Sentences with phrase «term nature of working»

«If we want to be disruptive and allow for education to have a different experience in the United States, we need to recognize the long - term nature of this work and stop using short - term yardsticks to measure progress.»

Not exact matches

Aspect's diverse investing team and collaborative nature differentiates the firm from others in terms of its portfolio and its approach to working with entrepreneurs and investors alike.

Turcotte is now combining his long - term thinking with his love of nature in his work as CEO with Stone Creek Resorts, which is celebrating its 25th anniversary this year.

In trying to explain how these instruments of monetary control work, I'm tempted, if only for the time being, to revert to some old - fashioned terminology that, whatever its other shortcomings, seems more useful than modern terms are for shedding light upon the nature of money creation.

I guess I've started to see political, religious, economic, and social aspects of our world in very evolutionary terms - it works, but nature is cruel.

What we do at USCIS is so important to our nation, so meaningful to the applicants and petitioners, and the nature of the work is often so complicated, that we should never allow our work to be regarded as a mere production line or even described in business or commercial terms.

Because of the long - term and perhaps even boring nature of the work, we may slacken our concentration.

He is negating the first by denying the very possibility of «signs»; The Kingdom is not of such a nature that a sign visible in terms of the totality of world events or the externals of history or the cosmos will mark its presence; God is not to be seen at work in the clash of heavenly bodies or of earthly armies.

We could then suppose that when Whitehead developed the idea of the consequent nature in the narrow sense, he created the «primordial nature» as a contrasting term This hypothesis would make sense of the present text of PR without supposing that Whitehead began working on the Gifford Lectures only with a noninteractive God little different from the abstract principle of concretion of SMW» (PS 15: 200).

In some such fashion we can come to understand the Christian conviction that through Jesus Christ God is decisively present and at work, «representing» (in Schubert Ogden's admirable word) the possibility present in human nature as such, establishing a reconciliation of human existence with God's intention for it, and revealing the divine nature in human terms and with a singular intensity.

The appraisal that God makes is worked out in what He does — or, in words that describe the creative advance as we know it, the appraisal is worked out in terms of what is taken into, and what is rejected from, the «consequent nature» of God, God as He is affected by what occurs in the world; and then, in what use is made of what has been thus taken or received in the furthering of the project or purpose of God, the implementation of good «in widest commonalty shared».

However, as in the seventeenth century the various later theories were not produced independently of each other but came to be developed by working through, and in divergence from, the first great attempt at a philosophical structure built upon a profound insight into the problems at issue, namely, that of Descartes, so in our time the new efforts which are required in the philosophy of nature will need to come to terms with the pioneering work of Whitehead.

This is what Whitehead undertook in his major and most difficult work, Process and Reality, subtitled «An Essay in Cosmology,» the term «cosmology» there being a synonym for «philosophy of nature.»

Dr. Bellah clarifies the term «civil religion» and how the principle has worked out in our history, and he discusses the confusion about the nature of the American republic.

Most importantly, a book with this sub-title should have included arguments that confront the bishops» working presuppositions about poverty and wealth, the nature of the Christian duty to the poor, and such terms as «economic rights,» «redistribution,» and «social justice.»

I confess that I have become somewhat blasé about the range of exciting — I think revolutionary is probably more accurate — technologies that we are rolling out today: our work in genomics and its translation into varieties that are reaching poor farmers today; our innovative integration of long — term and multilocation trials with crop models and modern IT and communications technology to reach farmers in ways we never even imagined five years ago; our vision to create a C4 rice and see to it that Golden Rice reaches poor and hungry children; maintaining productivity gains in the face of dynamic pests and pathogens; understanding the nature of the rice grain and what makes for good quality; our many efforts to change the way rice is grown to meet the challenges of changing rural economies, changing societies, and a changing climate; and, our extraordinary array of partnerships that has placed us at the forefront of the CGIAR change process through the Global Rice Science Partnership.

Chris Blythe, Chief Executive of the CIOB said: «Construction is often simplistically viewed in terms of employment statistics and visible work on building sites, but this overlooks the increasingly high - tech nature of an industry that is leading on innovation and contributing directly to national productivity.

Awestruck by nature, early American explorers wrote about western landscapes in terms of such singular amazement that residents of the east coast interpreted their accounts to be works of fiction.

[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.

The defect is created because there is a disconnection in the system in terms of how it's able to connect to nature and the reason that's occurred for our species is because we think all the things that we come up are really great because we don't understand the owner's manual, what's built into the mitochondria and how it works.

On more traditional dating sites this would never work of course, but on a site that is superficial in nature (this isn't about finding love, after all) we feel that letting the users state from the start what they're looking for in clear, uncertain terms can only be a good thing.

«I'm completely internalized in terms of makeup or effects, creatures, visual effects and camera work, it's completely second nature on my sets, so I try to make it very simple for my actors,» Del Toro says.

The movie works in certain scenes that hint to the original — both in terms of imagery and the shift in power from apes to humans — but it does not quite match the thought - provoking nature of the 1968 sci - fi master «Planet of the Apes.»

It should be noted that the term «state of nature» has been defined by the philosopher Thomas Hobbes (2014) in his work

Last week I talked about the nature of short - term, or working memory and how it helps it build expertise.

In general terms the SNA acts in a care and support role that is non-teaching in nature and works under the guidance and supervision of the principal and / or class teacher.

Amazon Terms and Conditions and the unreliable nature of working with the public means we can not tell you an exact number.

It takes on the short - term nature of our business culture in many areas: The nature of the problem is that the owners no longer work for the corpora...

Back to incentives — the four points above work best for companies when revenues and expenses of the business are short term in nature.

has led us to the conclusion, so far, that art is not a free, autonomous activity of a super-endowed individual, «influenced» by previous artists, and, more vaguely and superficially, by «social forces,» but rather, that the total situation of art making, both in terms of the development of the art maker and in the nature and quality of the work of art itself, occur in a social situation, are integral elements of this social structure, and are mediated and determined by specific and definable social institutions, be they art academies, systems of patronage, mythologies of the divine creator, artist as he - man or social outcast.

Titled after the photographic term «nearest neighbor», referring to the type of sampling used when resizing a digital image, the exhibition also alludes to the personal nature of Ethridge's work, evident beneath the commercial façade.

While they occupy highly individualistic niches, there are several similarities in their approach to art - making in terms of formal strategy, the importance of creating an installation context, and the influence of folk art and nature in their work.

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

In terms of subject, not style, Doig's work can be positioned within two traditions - that of Western landscape painting with heroic, moody representations of nature; and Impressionism with depictions of daily life, scenes previously thought irrelevant or inconsequential but which serve as the true basis for human interaction.

The camera as Edward Weston states «provides the photographer with a means of looking deeply into the nature of things, and presenting his subjects in terms of their basic reality» Thus, in the classic sense, Tillmans» work unites photography's heroic modernism with the mysterious humanism of late twentieth century identity.

Despite its offensive nature to some religious groups, the work was quite beautiful, essentially substituting a reddish glow instead of a golden halo to a traditional religious subject, a substitution that at least in terms of color made some sense.

Her work is ultimately inspired by nature — «although in completely different terms,» she says, adding, «For me nature is not landscape, but the dynamism of visual forces — an event rather than an appearance.»

Bourgeois rejects this simplification of her work and instead would rather view her work in terms of what she refers to as its voulu state of being, allowing the work to exist as it will rather than a forced reaction to her feminine nature.

In most work that we know and respect, particularly abstract art which has broken all kinds of links with the observed world, and which could be said to be about the nature of the medium itself — the two dimensional canvas, the colours, the drawing, the frame of the canvas — the medium is absolutely essential — is crucial — in terms of my appreciation of a work of art.»

Her work was also unique in terms of her commitment (in varying degrees) to maintaining some figuration — usually patterns from nature and sometimes calligraphic elements such as Hebrew letters — and a cerebral sense of control, in contrast to the less - controlled automatism being practiced by her contemporaries.

The path forward in art - historical terms was split between those artistic movements more aligned with deeper investigations into the increasingly essential properties of a particular medium or reductive practices (e.g., Abstract Expressionism, Color Field painting, Minimalism) and those movements that actively sought an expansion of the arts into a plurality of new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arof a particular medium or reductive practices (e.g., Abstract Expressionism, Color Field painting, Minimalism) and those movements that actively sought an expansion of the arts into a plurality of new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arof the arts into a plurality of new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arof new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arOf these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arof the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arof experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic arof light and sound as well as the interactive qualities of kinetic arof kinetic art.

These mostly forgettable works on paper confirm that Ms. Whiteread is not a draftsman by nature; she thinks in terms of volumes, not lines.

Her work proposes an ongoing analysis of the nature of sculpture and of its potential not only in terms of form but also as systems of objects that draw out performative scenarios.

However, it is exactly the uncontrollable nature of sonic works, their diffuse and permeating nature that defines a radical edge in terms of exhibition display and demands a radical rethink of curatorial strategies.

[5] Harrison's writing reveals an interest in the retinal perception of color, and in tonal harmony; he believed that the term Impressionism was descriptive not merely of the recent movement in French painting, but referred to any work done «honestly and sincerely» before nature.

In a large - scale exhibition spanning several epochs, the Hamburger Kunsthalle traces based on important works how artists working in different media picture natural catastrophes while also shedding light on humanity's failure to come to terms with nature due, among other things, of our faith in...

Calder often used the term disparity to describe the independent and even contradictory nature of his works» constituent elements as they coalesce into their complex wholes.

Parsons persistently evoked nature, not in terms of specific topography but as effects of light and color that permeate works such as Green Field (1966) and Evening Light (1974).

The title of the exhibition, taken from the text by Hélène Cixous for the catalogue, suggests a «potential reading which subsumes two basic aspects of the artist's work: its critical, non-conformist nature in terms of the politico - artistic situation she has lived through during her career and the importance of movement and of the body as vehicles for articulating her discourse.

Often compared to Francis Bacon and Lucian Freud in terms of the revolutionary and powerful nature of his work, his depictions of people and the urban landscapes near his London studio show him to be one of the greatest painters alive today.