Sentences with phrase «real idea of the space»

They can walk around, look in any direction, examine unit features more closely and get a real idea of the space.

Not exact matches

«The commercialization of LEO (low Earth orbit) is an exciting prospect, but it will be an exercise in determining what ideas are more real than others,» said Phil Larson, a former space policy adviser to President Barack Obama who worked for Elon Musk's SpaceX, or Space Exploration Technologies Cspace policy adviser to President Barack Obama who worked for Elon Musk's SpaceX, or Space Exploration Technologies CSpace Exploration Technologies Corp..

And I particularly play in the currency space and one of the thing that's attractive there is the idea that in eras where you have reckless central banking there's huge distinction between reckless central bankers and those who are engaged in reckless central banking with abadon and as a result I think that there becomes some real value disparities from a currency standpoint as well.

I have needed men and women to walk with me as I move on this made - up idea of the justice alphabet, they are the ones who have created bridges for me to cross, space for me to grow in real and meaningful ways.

This idea allows us to say further that although real space is constructed by the actualization of just those occasions that do become, space could have been divided up in other ways, indeed, in an infinity of other ways.

What is needed is a Catholic theological interpretation of modern pluralistic democracy, one that insists on real space for the ideas and active contributions of religious traditions, while underscoring the value of respectful argument and even friendship among those who hold competing views.

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Sure, the idea is to have fun, but everyone involved in creating this ride has worked hard to give people a real taste of space.

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«When Rev. Run, Tyrese and CBS came to us with the idea of a primetime series, we were energized by the chance to bring OWN viewers something fresh and entertainingly real in the «love space,»» said Sheri Salata, president of OWN.

But these quickly become virtual dumping grounds for opinions rather than spaces for reacting and responding to the ideas of others in real time.

Well, I think Newark needs good schools, period... This idea of «we have to build charters at the expense of public school» is a ridiculous notion... That's an argument that people are having about real estate, about space, about money and finances, when on the ground, the thing that improves education is what happens in the classroom — is teacher development, staff development, and extended days and, you know, curriculum...

By offering an opportunity to meaningfully share stories across space and in real - time, the Portal fosters greater understanding of others» cultures, ideas, perspectives, and experiences.

Bryan's overall idea would allow users to «play a shooter, or a real time strategy game, or an MMO, or a space combat sim, or a turn - based methodical economic citybuilder, and each of those systems could feed into each other.»

So ambitious was the idea that real scientists discussed the ethics of downloading the brain onto computers, and the implications of immortality and long term space exploration.

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.

Considering the idea of space, not as a unified concept but rather as a set of heterogeneous elements, the selected films represent real and unreal places or fragments of space, that invite the viewer to search for the co-existing values that form their meaning.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raIdea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raidea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

The physicalization of ideas in real space subverts held assumptions and habits of viewing.

Madrid Abierto Public Sculpture Competition, Madrid, ES 2005 Go - Between, Magazin4 / Bregenzer Kunstverein, Curated by Dr. Wolfgang Fetz and Peter Lewis, Bregenz, AT 2005 Library, Librarie, Institute of Contemporary Art, Curated by IDEA London, UK 2005 New Economy, Columbia University Art Gallery, Curated by Eric Angles, New York, NY, US 2005 CAC TV, Contemporary Arts Center, Curated by Raimundas Malašauskas, Vilnius, LT 2004 Synesthesia, a Neuroaesthetics Exhibition, Institute of Contemporary Art, Curated by Chloe Vaitsou, London, UK 2004 Everything is Connected, He, He, He, Astrup Fearnley Museum of Modern Art, Curated by Gunnar Kvaran, Oslo, NO 2004 Silent: A State of Being, Madrid Abierto Public Sculpture Competition, Curated by Jorge Diaz, Madrid, ES 2003 Harlem Postcards, The Studio Museum in Harlem, Curated by Christine Kim, New York, NY, US 2003 Fröhliche Wissenschaft, Brandenburgischer Kunstverein, Curated by Wilfried Dickoff, Potsdam, DE 2001 Bitstreams, Whitney Museum of American Art, Curated by Larry Rinder, New York, NY, US 2001 Urban Pornography: Project Room, Artists Space, Curated by Lauri Firstenberg, New York, NY, US 2001 Optical Verve, Ottawa Art Gallery, Curated by Sylvie Fortin, Ottawa, CA 1997 Making It Real, Aldrich Museum of Art, Curated by Vik Muniz, Ridgefield, Colorado, US.

If art uses reality avoidance to tell us something about the very nature of reality, Katrina del Mar, in Feral Women / Filmed Portraits, her solo show at Leslie Lohman Museum's Prince Street Project Space, reveals ideas of power and beauty along with the rainbow of the real and theater.

The artists in Digital Infinity a group show at Jessica Silverman gallery on view thru August 3rd, tackle the difficult idea of presenting virtual digital space on analog media in real shared space.

I look after three parts of the business — Interactive Spaces, designing immersive spaces using cutting edge technology and the latest models of interaction; a specialist prototyping team called Gobi, which looks at the fastest way to make ideas real; and a new offer called New Design Realities (NDR), which is exploring how we help our clients use emerging technology platforms such as virtual, augmented, and mixed reality (VR, AR, MR) to connect with people in newSpaces, designing immersive spaces using cutting edge technology and the latest models of interaction; a specialist prototyping team called Gobi, which looks at the fastest way to make ideas real; and a new offer called New Design Realities (NDR), which is exploring how we help our clients use emerging technology platforms such as virtual, augmented, and mixed reality (VR, AR, MR) to connect with people in newspaces using cutting edge technology and the latest models of interaction; a specialist prototyping team called Gobi, which looks at the fastest way to make ideas real; and a new offer called New Design Realities (NDR), which is exploring how we help our clients use emerging technology platforms such as virtual, augmented, and mixed reality (VR, AR, MR) to connect with people in new ways.

Levine's piece had the force of a move in a game: a strategic idea inflated to dominate real space.

The imaginative leap required to make the picture mirrors that taken by everyone involved in building Turner Contemporary, starting with an idea and working through many stages of plans to the amazing real space we have today.

The artist explained, «All of these works explore the idea of territory — that of real, physical space as well as that of my interior life and even of my past life.»

In Urbano's universe, the camouflaged materiality takes on a fictional existence and the viewer hovers somewhere between the representation of a space and the evasive idea that makes something feel real.

Metaphorically, the liger, as an abstract idea that has become real in the physical space, is a prime example of the ultimate divorce between what is possible and what should be undertaken.If so far the biennial organizers have tackled the politics of identity, and technological means of interfacing or redefining identity, it follows that they would be interested in some form of Marxist critique.

This ambivalence I have towards the nature of the term «abstract» also applies to my use of certain architectural elements, sometimes on a very large scale, in an effort to compress fragments of real architectural space onto a relatively frontal idea, vis à vis Mark Rothko for instance.

Describing her ideas about painting, Appel explains, «my work is not so much about pretending the real thing is there, but more about the presence of the subject, as well as the presence of the painting in space.»

Native of the city Mark Powell has photographed a number of spaces and houses in the notoriously derelict American city and is offering them in both real and photographic form — a head - on confrontation with the idea of the usefulness of art.

He began to contemplate the idea of electrical lighting as his defining artistic medium and chose common industrial florescent tubing knowing «that the actual space of a room could be broken down and played with by planting illusions of real light (electric light) at crucial junctures in the room's composition.»

Simple but charming, this is a real bohemian delight of a houseboat, with lots of creative ideas to enlarge the usable space and make it easier to clean.

Other than that I like the idea of shared office space as it could make a one man company feel more like a real business, which is extremely important to clients.

The managing partner, who hasn't directly sold real estate for about seven years, says when the firm first came up with the idea of integrating recreational spaces into the office, outsiders didn't take them seriously.

Raj Qsar, owner of The Boutique Real Estate Group, says the idea to star Rocco in the video, which came about after the dog took a liking to his team as they toured the space, helped him secure the listing.

«When Rentec began, it was the epitome of an entrepreneurial endeavor — an idea, sparked by a real need that I experienced in the property management space, turned into an innovative software platform serving thousands of landlords,» said Nathan Miller, president and founder of Rentec Direct.

I have a nice size kitchen with very little cabinet space.I made a closet into a pantry so all I need is a lil space for dishes.I just got married and received a very nice set of a olive green dish set that I have not opened because my cabinets need a real bad make over.The cabinets over the sink are coming apart from the wall.I know all we would have to do is replace the backs of the cabinet and mount them up properly on the wall.I tried to explain it to my husband < but he understands more when he sees it in writing.I have always loved the idea of cabinets with no doors.I love baskets as well and so I went on a hunt for a idea to bring my vision of what i would love my kitchen to look like.One day I decided to go on my favorite web site and I saw a picture of black cabinets, no doors with baskets.OMG..

I feel like what looks good on paper might end up a bit cramped in real life once we get a better idea of the visual space.

I'm sure there are thousands of fans out there that would prefer to have a room designed rather than seeing you work on a blank space envisioning your ideas rather than working with a real client.