Sentences with phrase «what kind of objects»

The Steps Table invites viewers to experiment with one's own body in relation to furniture, exploring the limits of what kind of objects can be meaningfully understood as a table, and questioning commonly accepted concept of such furniture.

The guys start testing out their powers to see what kind of objects they can move and how far they can go with their abilities.

These virtual black holes were more complex and realistic than his original renderings because users could adjust the size of the hole, choose what kind of object to feed it, and change the viewing angle to watch the action unfold.

Of course, it can't differentiate what kind of object this is, but it's usually not a good sign if the object stays close for more than a second.

The task of painting, for example, was to define precisely what kind of object a painting truly is: what makes it a painting and nothing else.

The Mate 10's AI would then determine what kind of object the user is focusing on.

Not exact matches

Also, there is no substantial law on who can claim what objects or resources in space, beyond the 1967 Outer Space Treaty that declared space open for most kinds of exploitation, so long as «states» clean up their mess, leaving no contamination or dangerous objects that could harm others.

They all have lots of objectives, but it's about helping them measuring back to that object, not just awareness but what kind of awareness, not just impressions but what are they actually going to do for you or for the brand, the business, are you changing the hearts and minds of the customer?

7 What Lynch objects to is two kinds of imagination, the univocal and the equivocal, the one which flattens out all the density and variety of historical complexity through the imposition of an idea (the allegorical and didactic mentalities) and the other which sees everything as completely diverse and unrelated to anything else (the fideistic and the autonomous mentalities).

A precise statement of what the correspondence or the clash might be is not easy to produce and is not necessary here, since our main purpose in these remarks is merely to emphasize the point that value experiences depend for their character upon the kinds of relationships that exist between subject and object.

The object of these lectures is, as Mr. Baelz points out at the beginning of his own contribution, to try to «get clear in our minds what kind of thing Christian belief is and what kind of thing it is not».

is only muddled — what he means is, «The only kind of «subject» I'm willing to believe in is one which really is an «object.»»

If the object «ingresses» ab extra, where is the extra, and what kind of status do you give it?

Moving in tightly, using natural light to achieve a kind of luminescent quality, he now works with what might be called commonplace objects of nature, creating abstract studies of the form and fabric of lichens, ice crystals, seeds, wind - blasted wood, insect - eaten leaves.

Well, somewhere between - I'd kind of like to say - six to eight months, babies develop what we refer to as object permanence, and they begin to understand that things and people exit when they're not present.

It is also kind of what you would expect from an «object», rather than a person — the lack of empathy and inability to see all sides of the coin.

Diarist and former Labour politician Chris Mullin was sceptical about MPs producing their own literature covering what they've been doing in office, telling the room that his successor (MP for Sunderland Central Julie Elliott), «publishes a brochure, from party funds» but this kind of thing is «vanity publishing» and «doesn't advance your knowledge very much... [but] I wouldn't object to anything pretty basic and bland.»

Though astronomers still do not know what kinds of events or objects produce FRBs, the discovery is a stepping stone for astronomers to understand the diffuse, faint web of material that exists between galaxies, called the cosmic web.

But when you try to clear away thoughts about objects and ideas, what you have is this thing that's always breathing and always has some kind of tone.

Besides black holes, what other kinds of objects that are made from warped space - time and create gravity waves?

The common kinds of OCD I read about was what I imagined «normal» behavior to be: checking locks, washing hands, counting objects.

This lesson plan looks at different kinds of materials and what objects can be made using these materials.

That is, we isolate one or a few features of some kind of object for study, and see what we can learn about the behavior of those features while ignoring everything else about them: features like number, shape, or direction.»

Mums are what I call kind of «teachers» - they ask a lot of questions about the book, objects in the book, labelling... How many apples are there?

In what kind of alternate reality do you have to live to object to this?

• why did you pick this particular topic and these specified objects to compare; • what is the importance of a matter; • what are the comparable objects; • why did you decide to compare them; • by what means the comparison will be made; • what kind of results you intent to achieve.

Because if they did you might reasonably object to that kind of treatment and opt out of the date, thereby denying the rapist what they want most.

What I object to is when it's presented as just one of many different publishing alternatives, suitable for anyone (it's not) or as somehow better than other kinds of publishing because Big Commercial Publishing is [pick one] dead / dying / hidebound / slow / elitist / corrupt.

It was like back in the day when you played a point and click adventure game where the clues where usually objects that light up when you got close or hovered the mouse over it, forcing your brain to click it instead of giving your brain a challenge and let you look for clues and Murdered: Soul Suspect does the whole light - up means important ordeal which kind of breaks both the illusion and the interest for me to put any thought into what I am currently finding.

In our review, we called Papers, Please «a simulation of that moment that a cog in the machine's heart finally stops beating, or a kind of hidden object game where what you're mostly looking for is a glimmer of hope.»

If you don't know what that is, it's a kind of matching game in which the coloured objects you're trying to match are snaking into the screen on a winding channel.

The objectives are shown on screen and the tables all have different interactive objects and items depending on what kind of table you are playing.

What complements the set of gameplay variants available, is the Joyride mode, which offers different kinds of challenges, such as time trials or those requiring the player to destroy objects for instance.

I'm thinking about a color relationship where the paint isn't just naming something, but also transcending itself... Hopefully, what comes across in my work is a kind of heightened devotional object that has a radiant presence.

In abstract painting one can't deal with a kind of entity, entity like an object or person, a concentration of psychology which a person is as opposed to what, where the figure isn't in the painting.

As the title of the exhibition suggests, lapses in Thinking By the person I Am, one is confronted with not only typographical fragmentation, but also disconcertion for placing the work together with the train in some kind of logical context; by using the story of her body and objects that she interacts with, Pryde literally derails the misconceived notion that we are what we own.

These wonderful plays between the organic and the geometric, between form and formlessness eventually led her away from art altogether, and towards what she came to regard as a kind of therapy, in which objects took the place of speech and gesture.

It consists of four kinds of objects: your paper weavings, which you display on horizontal pedestals; inkjet print of textile patterns; enamel paintings, and — smack in the middle of the exhibition — an installation of your Oyster # 9 (2014)-- a giant, round painting mounted on what look like several dustbin lids welded together.

Kind of goes against a lot of what you say about social objects and making real connections and whatnot.

, Yerba Buena Center for the Arts, San Francisco 2011 Objects and Images, Gallery Paule Anglim, San Francisco 2008 What the Whiskey Said, What the Sun is Saying, Matthew Marks Gallery, New York 2007 Three photographs, three mirrors, a sculpture and a sign, Gallery Paule Anglim, San Francisco 2004 Reel Around, Matthew Marks Gallery, New York 2003 Nayland Blake, Some Kind of Love: Performance Video 1989 - 2002, Center for Art and Visual Culture, University of Maryland, Baltimore County.

In responding to Donald Judd who made «specific objects,» Le Va provides the viewer with «non-specific situations,» inviting us to complete the work of art through bodily interaction with materials and our sense of perception: «What I want [viewers] to do is place themselves in the work, and search out some kind of meaning that fits the object, as opposed to immediately seeing something and applying some readymade explanation... I want the work to set up a dialogue.

Manfred Pernice (re) assembles these «familiar» materials, which thus lose all of their functionality, in what he describes as a kind of «canning» of objects and space.

A kind of memento through which the artist evokes the primary division between artist and artisan, and what Tostes himself overcomes through this object synthesis.

A drive to purchase one's way into a certain social caste, a longing to share (if momentarily) in the risks of bohemian life or art's intellectual adventure, a belief in art as a kind of religion (its icons compelling sacrifice), a need to cushion one's surroundings with objects of beauty or significance — who can say what complex motives go into the acquisition of works of art?

Hopefully, what comes across in my work is a kind of heightened devotional object that has a radiant presence.

«What's particularly exciting is to see this kind of work presented cheek by jowl with some of the landmark paintings and objects in the collection,» he continues, pointing to a recent dance and music performance by Simone Forti and Charlemagne Palestine staged in the context of the painting and sculpture collection.

And once you open the Pandora's box of geoengineered climate, what do you do if nations disagree about what kind of climate they want, or if some poor nation objects to suffering drought in order to cancel heat waves in Chicago?

I was fortunate to participate in a 2010 workshop assessing what kinds of protocols should be developed to coordinate international responses when astronomers finally identify an object that will hit Earth.

Do you have any idea what kind and amount of data is needed to characterize dynamics of such a large spatio - temporal field object as atmospheric dynamics?

What I object to in this is the idea that in policy analysis there is some kind of progression from unevolved to a higher plane (just re-read the language used above), rather than just using the appropriate approach for the characteristics of the particular system we face.