Sentences with phrase «over against object»

To envision the knowing relationship as a non-reciprocal, «subject over against object» one, is not only scientifically faulty but morally irresponsible.

Not exact matches

In this presentness it is no longer true (as it obviously is in the «having become» world of active subject and passive object) that the existing beings over against us can not in some sense move to meet us as we them.

Finally, and most important of all according to Buber, the person is not treated here as an object of investigation but is summoned «to set himself to rights,» to bring his inner being to unity so that he may respond to the address of Being over against him.

For far from being a deviation from biblical truth, this setting of man over against the sum total of things, his subject - status and the object - status and mutual externality of things themselves, are posited in the very idea of creation and of man's position vis - a-vis nature determined by it: it is the condition of man meant in the Bible, imposed by his createdness, to be accepted, acted through... In short, there are degrees of objectification... the question is not how to devise an adequate language for theology, but how to keep its necessary inadequacy transparent for what is to be indicated by it...» Hans Jonas, Phenomenon of Life, pp. 258 - 59; cf. also Schubert Ogden's helpful discussion on «Theology and Objectivity,» Journal of Religion 45 (1965): 175 - 95; Ian G. Barbour, Issues in Science and Religion (Englewood Cliffs, N.J.: Prentice - Hall, 1966), pp. 175 - 206; and Michael Polanyi, Personal Knowledge (Chicago: University of Chicago Press, 1962).

This ontology of participation gave way to a gradual reification of the mystery so that it appeared over and against the subjective self — that is, as an object.

It's against the law, partially because of the risk involved to the players if objects are being hurled all over the place.

- Don't place a baby chair close enough to another object of furniture that your baby could kick against and thereby knock his own chair over.

The explosion of an asteroid over Chelyabinsk in Russia earlier this year highlighted the need for more direct lines of defense against near - Earth objects.

- 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».

Another example, and one of the more frustrating one is later on in the game you are set with defending a base, don't worry I don't put spoilers in my reviews, from hordes of enemies trying to destroy certain objects that you need to defend, and it is one of the worst missions in the game simply because the game mechanics kept fighting against me with everything it got, but after quite some time, and numerous retries I finally managed to complete the first 4 or 5 parts of the mission, and the game had me then racing up a mountain chasing a plane which I then had to try and get onto, which again, is fine, but when the game freezes up on me and blue screens and puts me back to the dashboard, only to have me reboot the game and starting that mission all over again, that was almost the last straw for me.

It turned out that the protesters came largely from the groups Defend Boyle Heights (DBH) and the Boyle Heights Alliance Against Artwashing and Displacement (BHAAAD), and they were objecting to the location of the meeting in a neighbourhood already aflame in controversy over its unofficial redesignation as a gallery district.

Before that the stripe monotypes (1994) pushed back and forth, up and down, against the idea of object vs space in a quiet struggle, quasi dialogue that questioned what is real in the spirit of Hans Hofmann, while all the time affirming a horizon over and over again.

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.

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»).

Tate Britain, London, 12 April — 29 August Reacting against the optical experience offered by Abstract Expressionist painting after the war, conceptual artists in the 1960s gave precedence to ideas over art objects.

To further quantify this effect, whether or not my reasoning is objected too, then at the very least, a correlation over the period of the air temperature trend needs to be carried out against surface sea temperature anomalies in both the Northern Atlantic and N Pacific.