Sentences with phrase «physical objects we see»

Broadly, I use it to mean any style of thought that sees events and processes as more fundamental than self - contained entities such as the physical objects we see and touch.

Not exact matches

That the bragging happened a decade ago doesn't change the reality that a man who might be president sees half the country's population not just as objects for his own aesthetic gratification — we knew that thanks to the beauty pageants and the string of model wives — but objects for his physical gratification as well, regardless of how the women in question feel about it.

After the original turtle image test, the researchers reproduced the reptile as a physical object to see if the modified image would still trick Google's computers.

Also, as I'm wrapping up my doctorate in astrobiology, I will spend a great deal looking at objects I can't see with my physical eye while peering off light years into the galaxy in search of life.

What I «see» are physical, tangible objects in my world which I interact with.

In virtue of physical causation, the form of the object becomes merely the subject's form, a difficulty Aristotle saw and wanted to avoid.

In a physical feeling, an eternal object is felt as immanent, while in a conceptual feeling, the eternal object is felt as transcendent (see PR 239f.

Other creation myths have their object formed out of created things (i.e. they are made of physical matter known to man) where as God has never been seen which is true to this day.

By considering the simplest instance of the physical ingression of eternal objects as in the case of two sensa (PR 115 / 176f), we see that the physical ingression of any eternal object requires the concurrent ingression of at least two other nonidentical eternal objects so that an actual contrast obtains.

Whenever we perceive physical objects, we can be certain of one thing: we are seeing that which God is not.

He still saw all of those organic molecules as physical entities, objects that could be unraveled, manipulated, and understood.

This isn't a physical barrier but a point of no return: objects that pass beyond it can never escape the black hole (but see below to understand how quantum mechanics undermines that idea).

When the motion of an intermittently seen object is ambiguous, the visual system resolves confusion by applying some tricks that reflect a built - in knowledge of properties of the physical world

«It's remarkable that we've now seen for the first time a physical object from outside our Solar System,» says lead author Dr Alan Jackson, a postdoc at the Centre for Planetary Sciences at the University of Toronto Scarborough in Ontario, Canada.

«The capabilities of this robot are still limited, but its skills are learned entirely automatically, and allow it to predict complex physical interactions with objects that it has never seen before by building on previously observed patterns of interaction.»

Major advances in computational design, physical modeling and rapid manufacturing have enabled the fabrication of objects with customized physical properties — such as tailored sneakers, complex prosthetics, and soft robots — while computer graphics research has seen rapid improvements and efficiencies in creating compelling animations of physics for games, virtual reality and film.

For instance, when babies see a self - propelled object, their core physical framework leads them to understand that the object has internal energy.

See an animation of the orbit of this substellar object around Edasich, with a table of basic orbital and physical characteristics.

(See an animation of the orbit of this possible substellar object around Aldebaran, with a table of basic orbital and physical characteristics.)

It used the physical object of the leaf to help me see what it looked like.

The thing is, when you look at an object, whether it be a chair, a flower, or a piece of fruit, you're only seeing the physical part of the atom, which is not even 1 percent of it!

Jack Black is the skin - deep everyman obsessed with female physical beauty hit with a fairy tale spell, and Gwyneth Paltrow is the object of his affection, an obese woman (she wears a fat suit) he sees as a sleek, model - slim blonde beauty.

You'll see Babydoll slay her way to finding whatever esteemed magical object she needs to get, but you'll also get an eyeful of the physical goods she has....

The writing was on the wall, and physical objects are increasingly seen as a bad investment.

Solondz is the bamboo splinter beneath the fingernail of that shame — his manifesto lies in the decision to confront the ultimate causes behind our embarrassment with fetishism, our horror at the recognition of racial difference (suggested by George Bush Sr.'s boldly insane, «I don't see colour»), and our inability to treat people with physical disabilities as anything other than children or objects of pity.

You can even build a scavenger hunt activity for a team meeting that combines physical object (outdoor or indoor) and augmented knowledge (see example).

First of all there were a lot of individual effects on the children from introducing this type of playground: children were seen to be a lot more excited going out to play; they would enter their classrooms after lunchtime and would still be talking about what they did during that play; they were a lot more engaged, they were using the space a lot more readily, so, taking these materials out - and that could be one influence on how physical activity actually increased; they were solving problems and using their creativity skills - which I can also talk about how the children use all these objects to be creative in the school playground.

As much as I don't want my bookshelves to become part of this trail of obsolescence, I can already see early warning signs of my own desire for convenience — for instantly getting what I want, for not having to deal with mere objects in all their cumbersome actuality — beginning to outrank my love of the book as a physical thing.

Print books behave like a product in the sense that you purchase a physical object that is yours to use or dispose of largely as you see fit, much as an automobile or a frying pan or an action figure may be used or disposed of largely as you see fit.

People look at the physical object of a print book and see what they're spending money on.

Dynamic Perspective lets you tilt the Fire Phone in different directions to see more information from apps, play games, resize images, scroll through webpages without using your fingertips, and most impressively, move various «layers» of the user interface around as though they were physical objects in front of you.

Although authors and readers agreed that they loved the narrative, a structured argument — a story — they still saw the book as a container, a physical or digital object, a defined way to obtain and consume content.

The real costs of making the physical book object are borne by the first - purchasers; the value of the contents is then to some extent seen in the resale price.

There's something extra special about seeing a game that you've worked on as a physical object, knowing that it will be in people's homes around the world.

Just like any of the other toy - to - life games it has me doing things in the real world, holding physical objects and seeing them come to life in a digital realm.

Contemporary sculptors interested in working with physical materials, as Maychack is, often take as their source material the recesses and underpinnings of architectural space, whether it is the moldings of a room (see Francis Cape), the sprayed girders of an underpass (Karlis Rekevics), or the negative spaces in and about actual objects (Rachel Whiteread).

Suzanne Friedli, co-founder and partner of Annex14 who represents the artist in Zurich comments: «When we saw the paintings of Otis Jones for the first time we were immediately impressed by the deepness and the density of this reduced language, the physical presence of the object - like works and the concentration on painting as a process.

The passion, chaos, rage, and femininity of a woman's personal riot in the current political landscape can be seen throughout the works, with the vibrant colors, physical gauging of the paint, tearing and pressing of materials into the canvas, and the placement and destruction of female objects creates a fiery and feminine event.

Although the heretical «maximalist» Stella divided critics, his extravagant flights into literal space extended his definition of paintings as objects and seeing as a physical act.

Manders makes a physical as well as mental space for the viewer to «enter the world of objects and matter and find poetry in it... and to know how poorly we normally see our daily life.»

Viewing becomes a spatial, physical experience that compresses the geologic time implied by the surface details of the stones, a hint of some past process of erosion or eruption, the photographic moment at which each object was recorded and the transitory duration in which the images are presented and seen.

While Helen Frankenthaler and Jackson Pollack took the physical act of painting to the floor, Benglis saw that the post-minimalist art object would remain «fallen» with her iconic latex and foam floor works of the late 1960s.

People affected with mirror touch synaesthesia experience a physical sense of touch on their own bodies when they see other people, or sometimes even objects, being touched.

She sees every banal object as a place, a container; a physical space encompassed by the a priori and a posteriori knowledge of the public.

In addition, we can see a detachment from the traditional painting techniques and an development towards monochromatic surfaces in order to enhance the perception of the painting as a physical object.

I often take an object (usually a physical model of the design) and turn it upside down, change the colour, or hold it up to a mirror to change the way I see it, these simple methods often lead to a better idea about what the thing could be.

As has frequently been noted, Sehgal seeks to make art without producing any physical artifact of the events that he stages in galleries and museums as a gesture against what he sees as the excessive proliferation of objects in the world.

The exhibition's introductory text panel explains, «As images are rendered into objects, and objects are circulated as images, the boundaries between the physical and the virtual are blurred, challenging us to rethink how we see the world around us.»

In works such as Couch (2012)-- a sateen sofa sawed in half and then cemented back together — McMillian uses post-consumer objects including discarded mattresses, carpets, chairs and bedsheets as both the material and the subject matter of his art, as he evokes the physical, psychological and economic distress of communities hit by loan defaults, home foreclosures and unemployment.

The tracing paper becomes a physical manifestation of the conceptual obscurity that surrounds each object — viewers see traces of meaning, yet they must also supplement the extant work with their own personal histories and experiences.