Social media, for example, makes visible and concrete the idea of a
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It makes visible what's often left offscreen in the kind of scene that follows.
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LaMacchia's contemporary Birds of America makes visible some of the elements that threaten the populations that survive.
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And it makes visible and human people who for too long had been left out of the story.
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Work by Teresa Margolles, who makes visible gendered, racial and economic violence in Mexico, may look overtly feminist.
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It tamps down the tall grass of untold experience, however clumsily, and makes visible a rough but traversable path.
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Artist Jenny Hung's O21 magazine makes visible the labyrinthine and costly process of applying for an O-2000 visa.
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But it's a first for Instagram, which has historically been more open in what it makes visible to non-users.
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They describe the reality around us in a way that makes visible what had previously been invisible or taken for granted.
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Each of these works makes visible technology's role as an intermediary in our experience of each other and the natural world.
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Cuevas makes visible the forms in which citizens are dissident, protesting and asserting their agency in actions that are shared and collective.
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Given that we aren't constantly counting individual animal numbers, the report makes visible a trend typically unseen by scientists or the public.
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Merchant's book makes visible that human labor, and in the process dispels some of the fog and reality distortion that surround the iPhone.
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A drawing by Otto Dix of Anita Berber, a Weimar cabaret performer, makes visible a ghostly, melancholic face beneath a pantomime smear of make-up.
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Its value, Barnosky said, is that it makes visible a phenomenon typically unseen by scientists and the public: that even populations of relatively common species are crashing.
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It makes visible the vectors of disease transmission and draws attention to the dangers of human contact, creating distance between the afflicted and the rest of us.
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From the street, The Glass Room may look like another boutique, but inside is an exhibit that makes visible the implications of corporate and government data collection.
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"There were oil portraits of the landed European elite with names of their slaves beside them — it makes visible the wealth acquired through slave labor," he said.
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The band makes visible the power embedded in the histories and culture of its performance venues, and its disciplined members become akin to gears within an enduring, regimented system.
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A collaboration between Sarita Garcia and Joseph Josué Mora makes visible the markers of gentrification, as consolidated into a brief but loud button meant to be worn by gallery patrons.
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An important component of his work is a transparency that makes visible how the pieces were assembled, a quality he sees reflected in a beloved Eames chair in his home.
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The responsibility falls on us, the editors behind the stories, to choose imagery that breaks down stereotypes, confronts our biases, and makes visible the full breadth and diversity of transgender personhood.
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The men's antagonism deepens as Wake jabbers and Winslow rages, a fury that Pattinson makes visible with eyes that widen into bulges and tremors of emotion that ping under a masklike vacancy.
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She makes visible the ways in which we are held in place by other people and their perceptions, and how their perceptions lead to the politics and philosophies that make up our world.
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More surprising is the decision to let blank space predominate on nearly every page, a strategy that symbolically isolates Fausto within his world and makes visible the emptiness of his relationship to it.
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Orbital Reflector is a temporary gesture in the night sky, so it is a moment in time and space that makes visible the invisible, thereby rekindling our imaginations and fueling potential for the future.
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Maintaining imperfections, Cortez makes visible the labor required for each object, an homage, she explains, to the labor of immigrants who often take jobs they are not trained to do, but nevertheless excel at.
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If Sander's work makes visible the workaday vivacities of academics, bohemians, housewives and children, Otto Dix's art tears away those surfaces to portray an unruly domain of endless combat and vain materialism, sadistic violence and drunken debauchery.
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The result of their efforts stands head and shoulders above its contemporary cinema, a triumph of unmatched scale that makes visible the fire and madness raging in a work of great literature that many look at as impenetrable.
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Network "makes visible the hidden and often exploitative manual labor that goes into building neural networks and artificial intelligence" by playing back over 600,000 segmentations (basically, an image outline) created by crowd workers for Microsoft's COCO image recognition dataset.
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Garner's "Olympia" makes visible an argument advanced by the artist Lorraine O'Grady in "Olympia's Maid: Reclaiming Black Female Subjectivity" (1992): that Manet used the maid to create an oppositional composition portraying female subjectivity as a construct coded through whiteness.
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In her Museum of Modern Art retrospective, Piper makes visible the ways in which we are held in place by other people and their perceptions, and how their perceptions lead to the politics and philosophies that make up our world.
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We call on the nation to use this major election year to help set the United States on a path to building a truly strong and sustainable transportation system, one that makes visible and steady progress to improving our mobility and quality of life.
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The dark smut makes visible the unseen waves of years of pop hits, punk songs, news stories, sports commentaries, operas, and more that brought people together — whether in their living rooms, kitchens, or car rides, or across long distances, bound simply by the same radio channel.
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Tipu's Tiger, a symbol of the East India Company's ruthless looting (or, in their words, "collecting"), makes visible the company's struggle between private and public interests, between commercial and governmental financing, and between the radically different forms of colonial encounter happening in situ and back in Britain.
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Wollen describes her work as a methodology of survival, a method for rethinking "looking" and "being." Wollen is inspired by feminist philosopher Judith Butler and Butler's theory of gender performativity. In her artwork, Wollen makes visible the performative aspects of online existence and activity and how identity is constructed. According to Wollen there is no distinct binary between "the real" or authentic and performance; instead, the artist makes visible how performance is an inevitable aspect of online activities (as well as "everyday life"), and how subjects are mediated through technology and language.
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Xavi Bou is a Spanish photographer. He is mostly known for his project Ornitographies, that makes visible the beauty of bird flight paths. His work has been published in magazines like National Geographic and newspapers like The Guardian.
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This put them in the wall in the secret room. The Sibunas are however disturbed by Victor and Daphne, taste the Victors moonshine. Mr. Magnus Radus commissioned by Nina snooping around in the room and Delia. There Amneris makes visible and frightened Magnus enormous.
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The Journal magazine, noted that Gorham's poetry "investigates the difficult, often unsettling nature of family dynamics without self-pity and without pointing fingers"The Journal and Publishers Weekly wrote that her work "can also inhabit a dream space that only the bond between a parent and child makes visible".
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Kristin Koster remarks, "Today, amid a vast cadre off artists who reuse; recycle; or re-purpose the cast away materials that populate their environments; Hill stands apart as a disinterested collector; and as a kind of aristocratic flaneur of the everyday....She never makes use, cycles, or purpose: instead she makes visible, resurrects, and liberates."Kristin Koster. "Collecting, Snowflakes, and the Case." Case Discussions.
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To counter the perception that Indian women are most useful in the household, SEWA makes visible the crafts, skills, and value of female labour to the Indian economy. More than the Indian economy, self-employed women have a role in social hemispheres with few outlets to participate—SEWA works to bridge that gap by acting as a platform for civic engagement in local communities.
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This trust is what enables the warring and uncertain lovers to achieve their sexual maturity. In 1988, Allen Dunn argued that the play is an exploration of the characters' fears and desires, and that its structure is based on a series of sexual clashes. In 1991, Barbara Freedman argued that the play justifies the ideological formation of absolute monarchy, and makes visible for examination the maintenance process of hegemonic order.
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This developed at the intersection of cultural studies, comparative literature, art history, fine art, philosophy, literary theory, theology, anthropology. It developed an interdisciplinary approach to the study of texts, images, films, and all related cultural practices. It offers an interdisciplinary approach to the analysis of cultural representations and practices. Cultural Analysis is also a method for rethinking our relation to history because it makes visible the position of researcher, writer or student.
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"Douglas Kent Hall, Mass: Of Our World (Albuquerque: Radebaugh Fine Art, 2008), 8. Jeanne Shoaf, curator of art at the Lincoln Center Art Gallery, wrote that "Radebaugh’s complex patterns of negative and positive space capture the stark shadow and light of the plains. The resulting landscapes shape-shift between abstraction and representation, echoing the glints of sun off the shining sea. Ultimately, he makes visible the ghostlike imprint of the sea across the horizon of these Great Plains.
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Since man is a composite of body and soul, and since the body makes visible the invisible nature of the soul, the very fact that men's and women's bodies physically complement each other is proof of their relationship of love. As men and women are both created in Imago Dei they are both equal in dignity, although they are different. For Wojtyła, those differences are what allows men and women to exist coherently together in a union of love, reflecting man's deepest identity.
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Doing so makes visible how much we take the body for granted. While text, images, audio, and video all provide valuable means for developing a virtual presence, the act of articulation differs from how we convey meaningful information through our bodies. This process also makes explicit the self-reflexivity that Giddens argues is necessary for identity formation, but the choices individuals make in crafting a digital body highlight the self-monitoring that Foucault so sinisterly notes.See David Buckingham’s introduction to this volume for a greater discussion of this.
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Her work makes visible the aporias and incommensurabilities in the emerging national public sphere in India, which include gender and class barriers, religious differences, the continued power of repressive state apparatuses, and the seductions of social homogeneity and deceptive ideas of public consensus enabled by emerging mediascapes. Gupta's works which deal inter-subjectivity and phenomenology, constantly remind us about the relational and highly mediated facets of the act of seeing, retrieving and remembering. Be it brass labels, stamps, objects confiscated at airports, motion flapboards, or illegal material that traverse physiological and geographical chasms, her practice pushes the boundaries of how the art object is understood.
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Accounting research examines how accounting is used by individuals, organizations and government as well as the consequences that these practices have. Starting from the assumption that accounting both measures and makes visible certain economic events, accounting research has studied the roles of accounting in organizations and society and the consequences that these practices have for individuals, organizations, governments and capital markets. It encompasses a broad range of topics including financial accounting research, management accounting research, auditing research, capital market research, accountability research, social responsibility research and taxation research.Oler, Derek K., Mitchell J. Oler, and Christopher J. Skousen. 2010. “Characterizing Accounting Research.” Accounting Horizons 24 (4): 635–670.
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The title of one of her books, Sub Specie Aeternitatis (1937, 'from the perspective of eternity'), makes visible her concern to connect what is (or may be) universally true with the individual experiences that fall within our often narrow perceptions. She is much concerned with how the human quest for truth and meaning in a life are shaped by our notions of experience, transcendence (as developed by Romero), freedom, and will. One of her lines of argument holds that a satisfactory life requires a certain degree of detachment as well as the ability to resist trying to organize all experience through rigid and predetermined categories. Harris was a member of numerous professional organizations, including the American Philosophical Association.
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Alexander Graham Bell later devised another system of visual cues that also came to be known as visible speech, yet this system did not use symbols written on paper to teach deaf people how to pronounce words. Instead, Graham Bell's system, developed at his Volta Laboratory in Washington, D.C., involved the use of a spectrogram, a device that makes "visible records of the frequency, intensity, and time analysis of short samples of speech". The spectrogram translated sounds into readable patterns via a photographic process. This system was based on the idea that the eye should be able to read patterns of vocalizations in much the same way that the ear translates these vocalizations into meaning.
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Gestus, as the embodiment of an attitude, carries at least two distinct meanings in Brecht's theatre: first, the uncovering or revealing of the motivations and transactions that underpin a dramatic exchange between the characters; and second, the "epic" narration of that character by the actor (whether explicitly or implicitly). In the first sense, that of anatomizing the character, a Gestus reveals a specific aspect of a character: rather than his metaphysical, subconscious or other psychological dimensions, a Gestus makes visible a character's social relations and the causality of his behaviour, as interpreted from an historical materialist perspective. "Every emotion" when treated under the rubric of Gestus, Elizabeth Wright comments, "manifests itself as a set of social relations."Wright (1989, 27).
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In return for Belov's agreement, Artur is forced to give up his position and emigrate, and Belov fully takes over Kurs-Invest including its office and even Artur's secretary, Lyuda. Olga, after graduation from the Philharmonia fails to begin her music career, and instead turns to her former course-mate Vitalik, and joins his band. Vitalik, not hiding his attraction to Olga, tries to blackmail her into leaving her husband, who openly disapproves of both Vilalik and her being part of the band, which he further makes visible by having the whole party leave the restaurant. Eventually Sasha witnesses how Vitalik verbally offends Olga and makes him suffer in a short fight, after which Olga happily walks off with Sasha.
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While the film shares with the novel an abolitionist stance and an abhorrence of the racist practices that permeated colonial Cuban society, it highlights the importance of religious syncretism and transculturation in a way that Villaverde's work could not. Solás's film is a 20th-century response to a canonical text, grounded in the teachings of Fernando Ortiz, Lydia Cabrera, Natalia Bolívar, Miguel Barnet and other scholars who claim that Afro-Cuban culture is an integral part of Cuban national identity. By bringing Santería into the open and casting Cecilia as a practitioner of it, Solás makes visible that which was invisible in the 19th century novel. He resurrects the belief system of Villaverde's black and mulatto characters, making it central to the plot of his film and drawing clear parallels between it and Catholicism as contentious systems of reference in colonial society.
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Its immediate themes are giving and forgiving as two chief modes of grace, but the book is an accessible introduction and invitation to the Christian faith. In this work, the central themes of Volf's work that receive more in depth treatment in other texts—God as unconditional love, the Trinitarian nature of God, creation as gift, Christ's death on the cross for the ungodly, justification by faith and communal nature of Christian life, love of enemy and care for the downtrodden, reconciliation and forgiveness, and hope for a world of love—come together into a unity. Because it contains frequent reflections on concrete experiences, the book makes visible that Volf's theology both grows out of and leads to a life of faith. Of all his books, Free of Charge bears the strongest mark of the young Martin Luther's influence.
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After the Renaissance, large cloths with no very obvious purpose are often used decoratively, especially in portraits in the grand manner; these are also known as draperies. Fresco of Mithras and the Bull from the mithraeum at Marino, (3rd century CE) For the Greeks, as Sir Kenneth Clark noted,Clark, The Young Johneey: A Study in Ideal Form 1956:245ff. clinging drapery followed the planes and contours of the bodily form, emphasizing its twist and stretch: "floating drapery makes visible the line of movement through which it has just passed.... Drapery, by suggesting lines of force, indicates for each action a past and a possible future." Clark contrasted the formalized draperies in the frieze at Olympia with the sculptural frieze figures of the Parthenon, where "it has attained a freedom and an expressive power that have never been equalled except by Leonardo da Vinci".
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" In addition, if Gisela Bock denounced the work of her colleague as "anti-feminist", others as refuse to stop at a strict choice between complicity and oppression and are more interested in how Nazism included women in their project for Germany. Kate Docking, in her book review of Female Administrators of the Third Reich writes that, "The key merit of this monograph is that it makes visible the women who ultimately allowed the Holocaust to occur: as the author notes, while these women did not execute orders for the persecution of Jews themselves, the genocide could not have been accomplished without those who typed the orders, answered the telephones, and sent the telegrams. Female administrators had the opportunity to question their orders and find out more about the Holocaust, but generally, they did not. They had some awareness of the Holocaust, and did nothing.
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But by taking this idea literally, the film imprisons > itself in the very ideology it seeks to fight, its own version of authentic > reality being nothing but a mirror image of patriarchal discourse. 'Fire' > ends up arguing that the successful assertion of sexual choice is not only a > necessary but also a sufficient condition—indeed, the sole criterion—for the > emancipation of women. Thus the patriarchal ideology of 'control' is first > reduced to pure denial – as though such control did not also involve the > production and amplification of sexuality – and is later simply inverted to > produce the film's own vision of women's liberation as free sexual 'choice.' > (1999:582) > Whatever subversive potential 'Fire' might have had (as a film that makes > visible the 'naturalised' hegemony of heterosexuality in contemporary > culture, for example) is nullified by its largely masculinist assumption > that men should not neglect the sexual needs of their wives, lest they turn > lesbian (1999:583). The authors additionally argue that viewers must ask tough questions from films such as Fire that place themselves in the realm of "alternative" cinema and aim to occupy not only aesthetic, but also political space (Economic and Political Weekly, 6–13 March 1999).
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