Sentences with phrase «from fiction and reality»

Dr Maite Ferrin, Consultant Psychiatrist at ReCognition Health believes that parents and carers have a responsibility for educating their own children, showing them the positive and negative aspects behind social media as well as being able to understand fact from fiction and reality from enhanced.

Not exact matches

The group, known as Building 8, currently has four simultaneous projects underway, spanning everything from cameras and augmented reality to science fiction - like brain scanning technology, Business Insider has learned.

I switched from academic papers to climate fiction a few years ago, seeking to inform, and in one story envisioned trouble at the BC / AB border... «Blown Bridge Valley», an excerpt from a climate reality novel series... a free e-book at the link here https://www.smashwords.com/books/view/497190

The U.S. presidential election, starring Donald Trump and a growing cast of antagonists, is now officially stranger than fiction, and more estranged from reality than the most implausible reality TV plot.

When, we tend to use the word «fiction», we are pulling ourselves away from the actual ground of reality and pushing ourselves closer to the non-realistic world of imaginations.

Teleportation, the science - fiction fantasy of moving objects instantaneously through space from one location to another, has become reality — an achievement both more subtle and spectacular than many early news reports indicated.

The year that Reality Bites and Winona Ryder enshrined Generation X into the smokers» Hall of Fame and Pulp Fiction «s Uma Thurman exhaled expectantly from her booth at Jackrabbit Slims.

Resnais constantly blurs the line between fantasy and reality shifting the actors from the couch where they watch the filmed play so that they take an active role within stylized dreamlike scenes, where the fiction of the play becomes their reality.

To jump from reality to fiction many times in one day, I love that beautiful dance back and forth between both dimensions.

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

When she suddenly finds herself haunted by a presence, she has trouble distinguishing fiction from reality and falls deeper into a world of her perceptions.

The third act embraces the virtual reality aspect entirely, and changes from a science fiction film to a horror film.

WSN recently sat down with Shana at SXSW, as well as actors McDougall and Abdul - Mateen to discuss breaking out of old patterns, balancing fiction and reality and working from a place of love and truth.

Director R.J. Cutler, who comes out of documentaries, reality TV («Flip That House») and series television («Nashville»), has succeeded with «If I Stay» where several recent movies taken from teen - aimed fiction have come up a little short.

In the same vein as Black Panther's defiant blend of tradition and technological advancement, Ajantrik uses the temporal plasticity of science fiction to propose that what we designate as the «future» might be found in the histories and present - day realities of those who are excluded from mainstream narratives of progress (or decline).

Commercial for Wood House This science - fiction tale plunges the reader into a future where reality and technology blend imperceptibly, and a teenage girl must race to save the world from a nano - revolution that a corporation calls «ReCreation Day.»

I suddenly turned this idea into reality after my company asked me to write up some business case studies and they received great feedback so that was the moment the light switched on and I realized that there was nothing really different from writing actual case studies to creating original fiction so off I went.

Once my skin thickened up a bit, once I realized how completely cool the character and author fusion was, I was able to embrace these assumptions for what they were: the ultimate compliment — proof of good storytelling — because the only way fantasy and reality can blend into such earnest beliefs is if the fiction feels real enough for the reader to assume that it had to have been drawn from real life, somehow.

The maps in an atlas no longer accord with reality: inland seas and lakes are disappearing; the old geography lessons about how rivers emerged from mountains, gathered water from tributaries and finally disgorged their bloated flows into the oceans are now fiction.

Whether I can make any money writing fiction is the obvious question, but for now that concern stands apart from the authorial reality and opportunity defined by the internet as a distribution pipeline.

This free sampler contains the first 6 chapters of Credence Foundation (A Science Fiction Novel) A detective tasked with solving the seemingly impossible murder of an influential scientist finds a clue that leads him to Credence, a corporation of the future that uses mass beliefs to change reality and send spaceships on the other side of the universe.Suspecting that the murderer had himself flushed in and out of the crime scene using Credence's technology, Detective Trumaine readies his trap.In a frantic chase through his mind, long - forgotten memories from a tragic past, as well as virtual environments, he will finally put together the missing pieces of the most unbelievable plan ever to affect mankind.It's a novel of about 74,000 words...

For women's fiction Sarah is drawn to layered stories that don't shy away from the realities, and often difficulties, of life.

Getting away (momentarily) from the topic of literary fiction and into the purely commercial reality of marketing and sales, no matter what genre one writes in, how in the world will we sell our books if we don't know what people find attractive to read?

On Ms. Phelan's page, it talks about what work she is accepting (YA and MG, literary adult fiction, etc.) and goes on to say «I am looking for complex fiction that pulls you in immediately, characters that you wish were your real friends and plot lines that drag you away from reality to a world you never want to leave.

Our previous issues have featured works of poetry, fiction, and nonfiction that grapple with harsh realities of everything from social media to systemic oppression and inspire us to fight against these barriers.

Perhaps conditions will remain in place for investors to benefit from these allocations, but the possibility for retrenchment can also be convincingly argued: bond markets allow creditors to borrow against the future, and eventually the future tends to conform to harsh (but logical) economic realities, not feel - good hopes and fictions.1

When I was the age that many kids today are who are playing games like GTA and COD, I was never allowed to play nor see anything that was age rated for adults because my parents felt I needed to learn about life first and to know the fine line between reality and fiction and right and wrong, I never got to play my first adult rated game till I was 17 and had proven that I was mature enough to not copy anything from the game, that game was Eternal Champions on the Mega Drive, fun game, but tacky.

Using a variety of media, his work draws from the scale and experience of its surroundings, provoking a re-reading by cross-wiring reality and fiction.

Active since 2007, Liu's practice explores a complex, transcultural «identity confusion» — a lack of any specific identity confinement, so to speak, wherein one's lived experience and self - understanding derive from fluctuating components of rationality and mystery, reality and fiction.

A wide - ranging survey exhibition, it brings together contemporary artists from across the Americas who have tapped into science fiction's capacity to imagine new realities, both utopian and dystopian.

Joffe's women vacillate between the realms of reality and fiction, at times appearing to be portraits of friends and at other times appearing to be characters drawn from the artist's imagination.

«UNEASY ANGEL / IMAGINE LOS ANGELES, Artists from Los Angeles Addressing Intersections Between Reality and Fiction» is an exhibition opening tonight in at Monika Spruth Philomene Magers and Spruth Magers Projekte both in Munich, Germany.

Céline Condorelli is an artist who works with architecture, combining a number of approaches from developing structures for «supporting» (the work of others, forms of political imaginary, existing and fictional realities) to broader enquiries into forms of commonality and discursive sites, resulting in projects merging installation, exhibition, politics, fiction, display, public space, sound, writing, and whatever else feels urgent at the time.

is a giant stuffed toy whose fur is made from the real skin of a bear: reality and fiction coming together in one object.

The media of the show is diverse, ranging from classical modes like painting and sculpture, to experimental video and animation, and using the tropes of science fiction including dystopia, cosmology, and fantasy to restructure narratives and create alternate realities.

Quiñones» practice is built on using simple, commonplace objects and experiences from daily life to devise narratives that mix reality and fiction.

He makes stories, pictures, and objects that are documents of contemporary morality; exploring a reality stranger than fiction, through fantasy, satire and subculture, using themes appropriated from the universal concerns of sex, love, violence, beauty, advertising, food, battle scenes, pornography, writing, politics, religion, crime, dancing, lust, greed, things falling apart, and spaceships.

This piece continues on from a series of large - scale, cinematic performances that contain science fiction themes, such as time travel and parallel universe realities.

With reworked stories and imagined realities, ideas and tropes from science fiction, mixed with conspiracy theories and an interest in fictional restaging, the exhibition illustrates differing global perspectives of the moon and reworks its prevailing image on our collective imagination.

Ralph Rugoff, Stephanie Rosenthal, «MIRRORCITY: London artists on fiction and reality», Hayward Publishing, London, November, pp. 54 - 55 Naomi Beckwith, Donatein Grau, Jennifer Higgie, Lynette Yiadom - Boake, «Lynette Yiadom - Boake», Prestel Publishing David Bindman, Henry Louis Gates Jr., «the Image of the Black in Western Art, Part 2», Belknap Harvard, London, pp.297 - 298 «Face To Face, British Portrait Prints from the Clifford Chance art collection», Hampton Printing, Bristol, p. 13 Pinacoteca Agnelli, «Works From The Mario Testino Collection», Rizzoli «A Brush With The Real, Figurative Painting Today», Laurence King Publishing Ltd, London, pp.218 -from the Clifford Chance art collection», Hampton Printing, Bristol, p. 13 Pinacoteca Agnelli, «Works From The Mario Testino Collection», Rizzoli «A Brush With The Real, Figurative Painting Today», Laurence King Publishing Ltd, London, pp.218 -From The Mario Testino Collection», Rizzoli «A Brush With The Real, Figurative Painting Today», Laurence King Publishing Ltd, London, pp.218 - 223

Like fragments from a lost film, they hover between reality and fiction, mystery and paranoia, the ordinary and the absurd.

Celine Condorelli works with art and architecture, combining a number of approaches from developing structures for «supporting» (the work of others, forms of political imaginary, existing and fictional realities) to broader enquiries into forms of commonality and discursive sites, resulting in projects merging exhibitions, politics, fiction, display, public space, sound, writing, and whatever else feels urgent at the time.

A selection of emerging international artists from the Ernesto Esposito Collection», Museo Nazionale di Capodimonte, Naples 2014 «Theater Objects: A Stage for Architecture and Art», Luma Foundation, Zurich 2014 «MIRRORCITY: London artists on fiction and reality», Hayward Gallery, London 2014 «Europe, Europe», Astrup Fearnley Museet, Oslo 2014 «QUIZ», Galerie Poirel, Nancy 2014 «Infinite Jest», Schirn Kunsthalle, Frankfurt 2014 «Entropy of a City: Julia Stoschek Collection», Műcsarnok / Kunsthalle, Budapest 2014 «Superficial Hygiene», De Hallen, Haarlem 2013 «Meanwhile... suddenly and then», 12th Biennale de Lyon 2013 «The Encyclopedic Palace», 55th International Art Exhibition, Venice 2013 «Flatness: Cinema after the Internet», 59th International Short Film Festival, Oberhausen 2012 «New Pictures of Common Objects», MoMA PS1, New York 2012 «CARA DOMANI opere dalla Collezione Ernesto Esposito», MAMbo, Bologna 2012 «The New Public.

A selection of emerging international artists from the Ernesto Esposito Collection, Museo Nazionale di Capodimonte, Napoli 2014 «Theater Objects: A Stage for Architecture and Art», Luma Foundation, Zurigo 2014 «MIRRORCITY: London artists on fiction and reality», Hayward Gallery, Londra 2014 «Europe, Europe», Astrup Fearnley Museet, Oslo 2014 «QUIZ», Galerie Poirel, Nancy 2014 «Infinite Jest», Schirn Kunsthalle, Francoforte 2014 «Entropy of a City: Julia Stoschek Collection», Műcsarnok / Kunsthalle, Budapest 2014 «Superficial Hygiene», De Hallen, Haarlem 2013 «Meanwhile... suddenly and then», 12.

From sculpture, painting, and sound to video and photography, Rondinone is experimental to say the least and often breaches the divide between fiction and reality.

Gustavo Von Ha's production (first time being nominated for the Prize this edition) is developed from a research about the thin boundaries between reality and fiction, art and market, authorial production and cultural industry insite the contemporary art context.

From maps, town plans, and architectural drawings the artist creates imaginary poetic and territorial worlds in which reality and fiction merge.

To understand how this is complete fiction one needs to know in reality what electromagnetic energy from the Sun can and can not do, i.e. the difference between Light and Heat in real world physics

From sulfur aerosols to iron ocean seeding to artificial trees to cloud whitening, new earth - altering technologies are moving from science fiction to reality, challenging the capabilities of our international institutions in the process, and forcing us to re-examine the ideas that hold our political world togetFrom sulfur aerosols to iron ocean seeding to artificial trees to cloud whitening, new earth - altering technologies are moving from science fiction to reality, challenging the capabilities of our international institutions in the process, and forcing us to re-examine the ideas that hold our political world togetfrom science fiction to reality, challenging the capabilities of our international institutions in the process, and forcing us to re-examine the ideas that hold our political world together.