Sentences with phrase «understand objects in the world»

Through her practice she seeks to understand objects in the world through an examination of the mimetic quality of paint and painting.

Not exact matches

Its object is not simply to understand the world but to respond to the power of God which is recreating it... Christian theology is prophetic only in so far as it dares, in full reflection, to declare how, at a particular place and time, God is at work, and thus to show the Church where and when to participate in his work.6

5 This is a remarkable anticipation of Whitehead's view in Process and Reality that God's primordial ordering of the world's possibilities (the eternal objects) is the ultimate source of novelty in an emergent universe, except that Thornton understands these possibilities to be everlasting rather than timeless.6 This reification of what for Whitehead is purely possible, needing concrete embodiment in the actual world, leads Thornton to conceive of the eternal order as absolutely actual in its unchangeableness, identical with God.

God is understood as unchanging in his primordial nature which envisions the eternal objects and as changing in his creative response to the events of the world.

For him God is not an object of thought, of speculation; he does not press into service the concept of God in order to understand the world and comprehend it as a unity.

In a few thousand years of recorded history, we went from dwelling in caves and mud huts and tee - pees, not understanding the natural world around us, or the broader universe, to being able to travel through space, using reason to ferret out the hidden secrets of how the world works, from physics to chemistry to biology, we worked out the tools and rules underpinning it all, mathematics, and now we can see objects that are almost impossibly small, the very tiniest building blocks of matter, (or at least we can examine them, even if you can't «see» them because you're using something other than your eyes and photons to view them) to the very farthest objects, the planets circling other, distant stars, that are in their own way, too small to see from here, like the atoms and parts of atoms themselves, detected indirectly, but indisputably THERIn a few thousand years of recorded history, we went from dwelling in caves and mud huts and tee - pees, not understanding the natural world around us, or the broader universe, to being able to travel through space, using reason to ferret out the hidden secrets of how the world works, from physics to chemistry to biology, we worked out the tools and rules underpinning it all, mathematics, and now we can see objects that are almost impossibly small, the very tiniest building blocks of matter, (or at least we can examine them, even if you can't «see» them because you're using something other than your eyes and photons to view them) to the very farthest objects, the planets circling other, distant stars, that are in their own way, too small to see from here, like the atoms and parts of atoms themselves, detected indirectly, but indisputably THERin caves and mud huts and tee - pees, not understanding the natural world around us, or the broader universe, to being able to travel through space, using reason to ferret out the hidden secrets of how the world works, from physics to chemistry to biology, we worked out the tools and rules underpinning it all, mathematics, and now we can see objects that are almost impossibly small, the very tiniest building blocks of matter, (or at least we can examine them, even if you can't «see» them because you're using something other than your eyes and photons to view them) to the very farthest objects, the planets circling other, distant stars, that are in their own way, too small to see from here, like the atoms and parts of atoms themselves, detected indirectly, but indisputably THERin their own way, too small to see from here, like the atoms and parts of atoms themselves, detected indirectly, but indisputably THERE.

Rollins argues that «while approaching things in the world as objects to study and understand is vital for the development of technology, our faith can not be treated as a detached object without fundamentally misunderstanding the nature of faith itself.

Interactive and active toys help baby to develop the fine motor control necessary to hold, understand, and use objects in the everyday, adult world.

Being able to see this superfast interaction between electrons gives scientists another tool to unlock the rules that govern the quantum - mechanics world — a world where microscopic objects don't obey the laws of physics we have come to rely on for understanding in the macro world.

Christian Knigge, Professor in Physics and Astronomy at the University of Southampton, worked with colleagues from around the world to study one of the most important, but least understood processes in astronomy — accretion, where the mass of an object grows by gravitationally collecting material from nearby.

As physicists gather in early August to celebrate a century since the initial discovery of cosmic rays, Alan Watson, emeritus professor of physics at the University of Leeds, explains in this month's Physics World how physicists have gradually revealed the nature of these mysterious objects and examines the progress being made in understanding where they come from.

They've already identified four other explosions they think are in the same category, and they write that better understanding of what's occurring in this class of objects could change what we know about how black holes affect the world around them.

Objects in the British Museum collection help provide a deeper understanding of the ways in which people around the world live and cope with HIV and AIDS.

The understanding of the human condition in the world requires a break with the positivism thinking of the nineteenth and twentieth centuries, which reduces and separates the subject from the object, and that confuses social development with economic growth.

Through science education, students should develop understanding of big ideas about objects, phenomena, materials and relationships in the natural world.

Students answer ten questions that test their ability to demonstrate understanding of vocabulary related to vacation, nature, and travel; regular verbs in the present tense with direct objects; and Spanish spoken in the USA and around the world.

Students answer ten questions that test their ability to demonstrate understanding of vocabulary related to politics and government, direct object pronouns, conjugated verbs and infinitives, and cultural and political challenges in the 21st century Spanish - speaking world.

Students answer ten questions that test their ability to demonstrate understanding of vocabulary related to culture, direct object pronouns in the third person, and the culture of the 20th century Spanish - speaking world.

Students answer ten questions that test their ability to demonstrate understanding of vocabulary related to civilization, nationality, and culture of Spanish - speaking countries; preterite in regular - ar, - er, and - ir verbs; direct object pronouns; European exploration of the Americas; and challenges in the Spanish - speaking world.

Students answer ten questions that test their ability to demonstrate understanding of vocabulary related to civilization, nationality, and culture of Spanish - speaking countries; preterite in regular - ar, - er, and - ir verbs; direct object pronouns; and challenges in the Spanish - speaking world.

Students answer ten questions that test their ability to demonstrate understanding of vocabulary related to exploration and cultures, direct objects, the verbs amar and querer, and the leaders and government of American countries in the Spanish - speaking world.

Students answer ten questions that test their ability to demonstrate understanding of vocabulary related to exploration and cultures, direct objects, and the leaders and government of American countries in the Spanish - speaking world.

I was shown the way that point of view shapes understanding of the object of inquiry when I recently examined freehand maps of the world drawn from memory by a group of preservice teachers.1 As might be expected, the vast majority depicted North America in the center of the map and with a relatively high degree of accuracy and detail.

In the game, the player takes on the role of the Legendary Builder, the only person in the world who has the capability of creating objects with the power of imagination, as the «few survivors scattered around the world no longer understand the concept of creativity,» according to Square EniIn the game, the player takes on the role of the Legendary Builder, the only person in the world who has the capability of creating objects with the power of imagination, as the «few survivors scattered around the world no longer understand the concept of creativity,» according to Square Eniin the world who has the capability of creating objects with the power of imagination, as the «few survivors scattered around the world no longer understand the concept of creativity,» according to Square Enix.

Using ephemeral and found materials, the artists represented in All of this and nothing turn what may seem like «nothing» into artworks exploring very big ideas — what it means to be an artist, to understand the world, and how to communicate through the shifting life of an object.

Using ephemeral and found materials, the artists represented in All of this and nothing (p. 4 — 5) turn what may seem like «nothing» into artworks exploring very big ideas — what it means to be an artist, to understand the world, and how to communicate through the shifting life of an object.

Her fresh understanding of the relationship between design objects and the development of our societies and histories is an exciting perspective on the world we live in today.

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.

Yes, she makes objects, and yes, her work is informed by an understanding of social practice, but she takes that social practice out of the art world and grounds it in the practicalities of life — her life — along with anyone who's willing to join her.

Either through their own experimental studio practice, or in how they visualize and aestheticize the passage of time, the artists in this exhibition address cosmological hierarchy from the bottom up, reiterating the impulse of subjects to understand their existence and the world through objects.

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.

SPF15, a nomadic San Diego - based exhibition series engages the beach as a site of aesthetic and critical inquiry to better understand how we engage with objects and others at the border of land and sea, nude and clothed, and the busiest border crossing in the world, San Ysidro.

The select group of emerging artists all «share an interest in the interplay between images and objects, and the ways in which rapidly changing visual culture and imaging technology influence how we understand and perceive the world around us,» according to a press release.

Kevin Blake: Chicago artist Sophia Leiby recently turned me onto an essay in the Brooklyn Rail, Worlds With Us by Katy Siegel, in which she suggests, «In terms of art, unthinking the opposition between representation and abstraction is particularly vital to understanding art objects and practices afresh.&raquin the Brooklyn Rail, Worlds With Us by Katy Siegel, in which she suggests, «In terms of art, unthinking the opposition between representation and abstraction is particularly vital to understanding art objects and practices afresh.&raquin which she suggests, «In terms of art, unthinking the opposition between representation and abstraction is particularly vital to understanding art objects and practices afresh.&raquIn terms of art, unthinking the opposition between representation and abstraction is particularly vital to understanding art objects and practices afresh.»

The device features three Leica lenses at the back — a first in the smartphone world — offering a whopping 40 megapixels and including a colour sensor, the ability to record in slow - mo, and artificial intelligence stabilisation (AIS), which is capable of object recognition and understanding shapes.

Tango - equipped phones can understand the physical space, by measuring the distance between the phone and objects in the real world.

A Tango - enabled phone can understand the physical space by measuring the distance between the device and objects in a real world.