Sentences with phrase «in less repetition»

This resulted in less repetition in research and immediate information on available date.

Not exact matches

That last sentence bears repetition, for it is fundamental to why there is such a widespread feeling that in some way our religious observance has by these changes been diminished and devalued: the day «becomes less significantfor being absorbed into the weekly routine».

Deleuze (1994) 14 - 15: «When the consciousness of knowledge or the working thought of memory is missing, the knowledge in itself is only the repetition of the object it is played, that is to say repeated, enacted instead of being known... the less one remembers, the less one is conscious of remembering one's past, the more one repeats it.»

A corollary of all this that is crucial for Whitehead's reflections on education is the idea that a life led on the level of human existence that is mere dull repetition of value realized in earlier experience is less than fully human.

If you want to increase your muscular endurance, you will need to pick a weight in which you are able to execute a lot of repetitions (which will naturally be less weight).

With all the exercises in the book you want to use weight that allows you to perform those repetitions and no more or less.

Here is some bro - science for you that gets tossed around in the gym on a regular basis: Women should train with less resistance, more repetitions and do cardio or yoga to «tone» their body.

The benefit to getting this fluidity in the thoracic portion of the spine is that each repetition feels better, and feel less like I have two baseball bats running from my shoulders to my glutes, restricting me.

Leaving aside the last paragraph about the difficulty of performing higher repetitions in a set of Front Squats and working around that dilemma by doing more sets of lesser repetitions, there is no magical formula or special consideration about the number of sets to choose for a Front Squat as to any other exercise.

In a nutshell, the total repetitions (repetitions multiplied by the number of sets) are connected to the training intensity, or better the higher the training intensity, the less total repetitions you are able to do.

We termed this «Capillary Conditioning» to maximize the ability of the capillaries to deliver blood in and out of muscle cells to prepare the athlete to be able to lift more weight, with more repetitions / work by stimulating development of Type llA Fast Twitch Muscle Fiber (Fast Oxidative / Glycolytic or FOG) and less buildup of bulky muscle tissue which is poorly conditioned for aerobic capacity (Type llX Fast Twitch or FG muscle fiber).

Studies have found that when you lift 85 % of your max load per exercise, for 8 repetitions you burn 8 times as many calories after your workout than if you lifted less weight for more repetitions — in other words, lift heavy (but not crazy heavy).

After more pec work between set 2 and set 3, I was able to muster 4 repetitions, despite being fatigued in the triceps at this point, but since I was feeling less restricted in the chest, I was able to get better drive from the bottom position.

Riggs doesn't get anywhere the same treatment, let alone the same amount of screentime, as King, in large part because there's far less of a story to tell with Riggs without going into unnecessary repetition in the interests of «balance.»

The film becomes a lot less resonant, and less original, in the third part — partly because the horror is more explicit, partly because what earlier happens to a man now happens to a woman — and although what we see is strictly a repetition of Charlie's fate, it feels more generically punitive.

Very occasional diversions into more tense, less melodic territory mean that despite the repetition, the album doesn't become tiresome (of course, its short length also helps in this regard).

But unlike you who's always destroying everybody and everything, I consider Luis C a much less harmful troll, that is annoying only by his repetition and consistency in commenting everywhere.

Hemingway countered with A Moveable Feast, in which he criticized Stein's writing for its use of «repetitions that a more conscientious and less lazy writer would have put in the waste basket.»

These dogs were classified «smartest» because of their ability to absorb commands in less than five repetitions and obeyed them 95 % of the time or better.

The top dogs absorbed commands in less than five repetitions and obeyed them 95 % of the time or better.

But in less strenuous training, such as conformation and obedience, the Canaan Dog can become easily bored, especially by repetition.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greateIn 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its lesser relationship to the greater.

Playful in tone and less reliant upon the exploitative construct of the case - study scenario in such large scale video projects as Them, 2007, and Repetition, 2005, Artur Zmijewski's earlier videos stand in contrast to these somewhat over-determined provocations; while recent Zmijewski productions have adopted a nearly formulaic approach to positioning cultural difference and conflict, and thereby seem to codify the subject as «other» a priori — a risk that critic and art historian Hal Foster has insightfully called the «self - othering» of «the artist as ethnographer» — three earlier Zmijewski works engage a simpler, more agile approach.

The artist has produced no less than four works specifically for this exhibition — among them a series of repetitions of Marcel Duchamp's Fresh Widow in the Moderna Museet collection.

But it's a device that Grabner adopts less out of a concern to interrogate the material support of painting (the pieces are on wood, not canvas, after all) than an interest in the kinds of play such formal and referential overlappings make possible; games of repetition, variation, and invention.

(As propaganda depends on quantity and repetition... The truth just needs to be heard by a thinking mind...) So truthful questions and truthful evidence and truthful doubts and truthful counter points are attacked, vilified (usually «attack the messenger»), deleted, and drowned out in a flood of non-sequitur and appeal to authority arguments... (Another useful tool, btw, is just to measure the number of Logical Fallacies vs correct logical syllogisms... the more LF the more it's propaganda... the more correct logical syllogisms, data included btw, the less propaganda and the more honest science... but I haven't named that thought tool yet... Perhaps the LF Ratio?

The electronic recording of the sound must be less than five megabytes in size and recorded on a CD or DVD in mp3 or wav format and should not contain any repetition of the sound.

In less than 2 seconds, you would have a detailed report on the keywords you should carry, the ones that are missing and the repetition for each of them.

Being an «active listener» is just as important in the field as it is in the workplace; the use of this set of keywords on your resume tells the hiring manager you are attentive to whoever is speaking and, therefore, you will take less time to follow through on any given task for need of repetition of information.

We talk about the importance of building a relationship before you go for the lead, the role of repetition and consistency in building brand recognition, and why marketing yourself as a generalist is less effective than carving out a specific niche.