Sentences with phrase «pressing against objects»

Not exact matches

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).

Thus, when any object is pressed against the soft bones of the palate, these bones can be molded into a narrow, unnatural shape.

The tool reconstructs the response of more than 12,500 nerve fibers with millisecond precision, taking into account the mechanics of the skin as it presses up against and moves across objects.

Shoulders: Cable lateral raises or leaning dumbell lateral raises (leaning against a solid object with your working arm hanging down in front of you) and any pressing movement

I would have this individual stand up, straighten out their arm, internally rotate their shoulder and bring it across the body (horizontally adduct with internal rotation) and press it against an immovable object for about 5 to 10 seconds at about 50 % effort.

The push up involves lowering then lifting the body by pressing against the floor, or an object, with the hands.

If you A kiss is the touch or pressing of one's lips against another person or an object.

→ Tap on the screen to jump → Press longer to jump higher → Do not run into enemies or red objects like spikes → Jump on enemies to destroy them → After destroying them, tap to double - jump → Destroy special blocks by jumping against them from...

Sheets of paper pressed insistently by her pencil up against windows, walls and doors become heavily material objects, while things in the world — windbreaks, found photographs, a fireplace — are redrawn as artworks through subtle alteration.

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.

Do not allow any rigid object to press against the front or back surface of the stretched canvas as this could create permanent indentation damage.