Sentences with phrase «conceptual language of»

While traditional super PACs produce commercials that approach pancake - level flatness, wrapping political campaigns up in subtle messaging risks it being dismissed by those who aren't versed in, or don't care about, the conceptual language of the art world (see: a large portion of the American public.)

Alessandro Diaz de Santillana has gone on to widen and enrich his own knowledge of the complex techniques of glass work, to «forget by heart» and translate those techniques in a lyrical and conceptual language of great intensity.

He uses established systems of exchange and equivalence — including the conceptual language of art — to highlight the materialisation and dematerialisation of value.

What process theologians are attempting to do is essentially the same as what Augustine and Thomas did: to express their Christian faith in the conceptual language of a philosophy that makes sense to their age.

Not exact matches

When Gadamer stressed «the linguisticality of all understanding» he was extending hermeneutics beyond its traditional purview (works, art, people) to all otherness: to all that can address us through language, all that has the power to speak in conceptual form.

My possession of language is neither purely physical nor purely conceptual.

I argue that the availability of the Greek language as a whole during acts of speaking or writing it would have to involve a high degree of conceptual entertainment; otherwise, speech would be an impossible foraging operation among physical memory traces.

Hence the act of understanding language is partially a case of high - level conceptual occasions, and partially one of reiterative expectations.

The story of creation and the story of the fall, for example, like the account of the last things in the Book of Revelation, may properly be called myths, since they are concerned with absolute beginnings and endings or with universally predicable truths, about which no precise conceptual statements can be made and which are best expressed in pictorial language.

In fact, much conceptual language has promoted a disconnected view of the universe in which every entity is seen in isolation from every other entity.

Indeed, by analyzing the positive and negative functions of the languages of religious story, symbol and myth, the fundamental theologian may develop a more «existential» range of experiential evidence complementary to the necessarily conceptual evidence of metaphysics.

The theology of the cross, that is to say, provides the theological courage and the conceptual framework to hold the language in place.

In this task, the preacher will be served best by what Martin Heidegger calls the primary function of language: letting be what is through evocative images rather than conceptual structures.1 But we may be moving ahead of ourselves here.

While these are cumulatively defined throughout the work in terms of the categoreal structure, their stipulative use from the outset serves the pre-categoreal function of establishing a conceptual language with which to shape the systematic structure.

But the present volume is concerned with the basic conceptual and methodological problems of religious language, and here the most significant influence has undoubtedly been science.

According to Whitehead, language reflects what a culture or society considers important, whether or not the living members of that society have consciously acknowledged or accepted the evaluative assessment which is embedded in its language.3 The conceptual patterns we bring to experience and the language used to express experience select out those aspects of experience which conform to those concepts and words.

They are almost entirely devoid of conceptual content, at least of the sort philosophers tend to like, and at times their language is perhaps overly saturated in a melancholy and somewhat ornamental paganism; but Heidegger had become convinced in his later years that the search for conceptual content is not really the search for truth.

By placing intoxication and drunkenness into these contexts, the book is able to offer language and conceptual tools to help further the ongoing discussion on how best to reduce alcohol - related harm and encourage responsible enjoyment of beverage alcohol.

«What is universal — and what is not — about how we group clusters of meanings teaches us a lot about psycholinguistics, the conceptual structures that underlie language use.»

This field examines change across a broad range of topics including motor skills and other psycho - physiological processes, problem solving abilities, conceptual understanding, acquisition of language, moral understanding, and identity formation.

«The cross-language prediction model captured the conceptual gist of the described event or state in the sentences, rather than depending on particular language idiosyncrasies.

Calling the study «fantastic,» psychologist Lisa Feigenson of Johns Hopkins University in Baltimore, Maryland, says that because there is such a «drastic» difference in number sense between the Pirahã and most other human groups, it must be their language that limits their conceptual abilities.

In an accompanying editorial, Ara S. Khachaturian, Ph.D., Executive Editor, and the editorial staff of Alzheimer's & Dementia, «commend the effort within the Research Framework to create a common language that may lead to new thinking for the generation of new testable hypotheses about the conceptual basis for Alzheimer's disease.

Instead of reading like one might read a novel to escape, reading programming language requires the student to focus on one specific idea at a time, to think linearly but in a conceptual way.»

As Hammond and Manfra (2009) described in their discussion of TPACK in social studies education, TPACK is a conceptual framework in teacher education that «provides a common language to discuss the integration of technology into instruction and builds upon the concepts of pedagogical content knowledge, [as well as] teacher as curricular gatekeeper» (p. 160).

They build their vocabulary, acquire conceptual knowledge, learn about letter - sound relationships and the relationship between oral and written language, and practice the skills necessary to become automatic and fluent readers who can tackle the more specialized and technical texts of secondary reading (Chall, 1983; Chall & Jacobs, 1996; Jacobs, 2000).

Three sets of resources for English language arts and mathematics provide complimentary views of the conceptual foundation for Smarter Balanced assessments.

One way of differentiating instruction is through adaptive math learning programs, which can help ELLs at every level of English language proficiency develop conceptual understanding and procedural fluency.

Participants engaged with materials and activities in whole group and small groups that demonstrate that science lessons can be richer, deeper learning experiences when we, 1) slow down the process and provide repeated experience over time with key concepts (e.g., observing and exploring ingredients one day; making play dough another day), 2) incorporate language and literacy into science explorations intentionally (e.g., using informational texts; using visual aids and key words in DLL children's home language), and 3) connect science to other content areas and provide extension activities that continue conceptual learning across time and across the classroom (e.g., measurement with ingredients; discussing other types of mixtures during snack time).

Language and conceptual understanding in science: A comparison of English - and Asian - language - speaking children.

Lessons were organized around instructional routines that included the following: presentation of content and language objectives, brief overview of a «big idea,» explicit vocabulary instruction, use of a 2 - to 4 - minute video clip and purposeful discussion to build conceptual knowledge, assigned reading followed by students generating and answering questions, and a wrap - up writing activity or graphic organizer to review and assess learning.

In an era where NCATE standards are narrowing teacher education to mechanistic dispositions and have eliminated the social justice language from its conceptual framework, this group will come together to share how teacher educators can navigate the space within radical teaching practices that promote social justice in the world of NCATE requirements.

Formative assessment in science and mathematics differs from other subject areas such as English language arts due to the conceptual nature of the disciplines and the impact preconceptions have on student learning.

Demonstrating how the design of the 2016 QX Sport Inspiration, its conceptual forebear, could be adapted for a future production model, the QX50 Concept confidently articulates INFINITI's «Powerful Elegance» design language.

Written in immensely powerful language and employing a range of astonishing conceptual devices, Trieste is a novel like no other.

As the artists included in Coloring reveal, conditions of color can offer a range of physical and conceptual links --- to the human body, nature, popular culture, and language.

John Latham (1921 - 2006) was a conceptual artist whose vision of reality, its past and its future, brought his practice out of the physical world and into the spaces of language, time and knowledge.

David Askevold and Peter Hutchinson March 27 — April 26, 2008 532 Gallery Thomas Jaeckel and Curator David Gibson are pleased to announce an exhibition featuring two pioneer conceptual artists, David Askevold and Peter Hutchinson, who have established the connections between language, the found photographic moment; and an interaction with nature and the intricacies of the mind between actual and intellectual experience.

Ken Lum is a prolific writer as well as a conceptual artist, deeply attuned to semiotics across media, whose past work includes a series of «language paintings» that depict nonsensical words in colorful designs.

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.

Bertrand Lavier refuses the idea that there is a language that can be thought of as universal, an idea that stems from the theoretical dogmas of conceptual art.

Peter Doig, whose practice over the past twenty years has drawn heavily on the language of cinema, layers the personal and public, figurative and abstract, visual and conceptual in works that resonate with narrative potential.

She has contributed to, and been written about, in several anthologies of literary criticism including: The Racial Imaginary: Writers on Race in the Life of the Mind (Fence Books, 2015); The BreakBeat Poets: New American Poetry in the Age of Hip - Hop (Haymarket Books, 2015); What I Say: Innovative Poetry by Black Writers in America (University of Alabama Press, 2015); The & Now Awards 3: The Best Innovative Writing (Northwestern University Press, 2015); I'll Drown My Book: Conceptual Writing By Women (Les Figues Pess, 2012); eco language reader (Portable Press at Yo - Yo Labs and Nightboat Books, 2010); American Women Poets in the 21st Century (Wesleyan University Press, 2002); and An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art (University of Michigan Press, 2002).

Many of these artists explore language as an artistic medium or conceptual framework, as seen in works by Jesse Howard, Joseph Kosuth, Los Carpinteros, Alexis Smith, and Lawrence Weiner.

July 17 — Oct. 26, 2014 Charles Gaines at the Studio Museum in Harlem New York The Studio Museum in Harlem is presenting the early work of Los Angeles - based Charles Gaines, an important conceptual artist «celebrated primarily for his photographs, drawings and works on paper that investigate systems, cognition and language.»

532 Gallery Thomas Jaeckel and Curator David Gibson are pleased to announce an exhibition featuring two pioneer conceptual artists, David Askevold and Peter Hutchinson, who have established the connections between language, the found photographic moment; and an interaction with nature and the intricacies of the mind between actual and intellectual experience.

Unless — and this is key — the woman, say, Charline von Heyl or Jacqueline Humphries, both of whom deftly deploy gesture, color, and expression, is said to do so because she is doing so self - consciously, «using painting's languages» cerebrally, with conceptual underpinnings and art - historical structure.

Hatoum draws from the formal language of Minimalism, Kinetic and Conceptual Art, often with reference to Surrealism.

Featuring over 35 sculptural, sound, language - based, conceptual, and immersive artworks by artists who include Terry Adkins, William Anastasi, Sophie Calle, Felix Gonzalez - Torres, Joseph Grigely, Ann Hamilton, Glenn Ligon, and Lorna Simpson, Second Sight explores the notion of sight, representation, and ability as social concepts.

Her conceptual works often provide new ways to engage in a critical but humorous relationship with rationally structured systems such as time, language and units of measurement.