Sentences with phrase «response nature of the work»

She's using crowdfunding for the trip because of the rapid response nature of the work and the wealth of information she and other scientists can learn from.

Not exact matches

This semi-autobiographical work, subti - tled «Non-Religious Thoughts on Christian Spirituality,» is a collection of essays and personal reflections chronicling the author's growing understanding of the nature of God and Jesus, and the need and responsibility for an authentic personal response to that understanding.

But as we are taught by our deepening insight into the dominant role of love in the world and the central place of man's response to that love, and as a consequence of our better understanding of human nature in its psychological depths, we are beginning to see ever wider implications of the truth that God wills and works for men to become men and in freedom to act like men.

But considering the nature of so much of your work (which I love BTW) and your discussions concerning your personal journey (which you have been pretty open about), it would seem that all of the responses (whether they be agreement, rebuttal, or concern) would be appropriate.

«We're privileged to work with threatened penguins every day at Shedd, and as a result, we've become experts in their biology and nature, which allows us to appropriately assess and deliver skilled care to each individual chick,» said Kurt Heizmann, Assistant Supervisor of Marine Mammals at Shedd Aquarium and Animal Response Team member on - site in South Africa.

As will be described in an upcoming issue of Nature, surgeons from the European Institute of Telesurgery in Strasbourg working here in the U.S. manipulated the distant machine via a high - speed fiberoptic connection, observing its responses to their hand motions just 155 milliseconds later on a video screen.

The decent and appropriate response to a colleague in distress depends on a variety of factors: the individuals involved, your role in the organization, the nature of the aberrant behavior, the relationship between you and your co-workers, and the type of work setting and institutional supports available to you.

[Response: To amplify on that sentiment, though, I do think it is fair to take into account the track record of the investigator, the degree of support for the idea that can be seen in prior work, and the nature of the argument when making a jugement of what the long term assessment is likely to be — while waiting for that assessment to materialize.

-LSB-...] have all sorts of thoughts opinions on dressing appropriately for work, and since my last work - wear post got a great response, I promise to do more posts of this nature.

This is because the nature of any work involving a personal response, whether creative or analytical, is to some extent subjective and I want to avoid the danger of short - circuiting this creative process for my students.

Now, I worked as a professional and was very busy, working 50 + hours a week, and a response time of that nature is just not acceptable.

Kessling works across a range of media such as photography, film, and performance, and here the images reflect performative tools for exploring identity, often juxtaposing the artist's own body with objects and materials such as dust sheets, clay, fabric and paper bags used with transformative effect — the temporal nature of the performative movement frozen in a single gesture — a single still from an action, or a response to an art - historical identity.

The rather ephemeral nature of fashion, the very different critical response and the chance to make contact with an audience beyond the artworld made the collaboration liberating for Trubkovich, but not in a way that has affected his work directly.

His wide - ranging body of work includes unconventional color structures, light environments, street interventions, architectural integration projects, and experimental works that engage the response of the human eye while insisting on the participatory nature of color.

As the title suggests, Silva works within the long art historical tradition of setting up one's canvas outside and making work based on and inspired by nature — except for Silva, there's a twist: he does it in 3 - D, using his laptop as the canvas on which to create images and animations in response to the environment.

He returned home for good in 1994, though the peripatetic nature of his work means that he continues to travel in response to invitations to make new installations: «I felt,» Roy writes, «that I could use Milwaukee as my base to go anywhere in the world to make my art and I do.»

At Pearl Lam, this is evident in the exhibition setting — a mystical, somberly - lit environment reminiscent of the Rothko Chapel — and in the works themselves, which, Moorhouse notes, «shake off the ubiquitous compulsion to interpret, encouraging instead a response to their intrinsic nature.»

It was met with a response from Joe Scanlan that underscores the tone - deaf nature of the whole undertaking, in which he justifies the «Donelle Woolford» project by extolling the educational value that producing the work has had for him personally: «I only want to say that the experiences I have had working on Donelle Woolford have been some of the most intellectually challenging and humanly rewarding experiences of my life.»

This line of inquiry poses two questions: are the amicable responses of each and every collaborator a testament to Öğüt's character, and in that sense does the work pander to his own ego, or do they illustrate the satisfying nature of collaborative, community - oriented work?

For Thomas color was the «strongest joy and enigma,» and she used an expressive range of pigments in works that progressed logically in series, often conveying her emotional responses to the spirit of nature.

In their work, the artist's emotional response to the natural world replaces a true feeling of nature, of the world as it is.

Serritella's current work in the exhibition is inspired by his physical response to nature and created in his new studio situated in the forests of North Carolina.

The question that arises in response to Kimberlee Sullivan's ambiguously abstract works is whether they are based on an observation of nature or observation of art.

Abstract expressionism, by its nature, is an individual response to something specific — an experience, a person, a memory, a literary work, the season, the time of day: «You can paint a cubist painting by formula and it might not be a very good cubist painting, but you can not paint an abstract expressionist by formula.»

These approachable works engage a dialogue that questions the nature and expressive potential of creativity — how our subrational responses dominate decision making, how our trust in them opens up creative possibilities to expose not only the power of our intuition, but our vulnerability to it.

Considering the productive nature of the artist's practice and his constant response to events around him, it is no surprise that these works, like human characters, cycle through emotional up - and downswings.

This is not to say that the work is a commentary or critique of design or the fashion world, rather Channer seems to be more physical and intuitive in the nature of her response.

2000 The Work Shown in this Space is a Response to the Existing Conditions and / or Work Previously Shown Within the Space III, Neuger Riemschneider, Berlin, DE Sequences, Galerie Roger Pailhas, Marseille, FR La Frontière, Recit d'Expériences, one of several exhibitions collectively entitled «Réseau Galleries / Multilangages de l'Art», Institut d'Art Contemporain - FRAC Rhône - Alps, Villeurbanne / Collège de Prévessin - Moëns (Ain), Academie de Lyon, FR TransAct - Platform for Transitional Activities in the Cultural Field, «Museum in Pro-gress» in cooperation with «Art Pool», Vienna, AT Shoot: Moving Pictures by Artists, Malmö Konsthall / The Cinema Spegeln / Restaurant Hipp, Malmö, SW; Living Art Museum, IS, as part of Kyikar Myndir show, Reykjavik, IS Never Exhibited: Works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annandale, New York, US Copyright / Copywrong, Ecole Régionale des Beaux - Arts de Nantes, Nantes, FR Thirtieth Anniversary Benefit Silent Auction, White Columns, New York, US Two by Two for Aids and Art, Dallas Museum of Art, Dallas, Texas, US Dust and Dirt, De Witte Zaal in cooperation with SMAK, Ghent, BE L'Elemento Verbale Nell» Arte Contemporanea, Galleria Martano, Torino, IT; Galleria Martano, Milan, IT Sentimental, Galerie Yvon Lambert, Paris, FR Die Natur der Dinge, NRW - Forum Kultur und Wirtschaft, Düsseldorf, DE Pure, one of several simultaneous exhibitions around UK, collectively entitled On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, ES

Invariably she begins by focusing on a landscape or an interesting piece of nature, and then sees where it leads («my work is an emotional response to landscape» she says), relying on multi-layers of paint and different textures to produce the desired effect of mood and emotion.

[i] For Thomas color was the «strongest joy and enigma,» and she used an expressive range of pigments in works that progressed logically in series, often conveying her emotional responses to the spirit of nature.

No one tells bone what to do, but it generates a material in response to environmental signals», says Timothy Lu, an assistant professor of electrical engineering and biological engineering and senior author of the paper describing the team's work in Nature Materials

In a thoughtful response, Stephen Seckler, publisher of the Counsel to Counsel blog, observed that implementing work life balance programs in the legal industry might pose special issues given that the attorney / client relationship is often quite personal in nature, and that clients who are paying top dollar usually want quick access to their attorneys when needed.

The feasible responses seem to be (i) move into higher - end work, often of an advisory or highly specialist nature: Jeremy Robinson, aviation and competition law partner at Gates and Partners, solicitors, believes that the competition in his practice area does not come, and is unlikely to come, from PLFs or ABSs anytime soon; (ii) form collaborations short of ABSs or multi-disciplinary practices with complementary non-solicitor businesses (Martyn Taylor, MD of respected solicitors agency, Ashley Taylors, has noticed a huge increase in the number of solicitors» firms looking to work on litigation - related joint projects with Ashley Taylors; (iii) to the extent possible adopt the practices of more successful competitors; (iv) innovate.

Firms like Uber and Deliveroo will undoubtedly be keeping a close eye on the case, as well as the launch of the Taylor Review, which was announced in response to the ever - changing nature of working practices in our evolving economy, and the associated employment laws.

Another issue with the community's response has been misunderstanding the nature of abforce's work, with many hailing it as the new Xposed or advertising it as a port for Nougat.

And with the nature of the workplace adjusting in response to new technology every day, we find ourselves working more and more hours in front of a screen.Gunnar glasses are specially designed to reduce this type of eye strain by protecting your eyes from glare, certain UV light rays, and high - energy blue light.

Police Sergeant • Manage daily patrolling and security operations • Maintaining officer schedules and discipline • Diffusing situations volatile or potentially volatile in nature • Conduct shift change roll calls • Response to calls of serious felonies and incidents and act accordingly • Train new officers • Manage work correspondence • Prepare reports and summaries of incidents • Supervise special police programs and units including crime prevention and computer operations

For the state's initiative to screen women for post partum depression he is working on epidemiologic data sets to understand the nature of the responses to questions related to depression and help seeking of women in different ethnic and racial groups.

The data is irrefutable, yet the nature of the real estate professional's job works against the ability to provide an immediate response.