Sentences with phrase «object as an end in»

Not exact matches

With the definition of religion given, Marxism would have to be considered a religion, at least for those who do not use it as a means to some political or economic end, but who find «in the conception of the «dialectic of history» with its inevitability, its total relevance, its impersonal justice - making power, the object of supreme valuation and complete relevance to life....

Whereas the activity of the subject is a fulfillment and perfecting of the subject, and thus an end in itself, the activity of the sensible object is an «acting upon» and, as such, presupposes a passive factor that is acted upon and thereby changed.

Galileo saw a swinging pendulum as an object with inertia, which almost repeats its oscillating motion; his predecessors, inheriting the Aristotelian interest in progress towards — final ends, had seen a pendulum as a constrained falling object, which slowly attains its final state of rest.

So in our own day we have had the state or race or people made into an object of worship; we have had humanity itself set before us as the end of our striving and the object of our total devotion.

This is not to say, as some philosophers do, that thinking itself is worship of God; an element of worship is present, to be sure, in all objective thinking but the worship may be that of an idol or the sort of self - worship which desecrates the object of thought by making it a means to the end of self - glorification.

So after trying to assess what could be in the mind of one of the most tactful coaches today, Arsene Wenger and my own imaginations I have come to the conclusion that watching the objects moving into place, this is what we should end up with as the first XI.

Kids would get together on opposite ends of the field, and the object was to simply kick the ball as high in the air as possible.

Today on my Houston ISD school food blog, The Spork Report, I describe two potentially encouraging developments which could presage the end of junk food in our cafeterias: the recent, courageous action of two of our school board trustees in objecting to the sale of these foods, as well as a fantastic Houston Chronicle editorial today in which the paper urges HISD to clean up its act.

As baby tilts the tube toward one end, whatever loose objects you've put in the tube is revealed!

In fact, about 10 percent of all «Kepler Objects of Interest» (KOIs) will end up as false positives, mission scientists say, while others will suffer demotions like that of KOI 326.01 based on follow - up observations.

Towards the end of the 19th century, scientists began to investigate how this radiation from the cosmos could be captured to «see» astronomical objects, such as stars and galaxies, in wavelengths beyond the visible range.

Each reflector performs the same function as a mirror in an optical telescope: capturing radiation from distant astronomical objects and directing it towards a Front End that measures the levels of that radiation.

You need to limit your movement, maybe even with the help of some additional object that will serve as an ending point for your movement, and then execute the entire movement in a specific way.

She has written screenplays in the past, including the 2011 «Fright Night» remake, and rather than necessarily seeing the books «Sharp Objects» and «Dietland» as one - off films, she saw the open - ended possibilities for making them into series.

But things changed with HBO miniseries «Parade's End,» in which Clemens was cast as Valentine Wannop, the young suffragette object - of - the - affections of Benedict Cumberbatch «s Christopher Tietjens.

Obstacles around the map can also be destroyed, though smart targeting allows towers in range to switch to enemies as a priority over static objects, preventing players from ending up with pointless restarts.

In the end the film recast human suffering as an art object or an advertisement (one of its most memorable images — a cell wall that a prisoner has smeared with his own shit in neat concentric circles — resembled the logo for TargetIn the end the film recast human suffering as an art object or an advertisement (one of its most memorable images — a cell wall that a prisoner has smeared with his own shit in neat concentric circles — resembled the logo for Targetin neat concentric circles — resembled the logo for Target).

Most of these cars, unless they end up in storage as investment objects, will end up on streets, where that 0.1 second quicker shift does not count.

Arranged in chronological order, the poems focus on objects ranging from concrete, such as the red wheelbarrow and white chickens in William Carlos Williams» well - known Imagist poem, to abstract, like Lord Byron's elegant and pithy ode to the letter e: «The beginning of eternity, the end of time and space / the beginning of every end, and the end of every place.»

While every Fox Terrier varies in personality and energy level, considering the breed as a whole, they bark, they chase moving objects, they have never - ending - energy and they are relentless when they want something (prey, food, toy, a Barbie Doll's head, etc.) They are typically territorial and «quick to react» so they often don't get along well with other dogs if they haven't been well socialized, especially dogs of the same sex.

These little beauty's come in 2 parts and you attach both ends to any objects and this creates an energy line between the 2 grenades and you can then attach objects to this line, such as cars.

The player would have to click in - order to get from point A to point B, and to interact with objects, and as much as we love point and click adventure games we knew Ira needed something that better fit our end goal.

- as Captain Olimar is making his way home, an asteroid onslaught forces him to land on a nearby planet - Sparklium is the fuel for Olimar's Dolphin III ship - with the ship's fuel depleted, you have to find items on this planet which can be turned into fuel - collect everything from seeds to large scale treasures - you need 30,000 Sparklium to make your way home - you are eventually required to find a lost ship part at the end of the game - levels are more linear and puzzle based, and include specific goals / goodies to collect - move Captain Olimar with the Circle Pad, while all other interactions use the touchscreen - blow your whistle, throw Pikmin and also touch certain objects - worlds are called Sectors, with six areas altogether - find all the treasure and look for new passageways to complete a sector 100 % - passageways can grant you access to secret spots or additional levels highlighted with the letter X - the first world is called Brilliant Garden, which has lush forest environments - Yellow Pikmin can easily reach the upper screen, where you can sometimes collect goodies and pull down vines - there's a level where you use yellow Pikmin as a source to connect two wires - connecting the wires lets you see enemies and platforms that were hidden in the shadows - Winged Pikmin can be flung at high speeds, and they can pick up Olimar and help him descend down into new areas - in a later level, you need to use red Pikmin to stomp out fire and clear the way for you - Rock Pikmin are the strongest ones of the bunch and can break crystals - blue Pikmin can swim and fight well underwater - the maximum amount of Pikmin you can have in a stage is 20 - blow your whistle to call over the correct Pikmin for a task or puzzle - Ravaged Rustworks offers a unique industrial environment where you climb on pipes - Loney Tower has you climbing to the top of a tower without any help of Pikmin, and instead use pipes and Olimar's jetpack - Valley of the Breeze, found in the Leafswirl Lagoon sector, relies complete on Winged Pikmin - Barriers of Flame is in the Sweltering Parchlands sector - here you «lll be forced to improvise with Yellow and Rock Pikmin to get around fire - every world ends with a boss stage - one boss fight puts you up against a Fiery Blowhog, where you use Red Pikmin to pick up / feed bombs to the boss - beating bosses gives you treasures worth 1,000 Sparklium each - supports amiibo in the Splatoon, Super Mario and Animal Crossing lines - amiibo can be scanned in to grant you access to secret spots - these are one room puzzle challenges where you collect a statue - these bonus rooms will also get you 200 Sparklium every time - you are limited by how many amiibo you can summon to each secret spot - one of the treasures you will find is an NES cartridge for Ice Climbers, which carries the name «Revenge Fantasy».

Hitting a object such as a chair leg can either stop your vehicle dead in its tracks or send it into a spin, you never quite know what the end result will be and it leaves you unprepared to reverse or start to turn.

In the end, the only fun I actually had when playing the sandbox mode (and the entire game, for that matter), was when I completely ignored the objectives and NPCs asking for help and just started creating objects, adding as many adjectives as possible just so I could see the game struggling to make them come to fruition.

In the Ender series, OSC posits that we're connected to other people and things in this universe by way of philotic twines: invisible yet tangible connections based on the mutual love we share for each other or for, as you put it, social objectIn the Ender series, OSC posits that we're connected to other people and things in this universe by way of philotic twines: invisible yet tangible connections based on the mutual love we share for each other or for, as you put it, social objectin this universe by way of philotic twines: invisible yet tangible connections based on the mutual love we share for each other or for, as you put it, social objects.

«It was formed out of wood or plastics, materials that could be put together permanently in some way and certainly ending up as some kind of object.

Toward the end of his career, Still's art started to become even more abstract — objects lost their shape entirely, as seen in this 1976 work titled «PH - 1023.»

On view are two works: Ru - ao - objeto (Road - as - Object) is a work from 1974, a proposal to the viewer to experience a street in Recife, Brazil as the art work; along with this is a newly commissioned mail work, mailed as an open ended series of postcards, sent in 2017 from the artist in Recife to the gallery in Los Angeles.

The departure was short - lived, however, ending when Hoptman returned to the city as a senior curator at the New Museum, bringing in works by painters like Elizabeth Peyton, George Condo, and Tomma Abts while also organizing seminal exhibitions including «Unmonumental: The Object in the 21st Century» — the influential show of provisional - looking sculpture that famously included a lot of paint — and «Younger than Jesus,» the first iteration of the museum's Triennial.

Recent projects such as Crash Pad for the 8th Berlin Biennial, Every End is a Beginning at the National Museum of Contemporary Art in Athens and Fin de Siècle at Swiss Institute will be used to highlight aspects from Angelidakis's exhibition practice where the artist becomes curator, the exhibition becomes a medium and the exhibition device an exhibited object.

Because the possibilities of soap as a medium are so vast, Marshall explained, students may begin with the same bar of soap and the shared goal of making the same type of object, but in the end all of their sculptures will turn out immensely different from one another.

Sietsema is not interested in trompe - l'oeil for the sake of showing off; at the end of the day, his paintings and works on paper are a highly considered critique of the production of cultural objects and the roles that they play as they circulate.

Although he saw Rauschenberg's Combines as a «preliminaries» to his own work and regarded their object - like dimensionality and inclusion of found objects as «radical,» Donald Judd could only see Rauschenberg's continued interest in painting as «conservative» and too closely tied to traditional representation.6 From Judd's perspective, Rauschenberg failed to understand fully the monochrome's pronouncement of the end of painting — an end that, when read in conjunction with Marcel Duchamp's readymade, authorized the move from painting to the three - dimensional realm of «Specific Objects.objects as «radical,» Donald Judd could only see Rauschenberg's continued interest in painting as «conservative» and too closely tied to traditional representation.6 From Judd's perspective, Rauschenberg failed to understand fully the monochrome's pronouncement of the end of painting — an end that, when read in conjunction with Marcel Duchamp's readymade, authorized the move from painting to the three - dimensional realm of «Specific Objects.Objects.»

The level of speed Sachs adopts in the construction of each piece is therefore deliberate, as it determines how perfected each object ends up looking.

Many first generation Conceptual artists working in the late 60s and early 70s de-emphasized the art object, in part as a gesture against what they perceived as the increasing commercialization of the artwork (one thinks of Sol LeWitt's ephemeral wall drawings, painted over at the end of their exhibition, or the linguistic investigations of Lawrence Weiner who in 1972 wrote, «I do not mind objects, but I do not care to make them»).

As the specter of iconoclasm continues to resurface in current events, «The Keeper» will present the complex lives of images and objects that have escaped a tragic end alongside the existential adventures of individuals driven by unreasonable acts of iconophilia.

The photographic object often involves an intersection of process and invention, as does the practice of photography itself, and in traditional photography both the process and the invention are «transparent,» in that they are understood to be a means to an end, namely, to produce a picture as a representational object.

Feeling that Abstract Expressionism with its rejection of representation was a dead end, a younger generation of artists responded by using common objects and industrial materials in their creative process, both as subject matter and as medium.

These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or «painting as object») which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution — a new beginning — in Western painting's history (Malevich).

With a complete selection of over 90 works in different media such as painting, industrial design, animation and fashion, the exhibition, curated by MOCA Chief Curator Paul Schimmel, reveals this artist's personal universe: from his early works in the 1990s, in which he explored his own identity, to his large - scale sculptures created after 2000, veritable icons of this artist, and ending with his gallery of manufactured objects, his animation projects, his connection to the world of fashion, and his compelling works of recent years.

A complex piece in Zaatari's overall oeuvre, Time Capsule not only serves as a sort of sequel to the artist's earlier video In This House (2005), for which he unearthed a letter buried by leftist militants in 1991 (right after the Lebanese Civil War ended), it also links the experience of the Arab Image Foundation, which Zaatari co-founded in 1997 (he recently resigned from the organization's board, which inspired the time capsule project), to that of Beirut's National Museum, where dOCUMENTA (13)'s team found the wrecked objects that are now on view with Adnan's painting tool in the rotunda of the Fridericianuin Zaatari's overall oeuvre, Time Capsule not only serves as a sort of sequel to the artist's earlier video In This House (2005), for which he unearthed a letter buried by leftist militants in 1991 (right after the Lebanese Civil War ended), it also links the experience of the Arab Image Foundation, which Zaatari co-founded in 1997 (he recently resigned from the organization's board, which inspired the time capsule project), to that of Beirut's National Museum, where dOCUMENTA (13)'s team found the wrecked objects that are now on view with Adnan's painting tool in the rotunda of the FridericianuIn This House (2005), for which he unearthed a letter buried by leftist militants in 1991 (right after the Lebanese Civil War ended), it also links the experience of the Arab Image Foundation, which Zaatari co-founded in 1997 (he recently resigned from the organization's board, which inspired the time capsule project), to that of Beirut's National Museum, where dOCUMENTA (13)'s team found the wrecked objects that are now on view with Adnan's painting tool in the rotunda of the Fridericianuin 1991 (right after the Lebanese Civil War ended), it also links the experience of the Arab Image Foundation, which Zaatari co-founded in 1997 (he recently resigned from the organization's board, which inspired the time capsule project), to that of Beirut's National Museum, where dOCUMENTA (13)'s team found the wrecked objects that are now on view with Adnan's painting tool in the rotunda of the Fridericianuin 1997 (he recently resigned from the organization's board, which inspired the time capsule project), to that of Beirut's National Museum, where dOCUMENTA (13)'s team found the wrecked objects that are now on view with Adnan's painting tool in the rotunda of the Fridericianuin the rotunda of the Fridericianum.

The artist's experience in turn, he suggested, was the experience of seeing ordinary objects in the world as pure form: the experience one has when one sees something not as a means to something else, but as an end in itself.

This selection of works demonstrates the continuity of Albers» austere and luminous vision, as it permeated his teaching, furniture and design objects, photography, typographical design and his writings, from his early years as a schoolteacher in Germany and the Bauhaus years to the end of his artistic and teaching career at Yale.

Art As Object 1958 - 1968, MOCA, Los Angeles, US Drift a Project of John Baldessari, Julião Sarmento, Lawrence Weiner commissioned by Delfim Sardo, Centro de Centro Cultural de Belém, PT Before the End (Sequence 2), Le Consortium, Dijon, FR White Columns 2004 Benefit Auction, White Columns, New York, US Tonight, Studio Voltaire, London, UK Bearings: Landscapes from the IMMA Collection, Irish Museum of Modern Art (IMMA), Dublin, IR Ulysses, Ineluctable Modality of the Visible, Austria Center for Contemporary Art, Österreichische Galerie Blevedere, Vienna, AT Beyond Posters a Visual History of Gallerie Susanne Ottesen, Copenhagen, DCA Gallery, New York, US Incommunicado, Cornerhouse, Manchester, UK D'Un Lieu L'Autre, Oeuvres de la Collection Daniel Bosser, Hommage Aux Collectionneurs, Centre D'Art de Lyon, FR Beyond Geometry: Experiments in Form, 1940's -1970's, The Modern and Contemporary Art Council of the Los Angeles County Museum of Art, Los Angeles, US; traveled to Miami Art Museum, Florida, US The Big Nothing, Arcadia University Art Gallery, Glenside, Pennsylvania, US Joyce in Art, Visual Art Inspired by James Joyce, an International Exhibition of Art from 1914 to 2004, Royal Hibernian Academy Gallagher Gallery, Dublin, IR Reflecting the Mirror, Marian Goodman Gallery, New York, US Not Done!

For Gilliam, the hard - edge ethos was not a theoretical end itself, but the beginning of a lifelong interest in the connection between painting and sculpture, and in creating, in critic and curator Jonathan Binstock's words, «a totally painterly environment, one that made a viewer's relationship to the object and the space around the object... almost as important as the object itself.»

His work revolves around the complexity of the universe in many different shapes such as generating systems for his art, creating motherboard sculptures, showing associative objects — such as in the exhibition «Large Field Array» — and trying to understand the self and how everything is connected in the end.

The narrative of the Hegelian dialectic, which is the conceptual basis for this process of negation, has come to a standstill, which isn't to say that the history of art has ended, as Hegel feared - and - hoped, but only that the seemingly radical pursuit of negating gestures, having become an end in itself, is a source of objects which are as aesthetically delectable as any Modernist masterpieces.

Ian Giles's current exhibition considers the legacy of the influential, pink pages of BUTT magazine, which started in 2001 and ended as a print object in 2011 (BUTT still maintains a website).

Since the 1970's, Kaltenbach's work has been included in many conceptual art surveys including «1965 - 1975: Reconsidering The Object As Art ``, Museum of Contemporary Art, Los Angeles, CA (1995), «The Quick and The Dead», Walker Art Center, Minneapolis, MN (2009), «1969», PS1, New York, NY (2010), «Under the Big Black Sun», MOCA, Los Angeles, CA (2011), «State of Mind», Orange County Museum of Art, Newport Beach, CA (2011) and Berkeley Art Museum / Pacific Film Archive, Berkeley, CA (2012), «ENDS OF THE EARTH: Land Art to 1974», MOCA, Los Angeles (2012), Brooklyn Museum (2013).