Sentences with phrase «how objects in space»

It's an architectural sensibility, it's really understanding how objects in space function», she says.

Not exact matches

This is an early example of how physical locations and objects can be activated in a digital or gaming space.

You have further made a host of assumptions regarding tensors if you wish to limit how physical objects can violate assumed constants in a given time and space.

29 More perhaps than do «eternal objects,» these «propositions» show how far Whitehead has come with his new solution to the problem of form: he has provided a free space for the unfolding of creativity in world - process.

In a few thousand years of recorded history, we went from dwelling in caves and mud huts and tee - pees, not understanding the natural world around us, or the broader universe, to being able to travel through space, using reason to ferret out the hidden secrets of how the world works, from physics to chemistry to biology, we worked out the tools and rules underpinning it all, mathematics, and now we can see objects that are almost impossibly small, the very tiniest building blocks of matter, (or at least we can examine them, even if you can't «see» them because you're using something other than your eyes and photons to view them) to the very farthest objects, the planets circling other, distant stars, that are in their own way, too small to see from here, like the atoms and parts of atoms themselves, detected indirectly, but indisputably THERIn a few thousand years of recorded history, we went from dwelling in caves and mud huts and tee - pees, not understanding the natural world around us, or the broader universe, to being able to travel through space, using reason to ferret out the hidden secrets of how the world works, from physics to chemistry to biology, we worked out the tools and rules underpinning it all, mathematics, and now we can see objects that are almost impossibly small, the very tiniest building blocks of matter, (or at least we can examine them, even if you can't «see» them because you're using something other than your eyes and photons to view them) to the very farthest objects, the planets circling other, distant stars, that are in their own way, too small to see from here, like the atoms and parts of atoms themselves, detected indirectly, but indisputably THERin caves and mud huts and tee - pees, not understanding the natural world around us, or the broader universe, to being able to travel through space, using reason to ferret out the hidden secrets of how the world works, from physics to chemistry to biology, we worked out the tools and rules underpinning it all, mathematics, and now we can see objects that are almost impossibly small, the very tiniest building blocks of matter, (or at least we can examine them, even if you can't «see» them because you're using something other than your eyes and photons to view them) to the very farthest objects, the planets circling other, distant stars, that are in their own way, too small to see from here, like the atoms and parts of atoms themselves, detected indirectly, but indisputably THERin their own way, too small to see from here, like the atoms and parts of atoms themselves, detected indirectly, but indisputably THERE.

TIME IS A WAY TO DESCRIBE HOW MANY MOVEMENTS AN OBJECT DID IN SPACE (TURNS OF THE EARTH), IN REFERENCE TO ANOTHER OBJECT (AROUND THE SUN).

BOX 15, A-15-6; 30219214 / 734997 SAPA Part B - 1st Draft, c. 1972 Using Numbers - Numbers and the Number Line, JRM Observing - Observing the Weather Measuring - Making Comparisions Using a Balance, JE Alternate Auto - Instructional, Measuring 1 - 4 / Measuring Area, Gillis Classifying - Trees in our Environment, JRM, c. 1972 AAAS - Xerox Film Loops Guide, A11 Exercises - Shapes and Symmetry, Hansen, 1972 SAPA Part B - 1st Draft, 1972 Observing - Observing Color and Color Changes in Plants, HM Communicating - Identifying Objects and their Variations, RN Communicating - Different Kinds of Forces, AHL Communicating - Graphs, JRM Classifying - Observing Living and Nonliving Things, Smith Using Space / Time Classifying - Animals in Our Environment: Part B (alternate) Using Space / Time - Shadows, Smtih Alternate (Autoinstructional)- Using Numbers - Numbers and the Number Line Observing - Observing Soils, JRM SAPA Part B 2nd Draft, 1972 Measuring Area 1 - 4, CCP Measuring 1 - 4, Volume of Solids, Alternate 2, CCP Measuring 1 - 4, Volume of Solids, Alternate 1, CCP Measuring Length 4 - 6, Linear Measurement Using Metric Units, CCP Communicating - Intro to Graphing, JRM Communicating - Pushes and Pulls, AHL Communicating - Identifying Objects and Their Variations, RN Classifying - Trees in Our Environment, JRM Classufying - Observing Living and Nonliving Things, Smith Observing - Observing Color and Color Changes in Plants and Observing Changes in Mold Gardens, HGM Observing (alternate)- Observation, Using Several of the Senses, HGM, c. 1972 Using Numbers - Numbers and the Number Line, JRM Measuring - Making Comparisions Using a Balance, JWE Using Space / Time - Shadows, Smith Using Space / Time Relationships - Time Intervals, HGM Observing 10 - Observing the Weather, JWE Observing - Observing Soils Using Several of the Senses, JRM SAPA Part B Tryout Draft, 1972 Communicating - The Same but Different Observing 10 - Observing the Weather Observing 9A - Observing Soils Observing (alternate)- Using Several of the Senses Observing - Observing Change Classifying - Trees in Our Environment Classifying - Observing Living and Nonliving Things SAPA Part B, Observing - Changes in Molds and Other Plants, c. 1972 SAPA Part B Tryout Draft, 1972 Observing - Observing Changes in Plants Observing - Changes in Mold and Green Plants Measuring - Making Comparisions Using a Balance Measuring Length - Linear Measurement Using Metric Units Measuring Volumes of Solids, 1 - 4 Communicating - Pushes and Pulls Comparing Area, c. 1972 Using Space / Time Relationships - Shadows, 1972 Addition of Postive Numbers, Sums 1 - 99 (not being tried) SAPA Part B 3rd Draft (alternate), Using Numbers - Numbers and the Number Line, 1972 SAPA Part C 1st Draft, 1972 Classifying - Classifying Components of Mixtures, Livermore Inferring 2 - How Certain Can You Be?

But until astronomers began finding planets around other stars, no one calculated how swallowing nearby objects would affect a star, says theoretical astrophysicist Mario Livio of the Space Telescope Science Institute in Baltimore.

In everyday life this perceptual bias is useful; it is what normally allows you to understand how distant objects occupy space.

Laser cooling has been applied to paint, which could mitigate urban heat islands and solve the problem of how to cool objects in space

The demonstration, which the team carried out with an experiment called Station Explorer for X-ray Timing and Navigation Technology, or SEXTANT, showed that millisecond pulsars could be used to accurately determine the location of an object moving at thousands of miles per hour in space — similar to how the Global Positioning System, widely known as GPS, provides positioning, navigation, and timing services to users on Earth with its constellation of 24 operating satellites.

That's an interesting idea, Wampler says, although it's too early to say whether that possibility might have any astronomical implications for how the objects behave out in space.

«Oumuamua shares a red - tinted light profile akin to distant Kuiper Belt Objects in our own solar system, which may be a hint about how prolonged exposure to deep space alters the composition of space rocks.

The volume is the amount of space an object fills in three - dimensional space (which tells approximately how much a container, like a juice box, can hold), and the surface area is the total amount of area on the outer surface of the object (which tells approximately how much material was used to create the shape).

How is the spacing of objects (which you investigated in this activity using flip - books) important when making one of these other types of animations?

In mice, depending on the strain, the sexes may exhibit different levels of anxiety, detected by how willing the animals are to explore new objects or spaces.

In the pre-Einsteinian conception of the nature of space and time, there is no limit in principle to how fast an object can traveIn the pre-Einsteinian conception of the nature of space and time, there is no limit in principle to how fast an object can travein principle to how fast an object can travel.

To make this idea more tangible, Lewis is treating satellites and space junk as elements in a kind of mathematical network, a network whose connections reveal how many objects a given satellite approaches in orbit (Acta Astronautica, vol 66, p 257).

All groups who exercised saw some benefit, and those who exercised more saw more benefits, particularly in improved visual - spatial processing — the ability to perceive where objects are in space and how far apart they are from each other.

These two images of a huge pillar of star birth demonstrate how observations taken in visible and in infrared light by NASA's Hubble Space Telescope reveal dramatically different and complementary views of an object

Cosmologists use a combination of such measurements to build a so - called distance ladder for gauging how far away a given object is from Earth, but there are some unresolved discrepancies that are likely due to the presence of space dust and imperfections in calculations.

Paul Chodas, manager of the Center for Near - Earth Object Studies (CNEOS) at NASA's Jet Propulsion Laboratory, tells Newsweek what the space agency and other organizations around the globe are doing to perform this exercise — and how they plan to protect Earth from asteroids in the future.

I'd offer you one to munch on while you listened to me go on and on about how much I love them, but for how far it's come, technology still lacks the capacity to let me teleport an object in time and / or space, so I apologize for that — try and use your imagination instead...

Mark Pellington's latest is a melodramatic look at how we assign value to the objects that take up space in our existence.

In terms of design, think about how many elements can comfortably fit in your chosen space — you want to be able to highlight special objects without overwhelming your audiencIn terms of design, think about how many elements can comfortably fit in your chosen space — you want to be able to highlight special objects without overwhelming your audiencin your chosen space — you want to be able to highlight special objects without overwhelming your audience.

For example, a physicist can show how just two key ideas (Newton's second law and the universal law of gravitation) explain how satellites and space craft are kept moving round the Earth and enable us to calculate the velocities needed to keep these objects in orbit or bring them down to Earth.

First of all there were a lot of individual effects on the children from introducing this type of playground: children were seen to be a lot more excited going out to play; they would enter their classrooms after lunchtime and would still be talking about what they did during that play; they were a lot more engaged, they were using the space a lot more readily, so, taking these materials out - and that could be one influence on how physical activity actually increased; they were solving problems and using their creativity skills - which I can also talk about how the children use all these objects to be creative in the school playground.

Included in the Space Digital Interactive Bundle are the following Chapters • Chapter 1 - Space - An Introduction • Chapter 2 - Our Solar System • Chapter 3 - The Life and Death of Stars • Chapter 4 - The Seasons and Earth's Tilt • Chapter 5 - The Moon • Chapter 6 - Eclipse Solar and Lunar • Chapter 7 - Galaxies, Other Objects, and the Universe • Chapter 8 - The Immensity of the Universe • Chapter 9 - How Humans Meet Their Needs in Space Digital Interactive Notebook for Google and OneDrive cloud services.

Your notebook pages include the following activities: Fill in the blanks Short Answer Draw and Drop Video and Comprehension Questions Extension Activity Included in the Space Digital Interactive Bundle are the following Chapters • Chapter 1 - Space - An Introduction • Chapter 2 - Our Solar System • Chapter 3 - The Life and Death of Stars • Chapter 4 - The Seasons and Earth's Tilt • Chapter 5 - The Moon • Chapter 6 - Eclipse Solar and Lunar • Chapter 7 - Galaxies, Other Objects, and the Universe • Chapter 8 - The Immensity of the Universe • Chapter 9 - How Humans Meet Their Needs in Space Digital Interactive Notebook for Google and OneDrive cloud services.

Included in the package: 4 weeks of teaching material 9 Power Points totaling 167 slides Teacher and student versions of each power point Student notes in word Lessons Included: Lesson 1 - Space - An Introduction Lesson 2 - Our Solar System Lesson 3 - The Life and Death of Stars Lesson 4 - The Seasons and Earth's Tilt Lesson 5 - The Moon Lesson 6 - Eclipse - Solar and Lunar Lesson 7 - Galaxies, Other Objects and the Universe Lesson 8 - The Immensity of the Universe Lesson 9 - Life in outer space - how humans meet their needs Each lesson includes a student and teacher verSpace - An Introduction Lesson 2 - Our Solar System Lesson 3 - The Life and Death of Stars Lesson 4 - The Seasons and Earth's Tilt Lesson 5 - The Moon Lesson 6 - Eclipse - Solar and Lunar Lesson 7 - Galaxies, Other Objects and the Universe Lesson 8 - The Immensity of the Universe Lesson 9 - Life in outer space - how humans meet their needs Each lesson includes a student and teacher verspace - how humans meet their needs Each lesson includes a student and teacher version.

-LSB-[17]-RSB- Green, yellow, and red indicators also help you gauge how close you are to objects — a real help in tight spaces.

To start, I love how much space is in the vehicle itself, and the bed in the back is huge to help with transporting various objects and helping friends move, which is always a plus.

This study immediately followed past experiments conducted on videogames, including one that demonstrated how gamers were able to accurately pick out objects in a cluttered space.

The «three - body problem» is a reference to how the math gets really hard when you are trying to project orbits of three objects in space.

Immense potential, but on the other hand, I've seen how poorly voxel games run such as Space Engineers, hell even minecraft block style ones such as Spacemade making full use of culling can't maintain large objects in view without melting a CPU / GPU, and when you add physics, the server melts down too.

In response to Rachel Adams» installation How to Live in a Flat, artist Tessa Lynch will activate the space by producing a series of concept sketches of people and objects using the spacIn response to Rachel Adams» installation How to Live in a Flat, artist Tessa Lynch will activate the space by producing a series of concept sketches of people and objects using the spacin a Flat, artist Tessa Lynch will activate the space by producing a series of concept sketches of people and objects using the space.

Mika Tajima employs sculpture, painting, video, music, and performance, often drawing on contradictions in modernist design and architecture to consider how the performing subject (e. g., speaker, dancer, designer, factory worker, musician, filmmaker) is constructed in spaces in which material objects outline action and engagement.

Rachel Harrison's oeuvre challenges conventional narratives of the history of sculpture and how we experience objects as individuals in space and time.

What / Why: «We treat desire as a problem to be solved, address what desire is for and focus on that something and how to acquire it rather than on the nature and the sensation of desire, though often it is the distance between us and the object of desire that fills the space in between with the blue of longing. - Rebecca Solnit GRIN is pleased to announce Pools of Fir, a solo exhibition of new painting and photography by Brooklyn based artist Caitlin MacBride.»

When I use objects from Nigeria, I'm thinking of the past having a place in the present, and how you take your experiences — of spaces, climates, landscapes — with you.

Prominently placed in the Garden Room at the beginning of the exhibition is Scatter Piece (1968), whose setting gives the viewer control over how he experiences the objects by moving through the space.

Manders makes a physical as well as mental space for the viewer to «enter the world of objects and matter and find poetry in it... and to know how poorly we normally see our daily life.»

Works in the facing project space entertain how the identity and meaning of colors, words and objects may shift within a matrix of signifiers.

In her latest works Angela Bulloch studies how the interaction with objects structures and motivates our movement in space, as well as the differences in our perception of digital and real spacIn her latest works Angela Bulloch studies how the interaction with objects structures and motivates our movement in space, as well as the differences in our perception of digital and real spacin space, as well as the differences in our perception of digital and real spacin our perception of digital and real space.

In her painting practice Earnest uses unconventional materials such as aluminum tape, carpet fuzz, insulation, drywall tape, cement, contact paper, latex gloves, and joint compound, and she seeks to explore how abstract spaces such as «home» can be defined through the complex relationship between objects and memory.

Mika Tajima employs sculpture, painting, video, music, and performance, often drawing on contradictions in modernist design and architecture to consider how the performing subject (e. g. speaker, factory worker, musician, filmmaker) is constructed in spaces in which material objects outline action and engagement.

While his previous installation - based work is a direct response to the architecture in which it inhabits, the dimensional paintings are a more singular instance of how an object occupies space.

Connecting geometric abstraction to the shape of our built environment, her work explores how the performing subject (e. g., speaker, dancer, designer, factory worker, musician, filmmaker) is constructed in spaces in which material objects outline action and engagement.

In her 2014 Tate Britain Commission, Barlow had the opportunity to demonstrate how a monumental space can be transformed into a series of object studies where gravity, balance and scale integrate with the viewer empowering a dynamic and interactive experience.

Through imaginative studies of objects such as flags and helmets, Marzouk tackles politically loaded themes such as war, sports, nationhood, space technology and oil industry and how they habitually manifest themselves in our daily life.