Sentences with phrase «human body scale»

Not exact matches

example: what logical function would a certain feature of the human body serve in the grand scale of nature?

The notion of the people, i.e.Minjung, and of small - scale movements and initiatives which represent them, is from the Christian point of view partly a socio - ecclesial vision in the sense of a theological appraisal of the church as social reality in the larger body politic, and partly eschatology in the sense of a vision of the ends worked out within, and ends which extend beyond, human history.

When the team looked for it in data from the Human Microbiome Project, a large - scale project to sequence the DNA of all the microbes that live in and on our bodies, they found that it was present in 73 per cent of all 466 faecal samples.

When the researchers expanded their search to include all the data from the Human Microbiome Project, a large - scale project to sequence the DNA of all the microbes that live in and on our bodies, they found that the same virus was present in 73 per cent of all 466 human faecal samHuman Microbiome Project, a large - scale project to sequence the DNA of all the microbes that live in and on our bodies, they found that the same virus was present in 73 per cent of all 466 human faecal samhuman faecal samples.

Scaling methods, when measuring the function of the human body, have been causing scientific debate since the mid-1600s.

«I think this paper strengthens, substantially, the available body of literature that we have concerning the question of whether humans are having an effect on precipitation at the global scale,» Zwiers wrote in an email.

As humans we're stuck at the scale of our bodies, but there are all these different levels above and below us; each one has its own dynamics, its own processes, its own timescale.

Those inhabiting the human body have received increased attention in recent years, owing to a greater appreciation of the interrelated nature of humans and their microbiome, an improved understanding of microbial ecology, and an unprecedented ability to detect fine - scale microbial community changes with high - throughput sequencing technology (Human Microbiome Project Consortium, 2human body have received increased attention in recent years, owing to a greater appreciation of the interrelated nature of humans and their microbiome, an improved understanding of microbial ecology, and an unprecedented ability to detect fine - scale microbial community changes with high - throughput sequencing technology (Human Microbiome Project Consortium, 2Human Microbiome Project Consortium, 2012).

For example, the large - scale sequencing program has already started to sequence the genomes of 100 microorganisms found in the human gut, and will build on this by using genomic sequencing to characterize the complex microbial communities found at many sites in and on the human body.

The scale is measuring weight, bone density, exercise, and other metrics; it just withholds micro-increments because, as Ariely believes, they don't take into account the natural, daily fluctuations of the human body.

If we believe we are worthy human beings, regardless of what the scale says, we are likely to have a positive body image — and vice versa.

However, we have yet to see any large - scale human studies that specifically link intake of winter squash to antioxidant benefits in the body.

Yes, before you ask, I am mature enough to handle the human body in all its forms, but I would have preferred the hotties in the flick to bare some more skin to at least balance the scales.

I was not aware when I started, because it changes how you perceive a human body or an actor — the scale, the relationship between the landscape.

Often sexually charged, the paintings, modest in scale, reveal a careful attention to describing the nude physique and postures of the human body.

Simmons discussed her new body of work and exhibition «Kigurumi, Dollers and How We See», open March 7th at Salon94, that uses Japanese Kigurami dolls to explore these themes on a human scale.

His three - dimensional works seems to be born from his canvases, addressing mostly the human body — or fragments of it — in a non-human scale and deformed way; they are often heavily painted in shiny, non-realistic colours.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

Throughout his nearly thirty years of production, Ernesto Neto (b. 1964, Rio de Janeiro), has accumulated an extensive portfolio of work, from delicate drawings to large - scale installations to pieces that were created so that they may be penetrated, inhabited, felt, and even smelled, allowing spectators to interact with them and experience their own bodies and feelings, without losing sight of the fact that, like the human body, they are also fragile and delicate.

Without applying the actual body, or making intentional markings with the ink, her large scale monoprints on paper appear to carry traces of human figures and faces — the weight of bodily flesh and quality of a spirit - like presence.

«Six feet» is representational of the human body, suggesting a person might be lying on these platforms, though the actual size of the platforms is that of a miniature scale.

Viewers often confront works which mirror the human body; larger scale installations may surround the viewer.

Shepherd has repeatedly redrawn the other muse, the bent plywood Aalto chair, designed to «hold» a body and is thus naturally curved, using the iconic Modernist shape to develop imaginary, human - scaled sculptures.

Known for her dynamic, emotionally charged animal and human figures, the Art School's 2018 Visiting Ceramic Artist, Beth Cavener, will discuss her inspirations, body of work, and unusual method of working «solid» on a monumental scale.

As such, the body does not follow a narrative, but rather activates the work to generate a displacement towards the exterior, revealing the height, distance and tension between the human scale and the dimensions of the building, while directing our attention to the landscape around the museum.

Through creating large - scale sculpture, often using found objects such as doors from rural Chinese homes, he continues to explore new ways to render his interest in the human body and its unique language.

Painted at a scale that relates to the human body, Edefalk's serial investigation of these celestial bodies transforms the spiritual encounter that she had at the San Gimignano Museum into a direct physical encounter between the artist and material.

When work strays from this standardized format, the scale shifts to reflect a direct relationship with that of the human body.

Taken out of context and distorted in scale, these wall - mounted sculptures are reminiscent in some cases of the human body and in others of aerodynamic machinery.

The visceral imagery of the video is made tangible in the accompanying sculptural works — distended body parts on the floor and walls — as well as a large - scale wall drawing sketched with bile and human milk.

Consisting of four large - scale installations, the show continues the artist's ongoing investigation of the human body as an architectural space.

Form, scale, the body as object, and the symbolic implications of the human form are explored by a number of artists working in ceramics today.»

These interests have remained central to his practice and extend into the large group of modestly scaled wall works made between 2002 and 2011, which contain not only the metal tool parts and carved wood found in much of his oeuvre but also symbolically loaded materials such as human hair and the asafetida bags traditionally worn on the body to ward off disease.

«Caro admired the sculpture of ancient cultures and Greece, and from the 80s onwards produced a series of large - scale abstract works that reflected a continuing interest in the human body, but also a growing fascination with architecture.

While African American experience, with its social, political, and cultural implications, remains the core of Marshall's stunning body of work, the portrait of human condition on global scale is what the painter seeks to address.

Many of the works hover near the scale of a human body, which redoubles the sense that Treib is choreographing us alongside her.»

Their works sit, stand, or hang at human scale, suggesting touch and engagement and referencing the body through an intimate address to the viewer.

Within this large - scale installation, water falls continuously to create a cacophonous interior downpour that pauses wherever a human body is detected.

He's now best known, perhaps, for large - scale sculptures of trees in bronze and wood which reveal the similarities between them and the human body — skin becomes bark, limbs branches, the torso the trunk.

«Certainly the scale of my work is always in relation to the human body.

Though many of her earlier pieces have looked to the body to inform both design and scale, these sculptures mark Al - Hadid's first forays into representing the human form.

Executed on a monumental scale, Jenny Saville's thought - provoking portrait of transgender photographer Del LaGrace Volcano is an uninhibited meditation on the human body and the pressures of conformity.

Ratios of the human body are referenced by impressions of the artist's form both on large - scale paintings and in sculptures, stuffed and created from her own dresses.

They are human in scale, relating both to Grabner's own body and the physicality of their fabrication.

Distinguished by a constant shuttle between literal and allegorical readings, Hardy's artworks are both resolutely materialist and infused with a human scale and, more precisely, a human fragility that forces the viewer to confront them as bodies in space.

Through scale and proportion relative to the human body, the viewer is made conscious of the crossing from one area of the gallery to the next, and hence, of his or her own relation to the space.

Since 1990 he has expanded his concern with the human condition to explore the collective body and the relationship between self and other in large - scale installations and projects.

His exhibition populates the tiered mezzanine of the former chapel, as well as small side rooms and back corridors with found objects such as crushed plastic containers, tarred bird feathers, deconstructed computer casings and resin - encrusted clothes, The human scale and deliberate starkness of the artworks prompts reflection on the fragility of bodies, and in turn the fragility of society and the natural environment..

With Bricks, conceived at the early period of the Uruguayan dictatorship, the piece obscures any cues for cardinal directions, human scale, and the relationship of the body within its environment, imposing boundaries on the viewers» experience.

Scaled to the human body, it's got some give to its skin and insides but is otherwise stolid and heavy.