Sentences with phrase «form language become»

Not exact matches

Machine translation and other forms of language processing have also become far more convincing, with Google googl, Microsoft msft, Facebook fb, and Baidu bidu unveiling new tricks every month.

The global reach, extreme influence, and extreme importance of Christianity is largely due to the fact that the European races, largely Caucasoid, became the world's most dominant races as evidenced by their conquest and colonization of many parts of the world's major regions and because their religion invariably happened to be some form of Christianity, consequently, they gave the greater part of the world not only their languages, their customs, and their ideas, but also their religion including their version of what God looks like.

Such discipline is dependent on the process whereby the language we speak as Christians becomes the language that forms the soul.

The Qur» anic language of the form - spirit is used with reference to the cosmic becoming of al - khalq in Ibn» Arabi.38 The point is that al - khalq as pure thought of the worlds to be [SP] receives its being as the actualized worlds in the same way as Jesus came into being.

My childhood fascination with the beauty and wonder of words, and the power unleashed when language, action, and form become transformed as speech and gesture, became a passion of my mind and heart.

At worst the effort to exercise this authority becomes a servile representation of old forms, a religious antiquarianism; at its best, however, such communal authority speaks in contemporary language and to contemporary needs out of the long experience and painfully gathered wisdom of the Christian centuries.

As it becomes aware of the specific form in which ultimate human problems present themselves in our own time, the ministry, and therewith the schools that prepare men for it, begin to understand more sharply what the pastoral function is, in what language the gospel speaks to this need, and what form the Church must take in serving such men in such a time.

Our language is filled with euphemisms about death: somebody passed away, or «we lost Uncle Ned»; if a husband and wife discuss life insurance, one typically hears, «If something should happen to me...,» not, «When I die...» Graveyards became cemeteries and then memorial gardens, the corpse has become the remains (and a cremated corpse the cremains), burial has become interment, and the death certificate the «vital statistics form.»

While the religious or the ecclesiastical Christian has increasingly become incapable of speaking about damnation, the radical Christian, who has been willing to confront the totally alien form of God which has been manifest in our time, has known the horror of Satan and Hell, and can all too readily speak the language of guilt and damnation.

Once one is convinced that the word «God» or one of the many synonyms for the divine refers to an activity, or process, or function, or idea, or form, or being in the actual world, the language of faith becomes a possibility.

If the language of missional church is to become a helpful way of forming communities of God's people in a radically changing culture then we have to spend the time and energy to understand what is at stake in the language we are using.

This unity becomes especially clear in religious language; the high forms of religion, the most subtle mystic, as well as the most vigorous prophetism, constantly speak the language of primitive magical religion without being conscious of it.

The word «religion» in its plural form does not even enter the language the West until the mid seventh century and does not become common until the eighteenth.

The work uses strong nation - building references, such as referential movement depicting a group of people going towards their death, then becoming trees, ocean, and forming a strong collective out of a group of individuals; its language movement is very dramatic and places a strong emphasis on unison movement rather than individual dancers.

If our ability to invent new bodies and worlds could become a form of expression as deep as language or music, then it ought to be possible for morphing people to convey ideas and feelings just as deeply as great writers or musicians do (or, for that matter, as great lovers or great parents do).

Dubock, who has kept in touch with the research team, says they avoided the term «genetically modified» because U.S. government guidelines on consent forms ask researchers to explain a study in «language understandable to the subject or the representative,» and because the term «genetically modified» has become so loaded that people might equate it with danger.

The soundtrack is a frenzied soundscape of stringed instruments, and we eventually hear Scarlett Johansson forming sounds and reading alphabetical lists of words, like someone learning a language, and those circles become what appears to be a human eye.

The three do inevitably form a triangle, but the visually stylish and briskly efficient manner in which Advani and writer - producer Karan Johar introduce the characters in the opening minutes foreshadows how skillfully and intelligently the standard trappings are deployed here — which becomes fully clear once the first full - blown musical number takes place, when Aman's first glimpse of Naina's sad face prompts him to break into a rousing Hindi - language, Bhangra - inflected cover of... «Pretty Woman.»

In a sense, In the Mood for Love tries to duplicate Happy Together «s similarly improvised final form: one couple's dynamics are replaced with another's; Hong Kong on the eve of June 1997 becomes Hong Kong on the eve of the Cultural Revolution and the escalation in Vietnam; the Taipei subway becomes a Cambodian temple; and the falls at Iguazu find their equivalent in the secret desires locked in Li - zhen's heart, betrayed by her too - eloquent body language and mournful gaze.

The awards form part of the legacy of the National Year of Communication (Hello campaign) and have become a key event in the speech, language and communication and healthcare calendar.

Becomes a dynamic place where language, data, and logical reasoning experiences operate jointly to form meaning for the student.

«The installation we designed shows how these dark messages are often accompanied by bombastic language and imagery: spectacle becomes a form of persuasion.

The installation we designed shows how these dark messages are often accompanied by bombastic language and imagery: spectacle becomes a form of persuasion.

Dark, ominous forms began to crowd his paintings, coalescing into what would become a new language that consumed his practice over the next ten years.

They are on the cusp of an indeterminate language, making an appeal for personal liberation in one form or another, even as Korea has emerged from its military past to the democracy and corporate leader it has become on the stage of a new world order.

I describe through my process and subject matter a new visual physics were the language and tags become the genetic architectural threads coalescing form and movement.

The artist group has taken over what will become the public library space of Kunsthalle Zurich for six months with a new version of their audio project Lektor, exploring the complexities and vagaries of language and translation through audio manipulation in the form of live translation.

Brand New Gallery departs from these assumptions to present Beyond the Object, a group show appositely conceived to combine works by artists with disparate backgrounds and from different generations, inevitably forced to confront themselves with production, exploring the interaction between composition and form which radically becomes an archetype endowed with its own language.

During the late 1960s, Guston became frustrated with the limitations of abstraction and returned to figurative painting, amassing a potent language of motifs whose roots can be seen in the forms and shapes of Traveler III, and illustrating what Christoph Schreier refers to as subcutaneous figuration.2 Following his 1966 exhibition at the Jewish Museum in New York, Guston relocated to Woodstock, New York, embarking on what would become a two - year hiatus from painting.

DRKRM focuses in on the different aspects of GIF animation as art forms and their widespread distribution in the last few decades, becoming a kind of coded and somewhat sophisticated new language.

He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy.

But, I was looking for some kind of painting language, and painting around, underneath and in reality, against these built - up forms, became a formal strategy for me.

«All forms are political, therefore, and all politics become form; this open - ended proposition would be callow sloganeering were it not for its allusion to a symbolic community of speakers and listeners — an imaginary selection of subjects called forth to materialize, in their own languages, the proximities and distances between and within complex geopolitical configurations.»

Over the years he worked at these collages, 1954 to 1960, he became more adept at body language for his figures and at paring extraneous detail from architectural and landscape forms.

The intention is to breathe new life into the exhibition process with which «When Attitudes Become Form» was staged, so as to go beyond the necessity for photographs and films of the past event, and to be able to experience and analyze it literally, just as it was, even though it has been transported from the past to the present.The project has entailed the understanding that the language with which an exhibition is mounted and the relations between the works set out by its curator have become a founding element of the history of modern and contemporarBecome Form» was staged, so as to go beyond the necessity for photographs and films of the past event, and to be able to experience and analyze it literally, just as it was, even though it has been transported from the past to the present.The project has entailed the understanding that the language with which an exhibition is mounted and the relations between the works set out by its curator have become a founding element of the history of modern and contemporarbecome a founding element of the history of modern and contemporary art.

Sculpture is for Cragg a method to unlock this enormous potential, not just for new forms but the new meanings, dreams, and language that will become associated with them.

The original source materials becomes obscured, abstracted and finally replaced by Mullen's own unique language of interlocking colors and forms.

Long has used language in this pared - back manner since his first text work, A Walking Tour in the Berner Oberland: When Attitudes Become Form 1969 (whereabouts unknown).

Sculpture is for Cragg a method to unlock this enormous potential not just for new forms but the new meanings, dreams and language that will become associated to them.

Rail: That body of work opened up new possibilities in terms of different abstract language, without giving up the reference to landscape, that became more invested in legible form in the late»90s — I mean your installation at Andre Emmerich in 1997.

Through appropriation of existing forms and symbols and their subtle manipulation, Elder has twisted their language to become adapted and unique to her.

As curator Cornelia Butler points out, Rosen «became intrigued with the investigation of the cultural possibilities for language through the subversion of its basic structure, form, and appearance.»

Zorio has employed a specific lexicon and visual language in many of his installations, continually using repeated forms, shapes and materials since the late 1960s, which have since become emblematic.

The exhibition encompasses 3 floors of the gallery forming a similar dialogue with the space of the white cube, Bove's sculpture references a wide range of histories regarding language, including a particularly colourful «Caro-esque» play on colour, and even the occasional Braque-esque leaning, blurring the idea of the plinth — something Caro did everything to remove — now «becomes».

Much like in the novel, A House of Leaves borrows different languages, tells multiple narratives in different ways, and asks its viewer to become co-author in order to present a collective effort to define an art form — in this instance the contemporary art museum, from its collection, displays, special commissions, and loans, to its educational and interpretation system.

The more they accumulate, the stronger the justification for those conclusions become, such that even when some of the stronger conclusions are eventually replaced, we may know with some confidence that much of their content will be preserved, and that the difference will largely consist of the form (language) in which that content is expressed.

It seems to have picked up steam just as «herewith enclosed» declined, and it became part of the form language used in magazine mail order forms, like the one below:

Intelligent Life — A Man's Guide to a Woman's Wardrobe — Luke Leitch — «What has become clear is that fashion is to many women what sport is to many men: a pastime, a passion, a shared language, a form of self - definition, and a temporary escape from the opposite sex, all rolled into one deeply satisfying whole.»

She explained how play is a natural form of expression for a child and how the toys in the playroom become the language in which a child can safely communicate their thoughts and feelings to the therapist.

Unlike other forms of therapeutic play however, this inner language becomes visible in the shared context of Sandplay.