Not exact matches
To obey Paul's command for your children means giving them more than a rational faith — it means also giving them a well -
formed Christian imagination that can look at a starry night sky and see more than the infinite reach of
empty space and the eternal stretch of endless time, that can «keep seeking the things above, where Christ is, seated at the right hand of God» (3:1).
Given that the large - scale structure of the universe is dominated by the presence of still mysterious Dark Matter, and that on the smallest scales
empty space sustains quantum oscillations whose energy density dwarfs that of all known
forms of matter, we should hesitate to imply that the physical and spiritual realms can not be even partially consubstantial.
this human
form is no different from my object
form that just sits there or the
space form that my human
form believes is
empty.
The door and windows are cut out (from the walls) to
form an apartment; but it is on the
empty space (within), that its use depends.
The perceived split between heaven and earth lived on in diminished
form, all the way through Newton's absolute
space (which he described as «the sensorium of God») and the nineteenth - century reconception of the aether as an invisible, all - pervasive medium that transmits light through
empty space and provides the background reference frame of all motion.
Just as our
empty space might not be the true, most stable
form of the vacuum, what we call reality might not be the true, most stable
form of existence.
Around it, Smith and Schurig have arranged concentric rings of metamaterials, with the
empty spaces between the rings
forming narrow channels.
The microwave background marks the limit of the observable universe, nearly 14 billion light - years away, and Rudnick believes that the void, which is 6 billion to 10 billion light - years away, imprinted its
form on the microwave background by the simple virtue of being
empty: Under the influence of dark energy and gravity,
space containing clusters of galaxies compresses microwaves to a shorter, warmer part of the spectrum, while
space that is
empty on this scale stretches and cools microwaves.
But what happens when you try to
form those images in your mind, and all you see is
empty space?
The
empty spaces, the negative areas of the tunnels, which are largely open - top trenches, lend a dramatic aspect to what is a cohesive single
form visually — a selection of disparate shapes tied together by blades.
The smallest
form advances, but its scale and framing simultaneously recess its shape; it hovers in the
space, seemingly full and
empty.
Done in enamel on identically sized aluminum panels, the highly concentrated compositions are the result of a visual algorithm in which the
forms increased incrementally in height and width as they moved outward from the central, vertical axis — a narrow,
empty space — toward the painting's physical edges.
In his paintings, an ecstatic profusion of receding
forms is juxtaposed with glimpses of
empty space.
It argues and rethinks city
space from established divisions of function / non-function, human / extra-human, built /
empty and productive / non-productive, local / global, urban / rural to more hybrid, blurred and merged notions about contemporary city
space and about the agencies that are
forming it.
Fogt's collaged images from a 1960 Sears catalog hover in fields of
empty space, the pieces appearing to float on the page, while the swirling cacophony of Yeapanis's colorful ink drawings echo the unpredictably organic
forms of her 3 - dimensional installations.
Alternating between hyper - realistic representations of the human body and decomposed images of body parts which remain barely decipherable in
form, his works embrace a newly minimal approach highlighting
empty canvas
space and isolated symbols.
Through the dialogues created by the juxtaposition of these artworks, the exhibition assesses how absence can actively give
form to
space, a subject that has preoccupied artists over the past half century, as well as examining how viewers might encounter these «
empty»
spaces.
For the audio work «Down the River» — which was organized by the Whitney's chief curator, Scott Rothkopf, and the assistant curator Laura Phipps — Ms. Fraser daringly left the
space empty but filled it — loaded it really — with often frightening sounds that could suggest some
form of hell: loud male voices, clanking metal, rolling carts.
In discussing these works, Cousins once stated that a key part of the process for him involved «giving special attention to the
form of the
empty space between the solid elements of a sculpture as well as to the
empty space surrounding the sculpture.»
In subsequent Ambienti spaziali made between 1961 and 1968, Fontana continues to experiment with
empty rooms and light as a medium to generate
space, introducing the use of innovative materials and techniques — such as neon, light, fluorescent paint, acrylic mirrors, rubber floors, and metallic wallpapers — while also experimenting with forms of instability, testing the spectator's sense of balance and perception, thus anticipating the revolutionary Space and Light research of the 1970s in th
space, introducing the use of innovative materials and techniques — such as neon, light, fluorescent paint, acrylic mirrors, rubber floors, and metallic wallpapers — while also experimenting with
forms of instability, testing the spectator's sense of balance and perception, thus anticipating the revolutionary
Space and Light research of the 1970s in th
Space and Light research of the 1970s in the US.
These works utilize a manufactured tube to unify and connect alternating solid
forms and
empty spaces, with the specific placement being based on mathematical sequencing to
form a linear progression.
Included are several variations of the
form: a square metal tube under which a progression of rectangular boxes and
empty space is articulated; a square base with rounded
forms that project from the front; and a squared base with box - like
forms that project from the front.
Comprising two material measurements of real
space — one vertical (the Stacks), the other horizontal (the Progressions)-- each takes the
form of a linear, mathematical progression of alternating solid
form and
empty space.
Depending on the location, the insights, perspectives, and views provided allow the «
empty space» around the sculpture to come to the forefront as immaterial
form, equal in status to the material.
In the artist's new exhibition at MASS MoCA, «Richard Nonas: The Man in the
Empty Space» — his first museum show on the East Coast in 30 years — Nonas sets out to create the conditions for that unnamable tension, that problematic aspect that can beget new
forms of seeing.
Beginning with a dramatic, portrait - like photograph of two hands
forming the shape of a duck — which interestingly does not include the cast shadow silhouette — the artist, over a series of works, gradually
empties out any perceived conceptual or symbolic content from the image to create a fluidic but flattened abstract
space.
Anne Smart: Do you feel it's integrated, or do you think the dancing shapes are dancing and moving across in a sort of big
empty space, and they are more isolated as
forms, and the browns are in fact a delineation of some sort of infinite
space?
The montage of elements — from translucent sectioned windows which resemble the sprockets on a filmstrip, to the
empty cinema
space with its luminescent white screen and a series of artworks being prepared for installation —
form a matrix of visual representation that highlight the relationship between, film, architecture and art.
Ideal gas is not even approximate, it is useless for describing the natural world around us of real gases under gravity which are our fluid atmosphere around us and not the massless ideal gas of nothing
forming empty space.
Don't try to fill all the
empty space in the resume -
form.
Because of the large available
space,
empty buildings, and ease of access to rail, highway, and water traffic, the Army chose Redstone as the place to consolidate its newly
formed rocket program.