Sentences with phrase «subject of a new self»

It's the slightly new «haver» of ideas in the sense that I'm a new subject of a new self, even though I would say it's still the same mind or person.

Not exact matches

According to a new scientific study published in Psychiatry Research: Neuroimaging, subjects who meditated for about 30 minutes a day for eight weeks had measurable changes in gray - matter density in parts of the brain associated with memory, sense of self, empathy, and stress.

The National Institutes of Health also studied outdoor exercise, comparing it to indoor exercise, finding, according to The New York Times, that subjects scored «higher on measures of vitality, enthusiasm, pleasure and self - esteem and lower on tension, depression and fatigue after they walked outside.»

Woman - identified relationships, therefore, create new and varying patterns of relating, subject to the intensity and turbulence of unique Female Selves in relationship (G / E 382 - 383).

Whitehead looks upon process as not only the appearance of new patterns among things, but the becoming of new subjects, which are completely individual, self - contained units of feeling.

His idea of a «new synthesis», proposed mainly in his book Catholicism: A New Synthesis and developed in his many theological and philosophical essays, was an attempt to grapple precisely with the issues we have spoken of: the post-Cartesian «turn to the subject» (that is: the loss of faith in the objectivity of knowledge and the subsequent exclusive concern of philosophy with the self and the subjective idea as the norm of «truth») and the philosophy of evolution with its implications for a dynamic rather than a static univernew synthesis», proposed mainly in his book Catholicism: A New Synthesis and developed in his many theological and philosophical essays, was an attempt to grapple precisely with the issues we have spoken of: the post-Cartesian «turn to the subject» (that is: the loss of faith in the objectivity of knowledge and the subsequent exclusive concern of philosophy with the self and the subjective idea as the norm of «truth») and the philosophy of evolution with its implications for a dynamic rather than a static univerNew Synthesis and developed in his many theological and philosophical essays, was an attempt to grapple precisely with the issues we have spoken of: the post-Cartesian «turn to the subject» (that is: the loss of faith in the objectivity of knowledge and the subsequent exclusive concern of philosophy with the self and the subjective idea as the norm of «truth») and the philosophy of evolution with its implications for a dynamic rather than a static universe.

Griffin & Sherburne, New York: The Free Press, 1978, 29) Neither is the Whiteheadian self an unchanging subject of change.

Griffin & Sherburne, New York: The Free Press, 1978, 224) Whitehead also writes, «The subject completes itself during the process of concrescence by a self - criticism of its own incomplete phases.»

Indeed, the task for the subjects of theological education may be as much the making of new forms of relationships to God, self, others, traditions and society as the articulation of right ideas.

Queer theory demands the creation of a new anthropology that would not be subject to «obligatory heterosexuality» or to «the self - evidence of heterosexuality,» with the aim of returning to some earlier stage before the existence of sexual or «gendered» difference.

Queer theory demands the creation of a new anthropology that would not be subject to «obligatory heterosexuality» or to «the self - evidence of heterosexuality,» with the aim of returning to some earlier stage before the existence of sexual or «gendered» difference.

Each game is designed to make learning as natural and intuitive as possible by using fun subjects and original gameplay to draw him or her into a new world that will improve rational thinking, fine motor skills, breadth of knowledge and self - expression.

While exposure to physical aggression and self - harm are known to have detrimental consequences for nurses working in mental health services in terms of staff sickness and trauma, this new study suggests that nurses who are subject to humiliating personal remarks experience higher levels of distressing emotions, including anger.

Thus begins a journey of relentless hunting of those who subjected him to the experiment, in the hopes of finding a cure for the side effects, which have left him ashamed to face Vanessa and reveal his new self.

This connection between academic achievement and self - regulated learning may be due to self - regulated learning capabilities helping students to extend their understanding of different subject areas, so that their capacity to learn new skills is strengthened during their years of schooling.

Advantages Learning skills developed have impressive staying power Students can learn to increase the rate at which they understand new material There is a greater opportunity for transfer of learning to other subjects Increased opportunities for students to problem solve what is needed to learn intended content (prerequisites) Students may learn how to pace learning and thereby gain self - confidence

Seamlessly browse through thousands of top audiobooks including instructional audio books to teach you a new language, religious, spiritual and motivational audiobooks to help you self - improve as well as educational audiobooks to help you learn more about a particular subject.

So inevitably the retailer's new all - you - can - read venture, Kindle Unlimited, is the subject of heated debate, pro and con, among self - published writers.

The newer travel blogs write to us as self - appointed experts in the broad subject of travel.

Shown alongside sketches, drawings and studies, her paintings recast female subjects from art historical paintings, photographs and the media into new environments, imbuing them with a newfound sense of self - possession.

Lucas Samaras (b. 1936, Kastoria, Macedonia, Greece) has been the subject of more than one - hundred solo exhibitions and seven major career retrospectives, includingUnrepentant Ego: The Self - Portraits of Lucas Samaras at the Whitney Museum of American Art, New York, in 2004, which featured a staggering 400 works.

In this new series, he co-opts figuration as a vehicle for expression in energized, intuitively painted self - portraits — a new approach in his persistent subversion of the painted subject.

This exhibition of new paintings and cyanotypes provides evidence of the many different bodies of work McGinness has been exploring in recent years — from self - reflective Studio Views with process - referencing subject matter to iconic Signals, Skateboards, Mindscapes, and Black Holes.

This conversation between Gregg Bordowitz and Glenn Ligon focuses on Ligon's Untitled (I Am a Man), 1988, and its relevance to representations of self, race, and gender, the subject of a new book by Bordowitz in Afterall's One Work series.

From sources that are logical and universally familiar, Boar empties his subjects of their innate representation (their context and being - in - this - world) to begin a new existence as phantoms of their former selves.

Here's an example about the subject matter of this new series, a picture of Lucian Freud that Francis Bacon used as the basis of a self portrait:

The selection of works range from Frida Kahlo's confident self - representation to Gerhard Richter's blurred likeness; from Paul Cézanne's iconic tabletop arrangements to Jeff Koons» commodified objects; from Vincent van Gogh's roiling olive trees to Richard Long's land art, each demonstrating how modernism's radical new forms have continuously revitalized art history's conventional subjects.

2011 Penelope's Labour: Weaving Words and Images, Fondazione Giorgio Cini, Venice Measuring the World — Heterotopias and Knowledge Spaces in Art, Kunsthaus Graz, Austria Let the Healing Begin, Institute of Modern Art, Brisbane 2010 - 11 Aware: Art Fashion Identity — GSK Contemporary The Unconscious in Everyday Life, Science Museum, London 2010 Royal Academy of Arts, London 2009 British Subjects: Identity and Self - Fashioning 1967 - Neuberger Museum of Art, Purchase, New York Fascination with the Foreign: China — Japan — Europe, Hetjens - Museum Landeshaupstadt Düsseldorf, Germany Conflicting Tales: Subjectivity (Quad1), The Burger Collection, Berlin Prints Charming, Liberty, London Medals of Dishonour, British Museum, London sh [OUT]: Contemporary art and human rights, Gallery of Modern Art, Glasgow

For both Lauren Clay and Inna Babaeva, a palimpsest becomes an appropriate metaphor for describing the process by which their artworks accumulate additional meanings by a semi-erasure of seemingly finite parameters; for Clay, art history becomes a subject, playfully personified, from which a new - and arguably more vibrant - character emerges to self consciously eradicate its predecessor.

2009 Lisson Presents 6, Lisson Gallery, London, UK Forms of Enquiry, Architects Association, London, UK British Subjects: Identity and Self - Fashioning, Neuberger Museum, Westchester County, New York, US Where water comes together with other water, Chapter 3, gb Agency, Paris, FR 7 Words, Am Nuden Da Session, London, UK Double Bind, Villa Arson, Nice, FR Space as Medium, Miami Art Museum, Miami, US Can Art Save Us, Millennium Galleries, Sheffield, UK Mille e Tre, Musée du Louvre, Paris, FR The Store, Artissima, IT Radical Autonomy, Le Grand Café, Saint Nazaire, FR TV, Mercer Union, Mercer Union, Toronto, US The Storyteller, Salina Art Centre, Kansas.

Traveled to: Musée de l'Elysée, Lausanne; Victoria and Albert Museum, London; Hamburger Kunsthalle; Museo de Arte Contemporáneo de Caracas, Venezuela, 1988 — 1989 Three Decades; The Oliver Hoffmann Collection, Museum of Contemporary Art, Chicago, December 17, 1988 — February 5, 1989 (Catalogue) Identity: Representations of the Self, Whitney Museum of American Art, Downtown at Federal Reserve Plaza, New York, December 14, 1988 — February 10, 1989 (Catalogue) Gianfranco Gorgoni: Altered Images, The Penson Gallery, New York, November 15 — December 10, 1988 (Catalogue) Drawing on the East End: 1940 — 1988, The Parrish Art Museum, Southampton, New York, September 18 — November 13, 1988 (Catalogue) The Instant Likeness: Polaroid Portraits, National Portrait Gallery, Washington, D.C., August 27 — December 4, 1988 Aldo Crommelynck, Master Prints with American Artists, Whitney Museum of American Art at the Equitable Center, New York, August 3 — November 7, 1988 (Catalogue) Fifty - Second National Midyear Exhibition, The Butler Institute of American Art, Youngstown, Ohio, June 26 — August 21, 1988 (Catalogue) Life Like, Lorence Monk Gallery, New York, June 4 — 25, 1988 1988, The World of Art Today, Milwaukee Art Museum, May 6 — August 28, 1988 (Catalogue) Self As Subject, Katonah Gallery, New York, January 24 — March 6, 1988

EXHIBITIONS 2016 «Growth / Decay», Antler Gallery - Portland, OR 2016 «Growth / Decay», Paradigm Gallery - Philadelphia, PA 2016 «Year Two», Sweet As Studios - Pittsburgh, PA 2016 «Photobook 2015 Exhibition», Griffin Museum of Photography - Winchester, MA 2015 «Photobook 2015 Exhibition», Davis Orton Gallery - Hudson, NY 2015 «Art All Day», Artworks Trenton - Trenton, NJ 2014 «Works by Nick Pedersen», Paradigm Gallery - Philadelphia, PA 2014 «Pratt Digital Arts» Art Basel Miami Beach - Miami, FL 2014 «Virtual Vision», Auguste Clown Gallery - Melbourne, Australia 2014 «Art All Night», Artworks Trenton - Trenton, NJ 2013 «Story of the Creative», Angel Orensanz Foundation - New York City, NY 2013 «Superstition», San Francisco Center for the Book - San Francisco, CA 2013 «Graphique Noir», Orange County Center for Contemporary Art, CA 2012 «Electron Salon», Los Angeles Center for Digital Art - Los Angeles, CA 2012 «Daylight Savings», The Banff Centre - Alberta, Canada 2011 «Object / Self / Subject», Museum of Russian Art - Jersey City, NJ 2011 «Devoción por un ídolo», Bastardo Gallery — Bogotá, Colombia 2011 «Pratt Show», The Manhattan Center - New York City, NY 2011 «Digital Print Exhibition», D&D Building - New York City, NY 2010 «Art and Sustainability», Schafler Gallery - Brooklyn, NY 2009 «Politics and Media», Schafler Gallery - Brooklyn, NY

This online exhibition (released March 20, 2016) follows the NARGIFSUS SCREENING at TRANSFER Gallery, Brooklyn, New York, on the occasion of the closing event of Carla Gannis's solo show A Subject Self - Defined on March 19, 2016.

Despite this self - imposed handicap, by 1985 Andy Warhol was describing Fischl in his diary as «the hot new top artist»; he was the subject of a long Vanity Fair profile entitled «Bad Boy of Brilliance» which compared him favourably to celebrity artist peers such as Julian Schnabel and Jean - Michel Basquiat; and his paintings were suddenly selling for hundreds of thousands of dollars.

Mapping the rise of a new, entirely self - exploitative and self - obsessed neoliberal subject, she also observes the process by which centrally orchestrated processes of precarization, and the need to cultivate of an image of success, are internalised — like it or not — by no - longer - peripheral actuers of the «independent» scene.

2009 British Subjects: Identity and Self - Fashioning, 1965 - 2009, Neuberger Museum of Art, Purchase, New York 2009 A Rebelión dos Xeneros, Centro Torrente Ballester, Ferrol, Spain 2009 Third Moscow Bienniale of Contemporary Art, The garage Center for Contemporary Culture, Moscow, Russia 2009 Persona, Royal Museum for Central Africa, Tervuren, Belgium (April — January 2010) 2009 Perhaps Truth is a Woman, Museum of European Garden History, Düsseldorf, Germany 2009 Unbounded: New Art for a New Century, Newark Museum, New Jersey, USA 2009 Body Memory, Princeton University Art Museum, Princeton, New Jersey, USA 2009 Bodies in Contemporary Art, Norton Museum of Art, West Palm Beach, Florida, USA 2009 Pictures in Series, Fischer Landau Center for Art, Long Island City, New York, USA

Opening: «Carla Gannis: A Subject Self - Defined» at Transfer A digital artist who's known for her videos and photographs that mix contemporary culture with Old Master paintings, Carla Gannis presents new work that deals with issues of identity and branding.

Light was also shed on sociohistorical and historico - cultural subjects such as «Shopping — A Century of Art and Consumer Culture,» «Privacy,» the visual art of the Stalin period, or New Romanticism in contemporary art; other presentations revealed the influence of Charles Darwin's theories on art of the nineteenth and twentieth centuries, or the intriguing causalities between artists of the modern era and self - proclaimed «prophets» of this period.

The exhibition is the broadest single display of his practice to - date, Opie employs the concise vernacular of modern media, depicting new subjects in previously unexplored mediums as well as self referentially developing ideas from his early works.

Is there a channel surfer out there who does not grasp that picture and sound track (or caption) are subject to arbitrary mismatch and mutual influence (as James Coleman's and Stan Douglas» works remind us laboriously), or that TV news is a corporate product easily customized to suit government interests (see Martha Rosler), or that the camera (see Nan Goldin) has unleashed new modes of self - display that do not necessarily spell liberation?

«British Subjects: Identity and Self - Fashioning,» Neuberger Museum of Art, Purchase College, State University of New York, Purchase, NY, September 13 — December 13, 2009

, LIAF, Lofoten International Art Festival, Norway Rematerialized New Galerie Paris / New York, New Galerie, Paris on Off moments, Grimmuseum, Berlin Le tamis et le sable 2/3: L'Intervalle, Instants Chavirés, Paris New Eyes for New Spaces, ISCP, New York Und everybody says yeah — on internet meme, The House of Electronic Arts, Basel 2012 The End (s) of the Library, Goethe - Institut New York Library, New York The Making of Americans: A marathon reading of Gertrude Stein's novel, Triple Canopy, New York Let us keep our own noon, curated by David Horvitz, West, Den Haag Rome Photo Festival, MACRO, Testaccio, Rome Fair Exchange, curated by Taeyoon Choi, Eyebeam, New York Canceled: alternative manifestations and productive failures, organised by Lauren van Haaften - Schic, Center for Book Arts, New York Frieze, with Triple Canopy, New York Group exhibition, Access Art, Vancouver Matter Out of Place, The Kitchen, New York Scenes of Selves, Occasions for Ruses, Surrey Art Gallery, Vancouver In search of..., curated by Lennard Dost and Daniel Dennis de Wit, Academie Minerva, Groningen the chief on top of the chief, MIRACLE & CONNELLY PRESENTS, Vancouver Force Fields, curated by Alexis Granwell and Jenny Jaskey, Tiger Strikes Asteroid, Philadelphia 2011 The Greater Cloud, curated by Petra Heck, Netherlands Media Art Institute, Amsterdam Worng, IMO, Copenhagen Intimate Bureaucracies: Art and the Mail, curated by Zanna Gilbert, Art Exchange, University of Essex, Essex Subject to Change, Fathom + Hatch, New York The Best of 2011, Soloway, Brooklyn, New York The Open Daybook, Los Angeles Contemporary Exhibitions, Los Angeles FINISHED, Showpaper 42nd St Gallery, New York, New York As Yet UnTitled, SF Camerawork, San Francisco LATE Nights, Berkley Art Museum, Berkeley, California (performance) 2010 FREE, New Museum, New York Different Repetitions, curated by David Senior, Booklyn, New York Palling Around with Socialists, U-turn Art Space, Cincinnati, Ohio We have as much time as it takes, Wattis Institute for Contemporary Arts, San Francisco FAX, Burnaby Art Gallery, Vancouver An Immaterial Survey of our Peers, Chicago (online) 01, Presented by 01 Magazine, 107 Shaw Gallery, Toronto The Page, Guggenheim Gallery, Chapman University, Orange, California Burn, Baby, Burn!

The artists have voluntarily accepted new conditions for creating paintings - a series of radical reductions and eliminations in subject matter, image, association and stylistic device, as if to enable themselves to reach certain irreducible levels in the work of art and in the self.

Lucas Samaras (b. 1936, Kastoria, Macedonia, Greece) has been the subject of more than one - hundred solo exhibitions and seven major career retrospectives, including Unrepentant Ego: The Self - Portraits of Lucas Samaras at the Whitney Museum of American Art, New York, in 2004, which featured a staggering 400 works.

The conversation focuses on Ligon's «Untitled (I Am a Man),» 1988, and its relevance to representations of self, race, and gender, the subject of a new book by Bordowitz in Afterall Books» «One Work» series.

In a geodesic dome installed for the occasion, partygoers could sit as subjects for aura photography by Christina Lonsdale, a Portland, Oregon - based artist who, by way of her project Radiant Human, explores «the distance between New Age self - discovery from New Media self (ie)- actualization.»

2005 Realms of Creation: Wölfli & Darger, Side by Side, Andrew Edlin Gallery, New York, NY Mixed - Up Childhood, Auckland Art Gallery, Auckland, New Zealand Musgrave Kinley Outsider Collection, Tate Britain, London, UK Recent Acquisitions, Galerie St. Etienne, New York, NY Dubuffet und Art Brut, Museum Kunstpalast, Düsseldorf, Germany Every Picture Tells a Story, Galerie St. Etienne, New York, NY Mixed - Up Childhood, Aukland Art Gallery, Auckland, New Zealand Écriture en délire, Halle Saint - Pierre, Paris, France Create and Be Recognized, Photography on the Edge, Yerba Beuna Center for the Arts, San Francisco, CA Only Make Believe, Compton Verney House Trust, Warwickshire, UK Looking at Words, Andrea Rosen Gallery, New York, NY Summer Exhibition, Andrew Edlin Gallery, New York, NY Life and Limb, Kinz + Tillou, New York, NY Verborgen werelden (Hidden Worlds), Museum Dr. Guislan, Ghent, Belgium Self and Subject, American Folk Art Museum, New York, NY Landings, Susan Inglett Gallery, New York, NY

In the broadest single display of his practice to - date, Opie employs the concise vernacular of modern media, depicting new subjects in previously unexplored mediums as well as self referentially developing ideas from his early works.

The exhibition is the broadest single display of his practice to - date, Opie employs the concise vernacular of modern media, depicting new subjects in previously unexplored mediums as well as self -LSB-...]

Other subjects covered include the challenge of justifying investment in new IT, the use of self - service tools such as» lawbots», and the companies at the forefront of tech innovation.