Sentences with phrase «into social objects»

Besides the fact that Hugh is a killer cartoonist, he has helped traditional entrepreneurs turn tailored suits, and now wine, into social objects.

Gowda's use of unconventional materials is a highly evocative element of her practice, where the tactile qualities of thread, hair, traditional dyes, pattern and weaving, bring the viewer's attention to a meaning that transposes these elements into social objects and practices located within a network of production and distribution, framed in relation to India's socio - political legacy.

His current work on trying to turn ebooks into social objects for discussion and debate is very interesting.

How do you turn a product into a Social Object?

-LSB-...] and by the way, at conferences we turn our lunches into a Social Object — HT to Nancy White for posting this gem of an idea.

Investing resources (time, people, money) to make your business more remarkable (literally worth talking about), is an investment to transform your business into a social object.

is an icebreaker because it turns the store into a social object.

Not exact matches

It also includes LEGO BOOST — a building and coding set that lets children turn their brick creations into moving objects — and will explore developing a joint social network for children in China.

and, humans being human, we can turn it around — that young man will probably quickly realise that that «girl who's into not just Saul Bellow, but also into bowling and cellphones and Star Wars and swish Charity Balls» is really, really cute, no matter what the first impression Social objects in common make relationships.

A more powerful marketing strategy it seems to me, is to create an object worthy enough to be introduced into already agreed upon social construct.

I'm gonna have to go into your archives and dig up some posts about social objects now that you've provided this intro.

«You're kinda cool... I'm kinda cool...» i.e. a social object that expresses the idea, «I'm into the same things you're into.»

Running counter to this first mainstream are the works of Duchamp, John Cage, and Picasso: expressing beauty transformed, ugliness, startling juxtaposition of images, primitive power, the subconscious of Freud, art as idea, art as found object, art as part of everyday life, non-art transmuted into art, and often an emphasis on social and political issues.

Glassford is fascinated by objects that have links to social commentary, and the dichotomies of feminine and masculine, function and dysfunction, are incorporated into his art practice, alongside larger themes that emerge from these starting points.

Serving as conversational hubs, these social objects are personified by the pictures we publish to Flickr, the videos we upload on YouTube, the events posted in Upcoming.org, the wall posts shared in Facebook, the tweets that fly across Twitter, the links bookmarked in Delicious, the votes cast in Digg, the places we check into on Foursquare, the documents published in Docstoc, reviews posted in Yelp, communities built around themes in Ning, a thought shared in a blog post or a blog comment, etc..

I'll start by jotting down a few notes on questions that might be useful to ask when evaluating the potential of something to be turned into an online social object.

El - Sherbini's playful interdisciplinary practice often appropriates familiar objects and social events, which engages people into questioning social and political systems of power and influence.

She explores the possibilities of performance art as a way to continue her research on the relationship between people and objects, and to further investigate the commoditization of culture, assimilation, and how cultural meaning is transformed in the multicultural urban environment and is absorbed into new social contexts.

Embodying a history of dysfunction, rejection, and abandonment, her massive accumulations of commonly discarded objects are transformed into dazzling constructions ripe with powerful emotional and social commentary.

Although they both turn to this medium to examine physical properties as well as social functions, Beasley's sculptural tendencies result in sturdy objects that consist of clothing melded to foam and resin, and Smith's patterned textiles are precisely shaped into collages.

First and foremost Mariana Castillo Deball is a biographer of objects... [She] burrows deep into the history of a thing, meticulously examining, testing and scrutinising its origins, its shifting significance, like some sort of social archaeologist - turned - artist.

Using the Utopian rhetoric typical of twentieth - century avant - gardes, he wrote of a desire to escape the bounds of a social system that rewards conformity and limits experience, and argued, in stridently Marxist terms, that this system forces artists into producing bourgeois objects for an art market that requires the stability of the assembly line.

In recent years, Rodriguez - Diaz has experimented with aspects of installation, using found objects and injecting a more direct social content into his work.

At a time when abstract art was dominant, it was Neo-Dada that reintroduced the ordinary object and the figurative image, bringing back a social meaning into art.

In both pieces, Ward endeavors to bring the experience of living in a community surveilled by the police into the gallery, using everyday objects that create a tangible link to the reality of our current political and social climate.

By reducing paintings to mere signs of themselves, McCollum turned the gallery and the museum setting into a kind of theater, highlighting the drama of presenting, displaying, buying and selling, exchanging, photographing, assessing, criticising, choosing, and writing about the works; the object - paintings at the center of the action were purposely rendered moot, in order to turn one's attention to the supplementary devices and social practices that, in the end, bestow the value on the work.

To this end, Picture Industry includes images and objects from a number of historical moments and social arenas arranged into a cohesive but varied array of historical positions, which prefigure our complex contemporary image world.

In detailed, large - scale drawings, installations, sculptures and objects, Avery forms a bizarre imaginary reality out of diverse philosophical ideas and concepts: Fabulous creatures, deities, tourists and adventurers are embedded in a complex social structure, merging into an entire cosmos that ranges between pure fantasy and theoretical reflection.more

When in the context of a social energy or dynamic, ie the social or collective energy surrounding a piece of art because it is well known and referenced etc - would then push the communication object into a «community or social» sphere resulting in a more social - ized dynamic energy.

One approach that came into my mind is to clearly establish the context first and then to surface social objects which are already producing results for the people who share that specific context.

He transforms mundane objects into powerful social commentary with the intent of creating dialogue among his audience.

[9] However, it assumed a different meaning when employed by Joseph Kosuth and by the English Art and Language group, who discarded the conventional art object in favour of a documented critical inquiry into the artist's social, philosophical and psychological status.

Working with sound, film, performance, and objects, Kapwani Kiwanga (born in Canada, based in Paris) relies on extensive research to transform raw information into investigations of historical narratives and their impact on political, social, and community formation.

Working with sound, film, performance, and objects, Kiwanga relies on extensive research to transform raw information into investigations of historical narratives and their impact on political, social, and community formation.

This immersive exhibition attempts to make sculptural the absurdity of a life spent staring into a screen and the social anxiety induced by «smart» objects via an alternative sci - fi stage set comprising of a landscape of objects, sound and projection.

Since Duchamp, artists have been compelled to continue an investigation into the nature of the art object and analyze the degree to which a work of art is inextricably linked to the social structures that surround it.

By incorporating a selection of memorabilia and design objects into the works that reinterpret the Interlocking Sculptures, the project expands this notion and approximates new aspects in which the formal becomes historical, whilst the exhibition itself becomes a sort of stage linking the aesthetic to the social and political.

I appropriate familiar objects and social events, which are universally recognisable within specific cultural contexts (games, souvenirs), to invite audiences to take a look at the society that they live in, often revealing underlying belief systems, drawing audiences into a series of questions that ask «how do we come to know what it is that we know» — Yara El - Sherbini, 2015

At the time, while I recognized in the installations in which Tonoshiki threw together and brought into dynamic coexistence waste lumber from demolished houses, driftage from the ocean, abandoned televisions and other domestic waste, and scrapped vehicles on the one hand and natural outdoor settings or orderly exhibition rooms in art museums on the other, a common spirit with the cyber-punk-like junk aesthetic that was then reaching its peak (see the work of Seiko Mikami, for example), the only thing I sensed Tonoshiki was stressing — particularly given that he had been influenced by the social sculpture of Joseph Beuys — was probably that the concept of «reversal» could be found in the act of almost violently recycling useless objects that had served their function and were merely waiting to be disposed.

Through varied media and a cornucopia of objects Cornaro presents a precise analysis of the political and social threads imperceptibly woven into Western material culture.

Continuing his investigation into what he terms «social geometry» — the intersection of physical space with human thought and behavior — Lionni trains his eye on seemingly banal images, objects, and substances, filtering them through a variety of meticulous processes in order to focus our attention on their oft - overlooked

The emphasis this film places on the seemingly mundane ritual of cleaning shoes transforms the artist's own footwear into another contemporary object of worship deserving of meticulous attention and care, the modern equivalent to the traditional artistic «attribute» (an object conventionally associated with a particular figure from classical mythology or Christian hagiography): the social signifier.

A drive to purchase one's way into a certain social caste, a longing to share (if momentarily) in the risks of bohemian life or art's intellectual adventure, a belief in art as a kind of religion (its icons compelling sacrifice), a need to cushion one's surroundings with objects of beauty or significance — who can say what complex motives go into the acquisition of works of art?

Combining and reconfiguring familiar objects into new material forms, Wermers addresses the structures of ritualised social relations and the material objects through which these associations are communicated.

I refer to the introduction of an event or object as the information divide, the difference between the moment information is introduced into the social web and the time it takes to verify its accuracy.

These activities serve as social objects and as such, they reveal information that can transform activities into relevant content and experiences that are presented to us in the near future.

Through five rooms, the Jamaica - born Ward creates fictional experiences for the viewer by skewing found material, photography, collage, video, social documentation, and sculpture into art objects.

Add some identifying information — the speaker's name, the event and date, an URL and a Twitter ID — and you're ready to release your sketchnote into the wild as a social object.

I really like your posts and talks about Social objects it fits well into a lot of themes I'm working on.

Stage 3 is getting these 3D objects into AR,» says Facebook's creative director for social VR, Ocean Quigley.