Sentences with phrase «psychological spaces using»

Not exact matches

For example, for the frequently used word «events» (used in describing natural phenomena in space - time coordinate systems) he substituted the term «actual occasions,» which for him gave a more accurate (and richer) picture of «real» or «concrete» happenings in the natural world.11 In this regard, he avoided the use of such commonly employed metaphysical terms such as «sensation» and «perception» — derived from seventeenth and eighteenth philosophers such as Locke, Berkeley, Hume and Kant — since for him they had a narrow psychological rather than appropriate epistemological meanings.

BOX 23, A-15-4; 30219212 / 734979 SAPA Requests for Translations of SAPA materials, 1966 - 1968 Prerequisites for SAPA The Psychological Basis of SAPA, 1965 Requests for SAPA to be Used in Canada, 1966 - 1968 Requests for Assistance with Inservice programs, 1967 - 1968 Schools Using SAPA, 1966 - 1968 Speakers on SAPA for NSTA and Other Meetings, 1968 Suggestions for Revisions of Part 4, 1967 - 1968 Suggestions for Revisions of the Commentary, 1967 - 1968 Summer Institutes for SAPA, Locations, 1968 Summer Institutes for SAPA, Announcement Forms, 1968 Inservice Programs, 1968 - 1969 Consultant Recommendations, 1967 - 1968 Inquiries About Films, 1968 Inquiries About Kits, 1967 - 1968 Inquiries About Evaluations, 1968 Tryout Teacher List, 1967 - 1968 Tryout Centers, 1967 - 1968 Tryout Feedback Forms, 1967 - 1968 Tryout Center Coordinators, 1967 - 1968 Cancelled Tryout Centers, 1967 - 1968 Volunteer Teachers for Parts F & G, 1967 - 1968 List of Teachers for Tryout Centers, 1963 - 1966 Tucson, AZ, Dr. Ed McCullough, 1964 - 1968 Tallahassee, FL, Mr. VanPierce, 1964 - 1968 Chicago, IL, University of Chicago, Miss Illa Podendorf, 1965 - 1969 Monmouth, IL, Professor David Allison, 1964 - 1968 Overland Park, KS, Mr. R. Scott Irwin and Mrs. John Muller, 1964 - 1968 Baltimore, MD, Mr. Daniel Rochowiak, 1964 - 1968 Kern County, CA, Mr. Dale Easter and Mr. Edward Price, 1964 - 1967 Philadelphia, PA, Mrs. Margaret Efraemson, 1968 Austin, TX, Dr. David Butts, 1968 Seattle, WA, Mrs. Louisa Crook, 1968 Oshkosh, WI, Dr. Robert White, 1968 John R. Mayer, personal correspondence, 1966 - 1969 Teacher Response Sheets, 1966 - 1967 Overland, KS Oshkosh, WI Monmouth, IL Baltimore, MD Teacher Response Checklist SAPA Feedback, 1965 - 1966 Using Time Space Relations Communicating Observing Formulating Models Defining Operationally Interpreting Data Classifying (2 Folders) Measuring Inferring Predicting Formulating Hypothesis Controlling Variables Experimenting Using Numbers SAPA Response Sheets for Competency Measures, 1966

Like Moon, The Martian involves a Starman (David Bowie's space anthem of the same name is used tremendously in Scott's film) contending with crippling solitude and psychological tremors when he's left for dead on Mars.

(Ford and cinematographer Joe MacDonald's use of depth staging and chiaroscuro lighting here is a master class in how physical space can be transformed to evoke the psychological landscape of the characters inhabiting it.)

In this interview New York based Ethiopian born artist Julie Mehretu (b. 1970) talks about how she uses abstract art to create a psychological space for herself.

Furthermore, Immaterial will investigate an artist's use of material, color, and form to produce an image or object which can create both physical and psychological spaces.

Using the visual language of cinema, her work has the powerful effect of dramatizing a psychological perception of space and time for the viewer.

The artist's work connects the mind and body through the experience of space, using sensory perception to align the physical and the psychological.

Rosemary Laing and Catherine Yass are concerned with the human relationship to the built environment, using the landscape to examine perceived realities of physical and psychological space.

Bulloch's participatory sculptures explore the physical and psychological aspects of space by using simple light and sound effects that require the viewer's active participation.

Leigh Ruple creates large - scale paintings that use colour to create energy and define space while also addressing physical and psychological situations of isolation and reclusion.

Since the 1970s, Simmons has staged and photographed scenes using dolls, dollhouses and other toy objects to create self - contained worlds that function as psychological spaces and blur the boundaries between the real, the unreal, and the surreal.

Stephanie Bursese (b. 1980) makes work that investigates photography's role in limiting perspective; by using site - specific installations, book forms, and printed images she creates loops of meaning that create both spatial and psychological spaces.

Also present in the exhibition is a new painting that uses twine to diagram both an architectural stage space and a potentially psychological space on the surface of the linen.

Interested in the physical space of the city and its emotional and psychological impact on the body, she uses the camera to transform the physical space into a psychological one, providing a personal interpretation of the urban landscape.

De los Reyes uses abstraction as a means to depict the psychological space that constitute the areas of conflict.

Using knowledge from her study in psychological astrology, Blair Bogin is using her Project Space residency to create a metaphorical window into the psyche of Nathan Lyons, his sub personalities and patterns of consuming life as they exist symbolically within the VSW arcUsing knowledge from her study in psychological astrology, Blair Bogin is using her Project Space residency to create a metaphorical window into the psyche of Nathan Lyons, his sub personalities and patterns of consuming life as they exist symbolically within the VSW arcusing her Project Space residency to create a metaphorical window into the psyche of Nathan Lyons, his sub personalities and patterns of consuming life as they exist symbolically within the VSW archive.

By using this as a playful vehicle, I want to explore how the relationship between perceived light, shapes and color can distort physical, and ideally, psychological space for both myself and the viewer.

Zittel believes that our surrounding realities are made up of panels that exist both as literal and in a psychological field of reality: «The Dynamic Essay about a Panel» — a visual presentation in exhibition pavilion the House — explains how we attribute meaning and use to these surfaces depending on their position or orientation in space.

There are, however, certain rules of thumb that can be used when attempting to predict and control the psychological effect a colour might produce in an interior space.