Sentences with phrase «times we form perceptions»

Many times we form perceptions based on race.

Not exact matches

Actual results, including with respect to our targets and prospects, could differ materially due to a number of factors, including the risk that we may not obtain sufficient orders to achieve our targeted revenues; price competition in key markets; the risk that we or our channel partners are not able to develop and expand customer bases and accurately anticipate demand from end customers, which can result in increased inventory and reduced orders as we experience wide fluctuations in supply and demand; the risk that our commercial Lighting Products results will continue to suffer if new issues arise regarding issues related to product quality for this business; the risk that we may experience production difficulties that preclude us from shipping sufficient quantities to meet customer orders or that result in higher production costs and lower margins; our ability to lower costs; the risk that our results will suffer if we are unable to balance fluctuations in customer demand and capacity, including bringing on additional capacity on a timely basis to meet customer demand; the risk that longer manufacturing lead times may cause customers to fulfill their orders with a competitor's products instead; the risk that the economic and political uncertainty caused by the proposed tariffs by the United States on Chinese goods, and any corresponding Chinese tariffs in response, may negatively impact demand for our products; product mix; risks associated with the ramp - up of production of our new products, and our entry into new business channels different from those in which we have historically operated; the risk that customers do not maintain their favorable perception of our brand and products, resulting in lower demand for our products; the risk that our products fail to perform or fail to meet customer requirements or expectations, resulting in significant additional costs, including costs associated with warranty returns or the potential recall of our products; ongoing uncertainty in global economic conditions, infrastructure development or customer demand that could negatively affect product demand, collectability of receivables and other related matters as consumers and businesses may defer purchases or payments, or default on payments; risks resulting from the concentration of our business among few customers, including the risk that customers may reduce or cancel orders or fail to honor purchase commitments; the risk that we are not able to enter into acceptable contractual arrangements with the significant customers of the acquired Infineon RF Power business or otherwise not fully realize anticipated benefits of the transaction; the risk that retail customers may alter promotional pricing, increase promotion of a competitor's products over our products or reduce their inventory levels, all of which could negatively affect product demand; the risk that our investments may experience periods of significant stock price volatility causing us to recognize fair value losses on our investment; the risk posed by managing an increasingly complex supply chain that has the ability to supply a sufficient quantity of raw materials, subsystems and finished products with the required specifications and quality; the risk we may be required to record a significant charge to earnings if our goodwill or amortizable assets become impaired; risks relating to confidential information theft or misuse, including through cyber-attacks or cyber intrusion; our ability to complete development and commercialization of products under development, such as our pipeline of Wolfspeed products, improved LED chips, LED components, and LED lighting products risks related to our multi-year warranty periods for LED lighting products; risks associated with acquisitions, divestitures, joint ventures or investments generally; the rapid development of new technology and competing products that may impair demand or render our products obsolete; the potential lack of customer acceptance for our products; risks associated with ongoing litigation; and other factors discussed in our filings with the Securities and Exchange Commission (SEC), including our report on Form 10 - K for the fiscal year ended June 25, 2017, and subsequent reports filed with the SEC.

Examples of these risks, uncertainties and other factors include, but are not limited to the impact of: adverse general economic and related factors, such as fluctuating or increasing levels of unemployment, underemployment and the volatility of fuel prices, declines in the securities and real estate markets, and perceptions of these conditions that decrease the level of disposable income of consumers or consumer confidence; adverse events impacting the security of travel, such as terrorist acts, armed conflict and threats thereof, acts of piracy, and other international events; the risks and increased costs associated with operating internationally; our expansion into and investments in new markets; breaches in data security or other disturbances to our information technology and other networks; the spread of epidemics and viral outbreaks; adverse incidents involving cruise ships; changes in fuel prices and / or other cruise operating costs; any impairment of our tradenames or goodwill; our hedging strategies; our inability to obtain adequate insurance coverage; our substantial indebtedness, including the ability to raise additional capital to fund our operations, and to generate the necessary amount of cash to service our existing debt; restrictions in the agreements governing our indebtedness that limit our flexibility in operating our business; the significant portion of our assets pledged as collateral under our existing debt agreements and the ability of our creditors to accelerate the repayment of our indebtedness; volatility and disruptions in the global credit and financial markets, which may adversely affect our ability to borrow and could increase our counterparty credit risks, including those under our credit facilities, derivatives, contingent obligations, insurance contracts and new ship progress payment guarantees; fluctuations in foreign currency exchange rates; overcapacity in key markets or globally; our inability to recruit or retain qualified personnel or the loss of key personnel; future changes relating to how external distribution channels sell and market our cruises; our reliance on third parties to provide hotel management services to certain ships and certain other services; delays in our shipbuilding program and ship repairs, maintenance and refurbishments; future increases in the price of, or major changes or reduction in, commercial airline services; seasonal variations in passenger fare rates and occupancy levels at different times of the year; our ability to keep pace with developments in technology; amendments to our collective bargaining agreements for crew members and other employee relation issues; the continued availability of attractive port destinations; pending or threatened litigation, investigations and enforcement actions; changes involving the tax and environmental regulatory regimes in which we operate; and other factors set forth under «Risk Factors» in our most recently filed Annual Report on Form 10 - K and subsequent filings by the Company with the Securities and Exchange Commission.

This summer, the New York Times concluded a lengthy series on the perceptions of race among Americans by saying: «The series has portrayed a stubbornly enduring racial divide, and the poll suggested that even as the rawest forms of bigotry have receded they have often been replaced by remoteness and distrust in places of work, learning and worship.»

Parish self - understanding, like that of a family, depends upon its perception of itself in a particular time and form, with a memory of its past and the capacity for an open yet characteristic future.

But it doesn't have to stay that way in our minds, and it is actually the transformation of our sight that is becoming spiritual, much the way our Personality is a «personal reality», our Spirituality is the «spirit reality» of our interconnected perceptions, with the Sovereign consciousness of intelligent, creative energy... a.k.a. God... The space contains the spirit, the spirit creates light - forms into time, and the light - forms become the the temples in which the creative one occupies, to explore and recreate from the experiences of exploration.

These forms of consciousness will of course be different for every person, based on personal experience... so that is where a personal God comes in... one that fits each person's current level of understanding... a living, hopefully growing perception as knowledge increases, instead of a fixed idol or icon... but if it provides a person a non-harmful useful comfort and positive function, then what genius has the right to deprive them of that, with ridicule that their understanding is different and better, when the person being ridiculed at the time, does not possess the knowledge required to have the same understanding of the person ridiculing.

Accepting space and time as forms of animal sense perception (that is, as biological), rather than as external physical objects, offers a new way of understanding everything from the microworld (for instance, the reason for strange results in the two - slit experiment) to the forces, constants, and laws that shape the universe.

When describing this theory, Robert Lanza explains that what we call space and time are forms of animal sense perception rather than external physical objects.

«I can't always wear a cotton t - shirt, even though I love to wear a crazy graphic at all times, it's not appropriate for me to go into a certain place and get done what I need to form the right perception.

Societies are dysfunctional by nature because they are formed by individuals who have, most of the time, a poor perception of reality.

The perception of space, movement, time, duration, memory and reflection also takes form in McGreevy's work.

It is this layering that curbs the perception of entropy and fosters a discussion of painting in terms of process and duration and time, as its form and as its content.

Well - known for his glass cube sculptures, the act of perception is again being addressed, however this time two - dimensionality refracts fleeting glimpses of three - dimensionality, cloaked in illusionary forms with the slightest whispers of lyricism.

By exposing these elements to meticulously prepared experiments, I can try to understand their equivocal language, provoke a discourse and make it intelligible, malleable, revealing forms and colours only residing in an invisible field, a hidden reality, escaping the succession of instants imposed by our perception of time.»

The artist — a Chicago native who today divides his time between New York City and Marfa, Texas — is perhaps best known for his paintings of large stenciled letters, which he uses to form words or phrases, often abbreviated or arranged in run - on configurations that disrupt ordinary patterns of perception and speech.

The Hirshhorn Museum's description for the show is very punctual and poetic at the same time: «In a world conditioned by the frantic, 24/7 flow of information and the ephemerality of digital media, many moving - image artists are countering these tendencies with works that emphasize slower, more meditative forms of perception.

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

Working with a wide array of materials, everything from photos, string, sewing, paint, wood paper, time, mirrors, light and space, Oakland based artist Chris Duncan mines questions of optics, geometric abstraction, colour theory, and dynamic patterning, along with a variety of materials to ponder ideas such as perception and balance, in both conceptual and physical forms.

She isolates transitory moments of perception, multiplying and dividing the forms that emerge from them, to create visionary meditations on nature, the mutability of time, and natural cycles of growth and decay.

Through the accumulation of conversations with the artist spanning from 2006 to 2012 — primarily reproductions of earlier material with the addition of a new interview by Adam Szymczyk, director of Kunsthalle Basel, and Quinn Latimer, an art critic and the book's editor — the discursive texts in Interviews on Films and Works obliquely encompass the issues central to the artist's work, including the perception of present time and the relationship of materials to form.

Emerging from her studies about the time of the Op Art movement and that seminal exhibition, The Responsive Eye, presented at the Museum of Modern Art in New York in 1965 and organized by William C. Seitz, Rector could not help but be influenced by the hard - edge structures, dizzying lines, geometric forms and high key and high contrast colors that created optical and illusory effects challenging visual perception.

Or, as Lundeberg and Feitelson put it in their manifesto, «the mechanisms of New Classicism are based upon the normal functioning of the mind: its meandering, logical in sequence though not in ensemble, its perceptions of analogy and idea - content in forms and groups of forms unrelated in size, time, or space.»

The organic form takes the shape of a flying ribbon whereby the artist reiterates the infinite, while challenging the perceptions of time, space and presence.

AAI, Adult Attachment Interview; AFFEX, System for Identifying Affect Expression by Holistic Judgement; AIM, Affect Intensity Measure; AMBIANCE, Atypical Maternal Behaviour Instrument for Assessment and Classification; ASCT, Attachment Story Completion Task; BAI, Beck Anxiety Inventory; BDI, Beck Depression Inventory; BEST, Borderline Evaluation of Severity over Time; BPD, borderline personality disorder; BPVS - II, British Picture Vocabulary Scale II; CASQ, Children's Attributional Style Questionnaire; CBCL, Child Behaviour Checklist; CDAS - R, Children's Dysfunctional Attitudes Scale - Revised; CDEQ, Children's Depressive Experiences Questionnaire; CDIB, Child Diagnostic Interview for Borderlines; CGAS, Child Global Assessment Schedule; CRSQ, Children's Response Style Questionnaire; CTQ, Childhood Trauma Questionnaire; CTQ, Childhood Trauma Questionnaire; DASS, Depression, Anxiety, Stress Scales; DERS, Difficulties in Emotion Regulation Scale; DIB - R, Revised Diagnostic Interview for Borderlines; DSM, Diagnostic and Statistical Manual of Mental Disorders; EA, Emotional Availability Scales; ECRS, Experiences in Close Relationships Scale; EMBU, Swedish acronym for Own Memories Concerning Upbringing; EPDS, Edinburgh Postnatal Depression Scale; FES, Family Environment Scale; FSS, Family Satisfaction Scale; FTRI, Family Trauma and Resilience Interview; IBQ - R, Infant Behaviour Questionnaire, Revised; IPPA, Inventory of Parent and Peer Attachment; K - SADS, Kiddie Schedule for Affective Disorders and Schizophrenia for School - Age Children; KSADS - E, Kiddie Schedule for Affective Disorders and Schizophrenia - Episodic Version; MMD, major depressive disorder; PACOTIS, Parental Cognitions and Conduct Toward the Infant Scale; PPQ, Perceived Parenting Quality Questionnaire; PD, personality disorder; PPVT - III, Peabody Picture Vocabulary Test, Third Edition; PSI - SF, Parenting Stress Index Short Form; RSSC, Reassurance - Seeking Scale for Children; SCID - II, Structured Clinical Interview for DSM - IV; SCL -90-R, Symptom Checklist 90 Revised; SCQ, Social Communication Questionnaire; SEQ, Children's Self - Esteem Questionnaire; SIDP - IV, Structured Interview for DSM - IV Personality; SPPA, Self - Perception Profile for Adolescents; SSAGA, Semi-Structured Assessment for the Genetics of Alcoholism; TCI, Temperament and Character Inventory; YCS, Youth Chronic Stress Interview; YSR, Youth Self - Report.