Sentences with phrase «early conceptual phase»

The keys to making headway in this early conceptual phase of the new agreement is to be open to new ideas that can work in the real world and to keep our eyes on the prize of reducing emissions rather than insisting on old orthodoxies.

This MMO is in a very early conceptual phase, but promises to bring features such as individual planets, meaningful decision - making that permanently affects characters and the ability to create outposts and form crews along with other players, all of this in a massive game universe with no boundaries and fully persistent.

The Cayenne coupé, as the model has been christened in an early conceptual phase, is set to be positioned as a more sporting alternative to the regular Cayenne.

Not exact matches

according to the order of dependence, I question the propriety of assuming that the initial physical phase is earlier than supplemented phases of a purely conceptual nature.

Whitehead's distinction between genetic and coordinate analysis rests on the conceptual innovation that becoming is from nothing but past finished data to the whole finished occasion with its temporal stretch, constituting the occasion's earlier and later temporal phases in the outcome, not as a frame for the becoming itself.

After a brief phase as a Conceptual artist, the British - born artist (he moved to New York in 1970) ran afoul of Art & Language who accused him of betraying Conceptual art through the «sycophancy» and «opportunism» of his early «70s writings for Artforum.

By the early 2000s Johns had embarked on the pared - down and more conceptual Catenary series which, along with other recent works such as 5 Postcards, 2013 and Regrets, 2013, shows the rich productivity and vitality of this late phase of his career.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

Edited and designed by Dias (born 1944), the volume moves through the many phases of his varied practice, from his early experimentation at age 19 with visual representations of protest — before the 1964 military coup and at Brazil's political and social climax — to his conceptual production in Milan, his early film work, his works on paper developed in Nepal and the painting practice that has continued throughout his life.