Sentences with phrase «individual against an object»

The force of the blast then blows an individual against an object, like a wall or a roof, causing blunt trauma to the head.Finally, in response to these injuries, the brain releases a metabolic cascade of neurochemicals that have a toxic effect on brain tissue.Reyes had no penetrating fragments; he experienced three of the four blast insults.

The force of the blast then blows an individual against an object, like a wall or a roof, causing blunt trauma to the head.

Not exact matches

Furthermore, he defends Whitehead's understanding of the free or self - creative character of the individual actual entity against Edward Pols's objection that it is determined from the outside either through the initial aim of God or through the intrinsic interrelatedness of the eternal objects which it prehends (TVF 36 - 40).

An individual in its mode of being is thus unintelligible; it is experienced, bumped up against, reacted with, but never cognized as an identical object.

When I judge on the basis of a single reaction that there is an object there in the dark I have bumped against, I must apply the concept of individual identity as consisting in a continuity of reactions.

Experimental procedures can be licit if they «respect the life and integrity of the embryo and do not involve disproportionate risks for it, but rather are directed to its healing, the improvement of its condition of health, or its individual survival»; but the mere «use of human embryos or fetuses as an object of experimentation» is «a crime against their dignity as human beings.»

This harm consists in the irreversible scrambling of three things: genealogies, by substituting «parenting» for fatherhood and motherhood; the status of the child, who would go from being a subject to being an object to which others have a right; and sexual identity, which rather than being a natural given would have to give way to orientation as an individual expression, in the name of the struggle against inequality, perverted into the elimination of differences.

This harm consists in the irreversible scrambling of three things: genealogies, by substituting «parenting» for fatherhood and motherhood; the status of the child, who would go from being a subject to being an object to which others have a right; and sexual identity as a natural given, which would have to give way to orientation as an individual expression, in the name of the struggle against inequality, perverted into the elimination of differences.

I would have this individual stand up, straighten out their arm, internally rotate their shoulder and bring it across the body (horizontally adduct with internal rotation) and press it against an immovable object for about 5 to 10 seconds at about 50 % effort.

4 in a Row: Print word card sets on different coloured card or paper for pairs / individuals to compete against each other, laying down a card of their colour on the correct object.

Oscar Murillo is now considered an established artist — and David Zwirner is currently presenting Murillo's first exhibition at the gallery in London — titled «Binary Function», which refers to the pairings that permeate the artist's multifaceted practice; with multiples that play against one another to create a dialogue that the exceeds individual objects, with another chance to step on the artist's work!

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reobjects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reObjects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reobjects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

The works are quietly, humbly rebelling, flat on their back, against the need for objects to be more grand than individuals.

And unlike his Abstract Expressionist forebears, for whom the painterly mark was often an index of the individual artist creating against the pressures of the external world — a reassuring gesture against the anonymity of modern times — Bradford's self - articulation emerges through the found objects of his modern environment.

In the earlier case of Kosmopoulou v Greece [2004] 1 FCR 427, the ECtHR reiterated that the essential object of Art 8 is to protect the individual against arbitrary interference by public authorities.

It is true that, in a strict sense, a proceeding in rem is one taken directly against property, and has for its object the disposition of the property, without reference to the title of individual claimants; but, in a larger and more general sense, the terms are applied to actions between parties, where the direct object is to reach and dispose of property owned by them, or of some interest therein.