Sentences with phrase «such object in the world»

It could be an improvement on a previous artwork or the first such object in the world.

Not exact matches

Language does not «point out» objects in the world, but tries to paint a complete «picture» of the «facts» — of what is the case and not the case in the world, which is the totality of all such facts.

By this distinction of two modes of passivity — of receiving forms - Aristotle sets off the world of conscious experience from the world of nature, but in such a way that not only the objects but the very workings of nature are included as part of what is felt.

As such it is to be distinguished from the perception of an object merely as passively situated in the external world and not experienced as affecting the sentient.

It is arbitrary in that there are no inherent grounds in the object of that choice that compel my response... Jesus is in the world in such a way that he readies me for whatever beliefs and actions and forms of self - discipline I may be obliged to take on.

In this sense, the common objects of the world are the posits of our projections, so that the continuity of these projections for such objects is in this respect tautologicalIn this sense, the common objects of the world are the posits of our projections, so that the continuity of these projections for such objects is in this respect tautologicalin this respect tautological.9

Such a world rests upon the evidence of similarity, the correspondence of certain images and patterns with others, and the argument that such consonance implies a common form or structure in which similar objects participSuch a world rests upon the evidence of similarity, the correspondence of certain images and patterns with others, and the argument that such consonance implies a common form or structure in which similar objects participsuch consonance implies a common form or structure in which similar objects participate.

That Judaism has no such theology is due not to any incapacity or lack of development in its thought, but to the fact that Judaism has from the beginning a different conception of God; He does not in any sense belong to the world of objects about which man orients himself through thought.

Palmer always uses the term «objective» to describe the antagonistic posture of the isolated, active knower who seeks, for purposes of manipulation and control, to grasp, through the scientific method, the passive objects of the world in such a way that the knowledge that results «will reflect the nature of the objects in question rather than the knower's whims.»

Apart from such orderings, there would be a complete disjunction of eternal objects unrealized in the temporal world.

These objects would be possible ways in which that world could be unified by the new concrescence.3 Reasoning parallel to that in the foregoing paragraph suggests that there would be a nondenumerable multitude of such possibilities for each new concrescence.

A route of such occasions is in Whitehead's language an «enduring object,» and the ordinary physical objects of the world are built up of such enduring objects.

We will again exist in a world of subjects rather than a world of objects, and such a world will call for a new type of science and a changed role for technology.44 Compared with such a revolution the issues separating liberals and Marxists are relatively minor.

The result is that the supposedly neutral referees of the global market (institutions such as the World Trade Organization) become themselves objects of the competition, subject to bribery and behind - the - scenes efforts by corporate entities to sway the outcome in their favour.

If we could find such an object, we might be able to read how Native South Americans viewed their history and rituals in their own words, opening a window to a new Andean world of literature, history, and the arts.

We are spared such paradoxes because the rules of quantum physics seem confined to subatomic objects — in the human - scale world, a cat is either alive or dead.

The optical flashes that carry our messages are generated by such lasers, whose core workings Einstein envisioned in those distant World War I years; the bar codes on every object we purchase also depend on Einstein's lasers being able to accurately read those coded spacings.

Sheppard and Trujillo, along with David Tholen of the University of Hawaii, are conducting the largest, deepest survey for objects beyond Neptune and the Kuiper Belt and have covered nearly 10 percent of the sky to date using some of the largest and most advanced telescopes and cameras in the world, such as the Dark Energy Camera on the NOAO 4 - meter Blanco telescope in Chile and the Japanese Hyper Suprime Camera on the 8 - meter Subaru telescope in Hawaii.

Surrealist master Luis Bunuel is a towering figure in the world of cinema history, directing such groundbreaking works as Un Chien Andalou, Exterminating Angels, and That Obscure Object of Desire, yet his personal life was clouded in myth and paradox.

The game is played from the first - person perspective, and players can interact with the world via crafting, destroying, looting and manipulating the environment and its objects, all attached to working physics system which keeps things in check, such as unstable buildings.

Some, of course, will object on principle to the mere act of turning events such as the Iraq War and the 9/11 attacks — two of Greengrass's previous subjects — into pulse - pounding thrills in the first place, arguing that he's exploiting real - world trauma for the sake of shallow entertainment.

A Fence is an object found in various Mario games, such as Super Mario World and New Super Mario Bros..

These changes, both in the virtual world such as an eBook library, and now in the physical world with a wider and wider assortment of home CAD and CAM with more and more flexibility in terms of materials and the size of the objects manufactured, signal a huge change that the world is barely able to conceive in its mind but which is happening in an ever widening set of circles as exemplified by MIT's FABLABs, and other more commercial examples of similar products, and product production arrays.

Using the feature, you can use the handset to enjoy augment reality enabled games and utilities, so those virtual objects and info will overlay onto the real world, and you can also interact with them such as measuring items with just the phone, seeing how furniture or decor will look in your room, raising virtual pets and more.

This works like the destruction seen in other open world games, such as Just Cause, where there are particular objects you can blow up.

The game is played from the first - person perspective, and players can interact with the world via crafting, destroying, looting and manipulating the environment and its objects, all attached to working physics system which keeps things in check, such as unstable buildings.

These items allow you to interact with different objects in the world, such as mithril gloves that allow the character wearing them to pull orange handles.

In many open world or sandbox style games, developers construct their virtual worlds in such a way as to enable players to directly abuse non-playable sex objectIn many open world or sandbox style games, developers construct their virtual worlds in such a way as to enable players to directly abuse non-playable sex objectin such a way as to enable players to directly abuse non-playable sex objects.

The «World» in the title references to the new unified ecosystem in the game, in which players will navigate seamlessly from one area to the other, with all the elements in the environment such as enemies, objects, or traps, affecting each other.

There's one that lets you summon Amiibos into the world, such as Twilight Princess» Wolf Link (the timeline is in tatters) and, finally, there's a Rune called Cryonis that replaces the Ice Arrows of old, letting Link create pillars of Ice from water to help create platforms and lift up certain objects.

Of course we don't expect Nintendo to be aiming for such an accolade because their intention is not that of Rockstar Games» — these guys literally revolutionized the way open world gaming is looked at, and while exploration is a key in Zelda games, that is one of the primary objectives, not the primary object.

Finally, the wizard is able to conjure up objects such as boxes and planks to climb on, and is able to levitate as well as move certain objects in the world.

These portals can be found by activating the 3DS's camera and using it to scan objects in the real world, such as a ball or a watch.

The CPU won't bottleneck performance on most linear games, since it's almost solely responsible for copying data from the HDD to the GPU and RAM, but with open world games such as FFXV you'll get immense stuttering when you're moving fast or driving since it copies the objects and textures in real time.

Early in the game the puzzles involve actions such as flicking a switch or pulling an object, but the more you progress the more complex they become and change the environment around you - for instance, the turn of a cog will turn your whole world upside down and timing is very much of the essence!

By using physical objects, such as her signature hand - blown glass bubbles and hanging balloons, Loher creates idealized, artificial worlds that sit in harmony with our own, often unpleasant, reality.

Embracing the linear, abstract and geometric, and the human desire to locate order and beauty in a world that often provides neither, Dahlgren's solo exhibition — his second here — features works (many site - specific or performative) that express how an artist can cultivate awe - inspiring impressions stemming from deliberation and recurring tasks, and from the alteration of domestic objects and common items such as weighing scales, coloured pencils and darts.

Johanson's move from making objects to working with the natural world — at first in drawings and later in actual commissions — has parallels (as well as differences) with the emergence of Earthworks by artists in her circle of friends, such as Robert Smithson and Nancy Holt.

Fecteau likes to play with conventions within the art world, such as the desire to name things in order to know or understand them; how art objects age, and how works in the homes of collectors often sport a cobweb or two.

Viewing such a bold exhibition at the Victoria & Albert Museum shows us, quite neatly in line with «Disobedient Objects», how the contemporary art world is no longer limiting expression but instead celebrating it.

Consciously employing commonly used artistic techniques, such as trompe l'oeil, action painting, graphic design, screen printing, and rudimentary drawing, Josh Reames» paintings break down hierarchies of mark - making, art historical references, computer graphics, labels, and everyday objects in a manner drawn from the non-objective «infinite scroll» of images and information we encounter in both the online and real world.

A beautiful and humble object, where neither artist plays the dominant role, thus sits perfectly in the world of concrete poetry for which Finlay was such a catalyst in the 1960s, suggesting real friendship between the two artists skilfully exploited by the publisher.

''... The found object quality of these works draws on histories and practices in painting such as abstract minimalism of the»60s and»70s, quietly positioning an apparent similarity to these real world objects which are rudimentary tools for identification,» according to Karma.

With a complete selection of over 90 works in different media such as painting, industrial design, animation and fashion, the exhibition, curated by MOCA Chief Curator Paul Schimmel, reveals this artist's personal universe: from his early works in the 1990s, in which he explored his own identity, to his large - scale sculptures created after 2000, veritable icons of this artist, and ending with his gallery of manufactured objects, his animation projects, his connection to the world of fashion, and his compelling works of recent years.

A reoccurring leitmotif in Jonas's practice, cones have often served multiple functions as sound device, sculptural object, stage prop and allusion to elements of the natural world such as trees and volcanoes.

While historic pieces such as the iconic code - breaking Enigma machine from World War II are on display, SPYSCAPE isn't an ordinary museum with antiquated objects in vitrines and dry wall texts.

In her distinguished career the painter Ellen Lanyon has explored a range of visual imagery, from the exotic manifestations of the natural world to material culture: objects such as antique tools or kitchen equipment, somehow bridging the distance between categories through evocative titles and scrupulous examination of form.

In objects and images that straddle the worlds of painting, sculpture, and photography, these artists work to challenge our assumptions and understandings of terms such as design, fine art, architecture, craft, and poetry.

Donald is fascinated by the way in which this system of values in the world of decoy making and collecting (still vital today, in spite of the anachronism of duck hunting) echoes so directly that of the art world — while the art world (in spite of claims that we are beyond modernism with its distinctions between high and low culture) would have nothing of such objects.

Her profound interest in materials is evident in her installations whereby organic and plastic objects — such as ornate textiles, shells, animal forms and plastic tourist souvenirs — combine to create fairytale worlds that are both enticing and subtly menacing.