Sentences with phrase «early point in her relationship»

Kellen is a murderer and Wavy knows this from an early point in her relationship with him.

Not exact matches

But when the two discussed their relationship — Gurwitch is now an investor in DryBar — at Houston's inaugural Circular Summit earlier this month, both agreed it was a debate over this seemingly minor matter that represented a turning point in their relationship.

They made a point of getting to know us long before we needed their support and that early relationship contributed significantly to our confidence in selecting them as our lead investor for our growth round.»

In other words, those references and developments must point to and manifest only one concept of God, the concept of God that, given its chronological relationship with the concept of God as primordial and consequent natures, has been termed the «early concept of God of Process and Reality» in the first sections of this articlIn other words, those references and developments must point to and manifest only one concept of God, the concept of God that, given its chronological relationship with the concept of God as primordial and consequent natures, has been termed the «early concept of God of Process and Reality» in the first sections of this articlin the first sections of this article.

Early on in their relationship, my mom baked my dad the wheat, soy, and buttermilk - based «Cyprus Point Carrot Cake.»

Picture this, we don't come out of the gate firing on all cylinders, Wenger speaks of how there wasn't enough time for the first - teamers to build chemistry, several key players aren't even playing because of Wenger's utterly ridiculous policy regarding players who played in the Confed Cup or the under21s and the boo - birds have returned in full flight... if these things were to happen, which is quite possible considering the Groundhog Day mentality of this club, how long do you think it will take for Wenger to recant his earlier statements regarding Europa... I would suggest that it's these sorts of comments from Wenger which are often his undoing... why would any manager worth his weight in salt make such a definitive statement before the season has even started... why would any manager who fashions himself an educated man make such pronouncements before even knowing what his starting 11 will be come Friday, let alone on September 1st... why would any manager who has a tenuous relationship with a great many supporters offer up such a potentially contentious talking point considering how many times his own words have come back to bite him in the ass... I think he does this because he doesn't care what you or I think, in fact he's more than slightly infuriated by the very idea of having to answer to the likes of you and me... that might have been acceptable during his formative years in charge, when the fans were rewarded with an scintillating brand of football and success felt like a forgone conclusion, but this new Wenger led team barely resembles that team of ore... whereas in times past we relished a few words from our seemingly cerebral manager, in recent times those words have been replaced by a myriad of excuses, a plethora of infuriating stories about who he could have signed but didn't and what can only be construed as outright fabrications... it's kind of funny that when we want some answers, like during the whole contract debacle of last season, we can't get an intelligent word out of him, but when we just what him to show his managerial acumen through his actions, we can't seem to get him to shut - up... I beg you to prove me wrong Arsene

Basically, at this point, other than for sex, I ignore women, because I know any early steps in a relationship ends with a grimace on her part when she finds out I live in a basement.

Unicef UK's Baby Friendly Initiative has made a real difference in giving our staff the skills and confidence to change the conversation about breastfeeding and early relationship building with parents... Together we can ensure that every single mother and baby receives the very best possible care, at a point in their lives where the information and support we provide will have a profound effect on their future health and development.

One answer is provided by the Industrial Co-Operative Award in Science and Engineering (CASE), a U.K. Ph.D. studentship that seeks to build meaningful and sustainable relationships between industry and academia, with early career researchers at the point of intersection.

That's an overarching example of our conflict, but there were all sorts of specific sticking points that brought us a lot of pain and frustration in the early phase of our relationship.

In these moments, this is quite a normal response, however, should it persist or go beyond the early days of relationship formation, it can become maladaptive and turn into social anxiety, at which point it is advisable to reach out for professional help.

That said, you may be at a point so early in this new relationship that you aren't sure what you should do about your profile.

Strained relationships between parents and children mark the films of Hirokazu Kore - eda, a point reinforced early on in I Wish by a line as funny as it is depressing: «Anyone...

It points to the abundance of scientific evidence showing the need for providing safe and secure relationships in early childhood to reach these goals.

The emphasis on trend lines makes this a good time to point out that Phi Delta Kappa and the Gallup Organization decided in the early 1990s to avoid changes in wording on the questions having to do with the relationship between private and public schools.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greateIn 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its lesser relationship to the greater.

With the early Arts and Crafts movement and the Bauhaus vision of art integrated with everyday life as its historical point of departure, the Art and Craft department seeks to elaborate on the relationship between art and life, on matters of materiality (production, sustainability, globalisation), on design and architecture, and on artistic practice in social and political contexts in a contemporary perspective.

Also on view is the political segment of the show «artevida», which explores the relationship between art and life in the 1950s, 1960s, 1970s and early 1980s, using Brazilian and specifically Rio de Janeiro art as starting point.

They made a point of getting to know us long before we needed their support and that early relationship contributed significantly to our confidence in selecting them as our lead investor for our growth round.»

It's also worthwhile to cultivate extra goodwill with anyone you plan on using as a reference at any point in your career — which is a process that begins early in a professional relationship and continues for many years.

Perhaps not surprisingly, these takeaways elaborate on a key point in the joint position statement: «Early childhood educators always should use their knowledge of child development and effective practices to carefully and intentionally select and use technology and media if and when it serves healthy development, learning, creativity, interactions with others, and relationships» (NAEYC & Fred Rogers Center 2012, 5).

Successful relationships tend to be those in which the partners learn to negotiate those points well and early on.

To clarify the developmental relationship between children's temperament and parenting, more longitudinal studies are needed, especially ones that include statistical controls for parenting and temperament at earlier time points, allowing tests of temperament as predictors of change in parenting and tests of parenting as predictors of change in temperament.

An early study by Gary Becker and colleagues (1977) found that the relationship is non-linear: at first, increases in age at marriage are associated with greater marital stability, but after a point, additional increases are associated with lower stability.

Early adolescence marks an important turning point in the parent - child relationship.

Couples are often too scared to ask about this early in the relationship, but he has frequently seen it become a point of tension down the line, he said.

There was suggestive evidence that women in conflictual relationships where the couple either did not cope well in the early months or showed signs of difficulty at a later point were more likely to be experiencing poorer mental health and for there to be an independent effect of these relationship tensions on children.

In an extension to the findings of Kernan and Lepore, the present results suggest that it is not only benefit finding in the early stages of cancer treatment that predicts later distress but that this longitudinal relationship is found across the six yearly assessment points in the present study [21In an extension to the findings of Kernan and Lepore, the present results suggest that it is not only benefit finding in the early stages of cancer treatment that predicts later distress but that this longitudinal relationship is found across the six yearly assessment points in the present study [21in the early stages of cancer treatment that predicts later distress but that this longitudinal relationship is found across the six yearly assessment points in the present study [21in the present study [21].

The practice of infant massage represents a simple but effective way to enhance and strengthen healthy social and emotional relationships between adults and children in early infancy; this is true both from a relational and a practical point of view.