place
objects, though five different camera movement speeds does help you get around it.
The adaptive cruise control feature automatically slows your vehicle down, even while on cruise control, if it senses it is approaching an
object that is traveling at a slower pace
than your vehicle, and the rain - sensing windshield wipers sense how quickly and heavily rain is falling and will automatically adjust the speed of the windshield wipers to provide a
clear line of sight.
Tiny text, background NPCs and the smallest details are visible when zooming in, and foreground characters and
objects are
clearer and sharper
than you've ever seen them before.
As this exhibition makes
clear, Rossi's twentieth century contributions were less Pop in their registration; other
than the gestalt effect of the abstractions, they feature almost no conventionally familiar material, brand,
object, or otherwise.
En masse such
objects produce a
clear sense of unity that is strengthened rather
than diminished by the differences between the many unique
objects.
Rather
than clearing things up, however, the multitude of definitions listed in the wall text — much like the shifting shapes of Desmarais» artworks — forced the viewer to continuously renegotiate relationships between bodies,
objects, and space.
He was more
than clear, however, in insisting that the history of modern art, as construed by the museum and the academy alike, has been narrowly and uncritically limited to a history of
objects, when it might be more fully understood as a history of exhibitions.
The
clearest relevance of reification for painting stems from its use in Gestalt psychology from the Berlin school of the 19th century to describe an
object having more spatial information
than is actually present, an idea that translates in today's terminology to: «the sum is greater
than its parts.»
Galleery - goers — for minimalism took time to make its way inside museum walls — felt that rather
than clearing the air, such
objects merely emptied art experience of everything pleasing and meaningful.
This piece was conceived in 1928 but the actual
object was constructed in London in 1936 using Perspex, a new material that was
clearer and more malleable
than others.
While the release describes Fast's installation as «fictional,» it does not make
clear that the installation is less an homage to the past business
than a compilation of various
objects that have been stereotypically associated with Chinatown and have little accuracy to the neighborhood.
On a
clear night, it will be hotter
than adjacent
objects and hotter
than the air.
Credit: Cherlynn LowThe OnePlus X has trouble picking a spot to focus on, especially when more
than one
object is on the same plane in the scene, unless you activate
Clear Image mode.