Sentences with phrase «object like nature»

Is it just being confronted with the object like nature?

Not exact matches

In the same spirit Santayana and Whitehead agree in objecting, like Nietzsche, to the idea that change in the natural world is controlled by «laws of nature,» viewing the laws rather as simply descriptions of what each unit to which they apply «decides» to do itself (RB 301 - 302).

«Like the rest,» he says, «we were by nature (phusei) objects of wrath» (Ephesians 2:3).

«Object» in Whitehead's terminology is a property or characterization of events, but, as I said yesterday, I think there is enormous difficulty in splitting the events, as propertyless slices of the passage of nature, off from «objects» as thought these were like Platonic forms entering into it.

Like the rest, we were by nature objects of wrath.

As symbol of this kinship of nature and the supernatural innate they have deified objects like stones and trees.

With an older baby, you can point out object names and colors and sing nature songs like «The Itsy Bitsy Spider».

In a study published in the journal Nature on Nov. 20, Meech's team writes that the detection of «Oumuamua suggests «previous estimates of the density of interstellar objects were pessimistically low,» and that upcoming upgrades to asteroid survey telescopes (like Pan-STARRS) will likely detect more of these interstellar visitors over the coming years.

Researchers have turned to nature and objects like seashells for inspiration in order to create glass that is 200 times tougher than normal.

The meta nature of Barton Fink has been an object of numerous analyses, just like many have tried to delve into the symbolism of Coens» work.

Although sometimes a deliberate nature is nice to have in more thoughtful games, in a game like Dragon Quest Builders, it would have been nice to build and wreck objects much quicker than I was allowed.

Every student would take part in a 15 - minute, arts - infused learning activity, like reading a poem by Maya Angelou, then entering the text through rhythmic and melodic interpretations, using voices and found objects to create a cacophony of sounds; or finding a specimen in nature, then analyzing and drawing it in visual journals.

Andy Goldsworthy, Spire >> Presidio Trust and the FOR - SITE Foundation This 90 - foot sculpture, like most of Goldsworthy's work, was constructed out of objects already existing in nature.

The previously three came and went in a manner one can only describe as akin to the season change of nature itself, with the votes on art style, objects and clothing welcomed with open arms like the coming of Spring.

Process and Materials, 1960 - 1990,» Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA «Artificial Nature,» curated by Jeffrey Deitch, Deste Foundation for Art, The House of Cyprus, Athens, Greece «Stendahl Syndrome: The Cure,» Andrea Rosen Gallery, New York, NY «Mind Over Matter: Concept and Object,» Whitney Museum of American Art, New York, NY, October 3 — January 6, 1991 Galerie Sophia Ungers, Cologne, Germany, with L.C. Armstrong, Gretchen Faust, Eva Hesse, Rebecca Horn, Robin Kahn, Jutta Koether, Patty Martori, and Rosemarie Trockel «Liz Larner, Rosemarie Trockel, Meg Webster,» Stuart Regen Gallery, Los Angeles, CA 1989 «Whitney Biennial 1989,» Whitney Museum of American Art, New York, NY «The Desire of the Museum,» Whitney Museum of American Art, Downtown at Federal Reserve Plaza, New York, NY Galerie Ryszard Varisella, Frankfurt, Germany «David Cabrera, Larry Johnson, Liz Larner,» 303 Gallery, New York, NY «Archaeology II,» Roy Boyd Gallery, Los Angeles, CA «Specific Metaphysics,» organized by Pat McCoy, Sandra Gering Gallery, New York, NY 1988 «Nayland Blake, Liz Larner, Richard Morrison, Charles Ray,» 303 Gallery, New York, NY «A Drawing Show,» curated by Jerry Saltz, Cable Gallery, New York, NY «Re: Placement,» L.A.C.E., Los Angeles, CA «Life Like,» curated by Marvin Heiferman, Lorence Monk Gallery, New York, NY Stadtmuseum, Graz, Austria, curated by Peter Pakesch; represented the U.S. along with Jennifer Bolande, Jon Kessler, Mike Kelley DAG, Los Angeles, CA 1987 «Room 9,» Tropicana Hotel, Los Angeles, CA «Nothing Sacred,» Margo Leavin Gallery, Los Angeles, CA «1987 Annuale,» L.A.C.E., Los Angeles, CA Jeffrey Linden Gallery, Los Angeles, CA; curated by John Baldessari «Reworks: Recent Sculpture,» New Langton Arts, San Francisco, CA «L.A. Hot and Cool,» M.I.T. Visual Arts Center, Cambridge, MA

If we might read this work, as Ortega has said, as an index of how «the hand transforms nature», it is also a technological precursor to the objects displayed by Shimabuku in a pair of museum - like vitrines entitled Oldest and Newest Tools of Human Beings (2015).

In works like the Time Life Nature Series and Pawtuckaway, Glovinski breaks with conventional approaches to landscape painting — instead of painting plein air vistas, she locates landscape «once removed» (i.e, the topography and design of trail maps, and landscape images printed on book covers) and re-creates these objects to mimic the original.

While refraining the well - worn question of the elevated status of the artwork, this giant fund object complicates the science - project theme: the agent of transformation here is nature itself, not the artist, like «entropologist» Robert Smithson.

Along the same lines, the Brazilian artist Erika Verzutti recreates fruits, vegetables, and other objects found in nature as sculptures made of more permanent stuff, like bronze, clay, and concrete.

There is an early period of heavy research followed by a manifestation of this research through physical means, often object like in nature.

Japanese painter Ikezoe's playful taxonomies of like objects — a microwave, a lightning bug, and a laptop, all emitting light; or an eyeball, a beach ball, and an apple, sharing a spherical shape — function as explorations of man's relationship to nature.

As thin doilies of color or tufts of mold - like growth spread over the object's surface, these hybrids work like a counterpoint and respond to the idealized representations of nature found in domestic patterns.

Placing objects like obelisk, mill, and even an old basis in fitting environments inspired by Cuba, he mixes nature and architecture as well as media — oil, watercolor, pencil — to create atmospheric paintings depicting a place between reality and fiction.

While Mr. Rauschenberg was glorying in incorporating objects like taxidermied animals into what became known as combines, Mr. Johns was painting maps, targets, numbers and alphabets that, like Mr. Rauschenberg's inventions, made viewers rethink the nature of art itself.

These may be objects that have endured through ages or generations, the immutable remnants of previous times — much like the 11th - century relics found in St Carthage's Cathedral, Lismore — or simple, timeless, constants occurring in nature in the face of radical and dramatic changes in the world they inhabit.

It was outstanding work, particularly the installations by the São Paulo - based Bueno, who created living furniture that allowed nature to overtake manmade objects transforming them into rhizomatic and organic creatures, and Sergio Cezar, who brought his interpretation of Rio's favelas to the fair: a large - scale sculpture with detailed, dollhouse - like models.

Like other Conceptual artists who gained international recognition in the late 1960s and early 1970s, Weiner has investigated new forms of display and distribution that challenge our traditional assumptions about the nature of the art object and its relationship with the viewers.

An artist continually writing his signature in a spiral for the life of an ink cartridge (Tom Friedman); a square section of drywall polished to a fragile, mirror - like finish (Karin Sander); a film that records an image of the sun from sunrise to sunset (Paul Pfeiffer); a rectangular Plexiglass volume with water inside it (Hans Haacke), are but a few examples of how modest means evolve into objects which are complex ruminations on presence and absence, nature and culture, order and chaos.

His Pop pictures were painted in a style reminiscent of abstract expressionism, but - like his older contemporary Robert Rauschenberg (1925 - 2008)- Dine is best noted for his assemblage art and his witty compositions combining the painted canvas with found objects, often of an autobiographical nature.

Mathew: A car engine is a man - made object designed to operate over a range of rpm, nature could never provide anything like an internal combustion engine.

Things like striking an object under the water, striking another boat, theft, acts of nature and so on.

We live in a world where people like enjoying imaginative objects floating around them instead of unraveling the mysteries of nature.

Although sometimes a deliberate nature is nice to have in more thoughtful games, in a game like Dragon Quest Builders, it would have been nice to build and wreck objects much quicker than I was allowed.

In one group, the adult talked to the children about the deceptive nature of the objects, using terms like «think» and «know.»

Display framed photographs, decorative plates or ceramics, your child's work, tapestries, vintage ephemera like album covers or maps, objects from nature, posters, silhouettes, collections or your own creations.