Sentences with phrase «seemed immaterial»

Starting off in the world of work can be an unsettling time; questions that until recently seemed immaterial now need to be answered.

More precisely, it was color that seemed immaterial and purely experiential, color that sank into the canvas and became part of a weightless «optical» expanse intended to address the eye alone, without triggering tactile associations.

But Disney's struggles, which had seemed immaterial just three months ago, were clearly highlighted by 1.2 % decline in operating income at it cable networks over the company's past three fiscal quarters, said BTIG analyst Rich Greenfield in an investor note.

After all, it is virtually impossible to fight loosening financial standards piece - by - piece, because the changes seem immaterial, and everyone favors a boom in the short - run.

Normally, I try to avoid talking about price as it seems immaterial to the issue of whether a game should be played or not.

And though a 30 - day, finite hold on additional content may seem immaterial in the grand scheme of things, the message it sends is critical.

How Willis might speak for himself seems immaterial: Someone could always claim their intention was misunderstood.

Not exact matches

Sometimes success — the unquantifiable «momentum» that seems to infect players — jumps back and forth every few points or games, as if there were an immaterial rally happening at the same time but at slower pace.

Since the Greeks (as indeed most of the ancient world though often in vague and undefined ways) were accustomed to think of death in terms of the survival of an immaterial soul, the Jewish emphasis on the resurrection of the fleshly body seemed not only unnecessary, but unspiritual and even repellent.

Entranced by an immaterial digital world, humans today often seem detached from physical reality.

there is some suggestion that wenger is backtracking on his fervent stance regarding what players would be staying at the club for the remainder of the season... some might deduce that this is all part of a much bigger, more elaborate plan... by shifting the blame wenger is attempting to, not so slyly, flip the narrative... by doing so he hopes to evoke empathy from his most ardent supporters, while attempting to rally any fence - sitters, whose faith was waning unless a more legitimate agent of blame emerges... unfortunately, and incredibly insulting to the fans, when wenger attempts to spin a tale and / or tries to eat his own words, he doesn't seem to play it all the way through in his head, so invariably gaping holes emerge... say we believed his version of the truth, would that not make him either an incredibly well - paid custodian of destruction or a spineless jellyfish because what manager worth his weight in salt would stay at a club that didn't give him final say after 20 years of supposed «success»... no matter the answer, neither bodes well for us... how ironic, in a way, since many pundits claim this team has lacked a «spine» for some years now... so whether we win, lose or draw on Sunday is frankly immaterial, as the problems will remain, and although it will be easier to digest if we left the Pool with 3 points, it might just be the worst result for the betterment of this club... a fact that both breaks my heart and baffles the mind

Stated baldly like this — as it often is — the implication seems to be that non-resident «father time» is immaterial.

But how does the brain, with its physical, material processes, give rise to a seemingly immaterial, private mental life (at the core of which seems to be the «I,» the subjectivity)?

It might seem like sacrilege to say casual users are immaterial but seriously — Why exactly do casual users matter?

Nothing is quite what it seems in Sophia Contemporary Gallery's Im / material: Painting in the Digital Age, a closely curated show including twenty works by eight artists working at the intersection between the immaterial realm of 1s and 0s and the material facts of canvas, ink and paint.

Projected into the corners of otherwise dark and empty rooms, James Turrell's wedges of intensely colored light seem more than just immaterial.

The difference, of course, is that the actual seeing is about an experience — an indelibly human act — while the digital image is about information, which is neutral, immaterial, and implies no commitment in the stretch between idea and painting — a point on which Greenberg and the infamous Duchamp would seem to converge.

Or perhaps it's better to say that the opportunities are all around us, but that given the imminence and magnitude of the threat, our means seems strangely abstract, almost immaterial.