And yet it was the disdain of prosperous neoliberals for underpaid workers and the working poor that made Trump's more schematized hatred more enthralling to his voters.
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At Colomb L'Eglise de l'Aouina in curator Myriam Ben Saleh's Water/Mé – Water Pressure pavilion (the only pavilion now closed due to usage constraints), the force of water flow is schematized.
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Other efforts from this period include a wood-veneer bureau, titled "La Femme Commode," with a head, womanly curves and strategically placed drawers and knobs; a coffee table with a similarly schematized female form cut from wood and resting on a clear Plexiglas base; and a white vinyl sofa in the shape of a long, slim foot.
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Tomáš Rafa's Refugees on Their Way to Western Europe, for example, is an ongoing documentary of the movement of and reaction to refugees across the European continent; Adel Abdessemed's God is Design mobilizes animation into a metaphorical experiment in religion, where the symbols of Christianity, Islam, and Judaism blend both into each other and into schematized illustrations of human cells; meanwhile, Hito Steyerl takes on mass surveillance in the instructional film, How Not To Be Seen: A Fucking Didactic Educational .
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Her long gown stretches to Hungary, Poland, Lithuania, Livonia, Bulgaria, Muscovy, Macedonia and Greece. In her arms, formed by Italy and Denmark, she holds a sceptre and an orb (Sicily). In most depictions, Africa, Asia and the Scandinavian peninsula are partially shown, as are a schematized British Isles.
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Schematized right Euclidean relation according to property 10. Deeply-colored squares indicate the equivalence classes of R’. Pale-colored rectangles indicate possible relationships of elements in X\ran(R). In these rectangles, relationships may, or may not, hold. # Due to the commutativity of ∧ in the definition's antecedent, aRb ∧ aRc even implies bRc ∧ cRb when R is right Euclidean.
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Menhir 48, also exhibits a schematized anthropomorphic representation, surrounded by circles and associated with a crozier. An isolated single menhir, approximately 4.5 metres tall and 0.9 metres in diameter is located near the residences, or 1400 metres northeast of the main complex. A line from the Almendres Cromlech to this menhir points roughly towards the sunrise in the Winter solstice.
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Canadian professor John Watson, in his discussion of Kantian philosophy, wrote about supposed supersensible, atemporal beings such as God or the soul. Such things are said to have a timeless existence. As such, though, they cannot be known or experienced. Watson asserted that "…whatever cannot be ‘schematized’…cannot be known…." Schelling’s Transcendental Idealism, Chicago: S.C. Griggs & Co., 1892, Chapter I, p. 11.
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According to the AST, when the brain computes that person X is aware of thing Y, it is in effect modeling the state in which person X is applying an attentional enhancement to signal Y. Awareness is an attention schema. In that theory, the same process can be applied to oneself. One's own awareness is a schematized model of one's own attention.
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But in the AST, that is not so. Consciousness is a good, if detail-poor, account of something real: attention. We do have attention, a physical and mechanistic process that emerges from the interactions of neurons. When we claim to be subjectively conscious of something, we are providing a slightly schematized version of the literal truth. There is, indeed, a “there” there.
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This is for example the case in the widely used ternary form, usually schematized as A–B–A. In this form the first and third parts (A) are musically identical, or very nearly so, while the second part (B) in some way provides a contrast with them. In this meaning of part, similar terms used are section, strain, or turn.
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Ternary form, sometimes called song form, is a three-part musical form consisting of an opening section (A), a following section (B) and then a repetition of the first section (A). It is usually schematized as A–B–A. Examples include the da capo aria "The trumpet shall sound" from Handel's Messiah, Chopin's Prelude in D-Flat Major (Op. 28)White, John D. (1976).
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Such a distinction is over-schematized since Horace was a substantial influence in the ninth century as well. Traube had focused too much on Horace's Satires.B. Bischoff, Living with the satirists, 83–95 Almost all of Horace's work found favour in the Medieval period. In fact medieval scholars were also guilty of over-schematism, associating Horace's different genres with the different ages of man.
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The 1960s created yet another shift in Simpson's style. The social and political movements of the decade in general and the Harlem Riot of 1964 which Simpson witnessed firsthand had a particular impact on his painting. The artist responded by creating the so-called "Confrontation" series of painting series that featured schematized black and white faces inter-meshed in an intense encounter. The works were greatly inspired by Bearden's collage technique.
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While in the books, Hanna develops a fierce personality—result of years of psychological torture schematized by "A"—, in the TV show, she grows up as kind as possible. Hanna's middle name is Olivia, she is also after Alison's "death" it girl of Rosewood Highschool, she and her best friend Mona Vanderwaal are totally different and the most popular girls, they started to steal and Hanna got caught for stealing sunglasses in Pilot episode.
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There are three layers to the cerebellar cortex; from outer to inner layer, these are the molecular, Purkinje, and granular layers. The function of the cerebellar cortex is essentially to modulate information flowing through the deep nuclei. The microcircuitry of the cerebellum is schematized in Figure 5. Mossy and climbing fibers carry sensorimotor information into the deep nuclei, which in turn pass it on to various premotor areas, thus regulating the gain and timing of motor actions.
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The Abhidhamma Piṭaka (Pali; Sanskrit: Abhidharma Piṭaka; English: Basket of Higher Doctrine) is a collection of canonical texts in the Theravada Buddhist tradition. Together with the Vinaya Piṭaka and the Sutta Piṭaka it comprises the Tipiṭaka, the "Three Baskets" of canonical Theravada Buddhist texts. Abhidhamma Pitaka The Abhidhamma Piṭaka is a detailed scholastic analysis and summary of the Buddha's teachings in the Suttas. Here the suttas are reworked into a schematized system of general principles that might be called 'Buddhist Psychology'.
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Cult figures called staff-gods or atua rakau from Rarotonga, apparently combine images of gods with their human descendants. They range in length between 28 inches (71 cm) and 18 feet (5.5 m) and were carried and displayed horizontally. At one end there is a schematized blade-shaped head and arms of the progenitive god with a succession of little figures rising from his body, alternatively full-face and in profile with penis erect. The staff itself terminated in a phallus.
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Polymer molecule within a brush. The drawing shows the chain elongation decreasing from the attachment point and vanishing at free end. The "blobs", schematized as circles, represent the (local) length scale at which the statistics of the chain change from a 3D random walk (at smaller length scales) to a 2D in-plane random walk and a 1D normal directed walk (at larger length scales). Polymer molecules within a brush are stretched away from the attachment surface as a result of the fact that they repel each other (steric repulsion or osmotic pressure).
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Ed Ruscha: Standard Stations, March 1 — March 29, 2008 Honor Fraser, Los Angeles. In 1985, Ruscha begins a series of "City Lights" paintings, where grids of bright spots on dark grounds suggest aerial views of the city at night.Ed Ruscha: Fifty Years of Painting, May 29 - September 5, 2010 Moderna Museet, Stockholm. More recently, his "Metro Plots" series chart the various routes that transverse the city of Los Angeles by rendering schematized street maps and blow-ups of its neighborhood sections, such as in Alvarado to Doheny (1998).
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When the brain finds that person X is aware of thing Y, it is in effect modeling the state in which person X is applying an attentional enhancement to Y. In the attention schema theory, the same process can be applied to oneself. The brain tracks attention to various sensory inputs, and one's own awareness is a schematized model of one's attention. Graziano proposes specific locations in the brain for this process, and suggests that such awareness is a computed feature constructed by an expert system in the brain.
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This algorithm can be schematized as follows. Identify the disks in order of increasing size by the natural numbers from 0 up to but not including h. Hence disk 0 is the smallest one, and disk h − 1 the largest one. The following is a procedure for moving a tower of h disks from a peg A onto a peg C, with B being the remaining third peg: # If h > 1, then first use this procedure to move the h − 1 smaller disks from peg A to peg B. # Now the largest disk, i.e.
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His landscapes use compositional schemes and strong decorative effects that are similar to those used in the work of Jacques d'Arthois, a leading Brussels landscape painter also known for his views of the Sonian Forest. He differs from d'Arthois in some aspects such as his more schematized rendering of trees and his preference for a warmer palette, characterised by reddish tones. Like his master de Vadder, Van der Stock showed a sensuous vision in his representation of nature. His compositions are sometimes confused with those of Lucas Achtschellinck, another prominent Brussels landscape painter.
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This existentialist pithy message is embodied in Florica's painting exactly in the rind, the leather, the scales, the scars, the imprints and the crust of the tones of white, grey, black and ochre of the wrapping cardboard. Her images do not become simpler from a cycle to another. They become poli-matters reliefs, with cassetons, with the zigzag rhythms of the goffered cardboard, with fields of numbers with schematized eyes and palms, with interweavings and garlands of paper bands or painted cloth. Therefore, the artist neither performs in narrative scripts, nor composes after effects of rhetoric of the proper abstract image.
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Ethel Rosenfield (1910 - 2000) was a Polish-born Canadian sculptor who lived in Montreal, Quebec. After enrolling in art classes in her mid-forties, she began working primarily in limestone and marble, exploring "organic forms, abstract or schematized, the latter representing faces and female bodies". Rosenfield co-founded the Quebec Sculptors' Association in 1962, and her work was exhibited at the Rodin Museum, Expo 67, the Montreal Museum of Fine Arts, and multiple Canadian universities. Her sculptures are held in permanent collections at Concordia University, the Musée d'art contemporain de Montréal, and the Storm-King Art Centre.
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A mechanism that has gained increasing attention as a generator of spot- and stripe-like patterns in developmental systems is related to the chemical reaction-diffusion process described by Turing in 1952. This has been schematized in a biological "local autoactivation-lateral inhibition" (LALI) framework by Meinhardt and Gierer. LALI systems, while formally similar to reaction-diffusion systems, are more suitable to biological applications, since they include cases where the activator and inhibitor terms are mediated by cellular ‘‘reactors’’ rather than simple chemical reactions, and spatial transport can be mediated by mechanisms in addition to simple diffusion. This models can be applied to limb formation and teeth development among other examples.
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His series of the Twelve Months (dated 1592; held in the Chapelle Notre- Dame in Montfaucon-en-Velay) is an exact copy of Adriaen Collaert's prints made after paintings by Hans Bol and published by Hans van Luyck in 1585. The paintings Spring and Summer (Royal Museum of Fine Arts Antwerp) are almost exact copies of two prints by Pieter van der Heyden after designs by Pieter Bruegel the Elder. Abel Grimmer's work is characterised by the simplification and systemisation of figures and landscapes. His landscapes show splendid colour harmonies and a certain linearity, through their slightly schematized compositions and their tendency to represent buildings as geometric shapes.
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This reads as detached; D'Arcangelo sought to investigate our separation from the natural world, which become more of a symbol than a description in these paintings. He was actually critiqued for these paintings as much as he was celebrated; pop art was considered a flat style, lacking perspectival plays of space. However, he argued that despite the receiving lines of roads, the paintings ultimately were flat. In fact, these works are full of contrasts and contradictions: the flat surface has deep linear perspective; though there are recognizable motifs present, they are highly schematized; and, abstract designs are mixed with recognizable objects, such as trees.
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These included doing the work of a commoner, moving around without a retinue, and showing cowardice in battle; again, though, it is unclear how often such stipulations were followed. Finally, the laws commented on how the king was to arrange his life and holdings and how many individuals should be in his retinue. In particular, Críth Gablach gives a highly schematized and unrealistic account of how the king spends his week: Sunday is for drinking ale, Monday is for judging, Tuesday is for playing fidchell, Wednesday is for watching hounds hunt, Thursday is for sexual union, Friday is for racing horses, and Saturday is for judging (a different word from Monday, but the distinction is unclear).Binchy 1979 pp.
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He starts in the Critique with the most formal act of human cognition, called by him the transcendental unity of apperception, and its various aspects, called the logical functions of judgment. He then proceeds to the pure categories of the understanding, and then to the schematized categories, and finally to the transcendental principles of nature in general."Ellington, James W., "The Unity of Kant's Thought in His Philosophy of Corporeal Nature", Philosophy of Material Nature It is within this system that the transcendental schemata are supposed to serve a crucial purpose. Many interpreters of Kant have emphasized the importance of the schematism."…if the schemata had been considered early enough, they would have overgrown his [Kant’s] whole work.
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Excitation of the membrane is via a loudspeaker (Ø = 45 cm.) and an 11 cm-long wave guide (designed to convey maximum acoustic pressure between the center and 1/3 of the radius); that is, fairly short as far as the form factor is concerned. It proved fairly easy to obtain, in addition to the 30 Hz basic frequency, the 68.9 Hz frequency corresponding to the mode (0,2). It was on the contrary impossible to obtain the frequency of 47.8 Hz corresponding to the mode (1,1). At these frequencies, the behavior of the air excited by the loudspeaker can presumably be schematized with a piston motion, which exercises an almost uniform pressure on the membrane.
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Intonation is through the combined action of the negative feed-back gain and of the pressure on one or two points of a nodal line. The effect of the pressure can be schematized in a first approximation as dual: on one hand the introduction of a constraint on the pressure points, on the other a shift of the “work point” of the membrane around a slightly higher tension, and therefore an increase of the transverse wave velocity c. Consequently, all the frequencies move upwards. It is a matter of a shift mechanism, a “pitch-shift”, in the sense that the frequencies of the modes are all multiplied by a common factor, therefore leaving unchanged their relationships.
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On the basis of its diverse arguments regarding the nature of medical therapeutics, the Hippocratic Corpus could be divided into four divisions or groups. Group I: The humoral theory of medicine proposed that our bodies were made up of diverse fluids, elements, or powers, that were considered to be the basic units or fundamental building blocks of all nature. Whereas, a more simplified and categorized version of this theory is usually associated with the four humors of black bile, blood, phlegm and yellow bile, the humoral theory as presented in Group I of the Hippocratic Corpus is never structured or schematized. Its approach to understanding the diverse cause of illnesses and their cures is empirical in nature.
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The villanelle consists of five stanzas of three lines (tercets) followed by a single stanza of four lines (a quatrain) for a total of nineteen lines.Strand et al. 2001 p. 7 It is structured by two repeating rhymes and two refrains: the first line of the first stanza serves as the last line of the second and fourth stanzas, and the third line of the first stanza serves as the last line of the third and fifth stanzas. The rhyme-and-refrain pattern of the villanelle can be schematized as 1b2 ab1 ab2 ab1 ab2 ab12 where letters ("a" and "b") indicate the two rhyme sounds and numerals (1 and 2) indicate Refrain 1 and Refrain 2, both of which rhyme with a.
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For most of the twentieth century, official maps of the New York City Subway were geographic in the sense that they represented the actual coastline and selected topographical features such as parks, zoos, and stadiums. There was often some distortion to fit things in - Manhattan was often broadened, and Brooklyn twisted around toward the northeast, but the maps preserved the broad facts of the geography. From 1958 to 1978, the New York City Transit Authority (NYCTA) conducted a twenty-year experiment with diagrammatic subway maps, which showed the topology of the subway network but dispensed with most of the topographical detail, schematized the coastline, and abstracted the subway lines onto a grid. John Tauranac brought this experiment to an end in 1979.
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And the verb waited/wait subcategorizes for two arguments as well, although the second of these is an optional prepositional argument associated with the preposition for. In this regard, we see that the subcategorization frame of verbs can contain specific words. Subcategorization frames are sometimes schematized in the following manner: ::work [NP __ ] ::eat [NP __ (NP)] ::wait [NP __ (for NP)] These examples demonstrate that subcategorization frames are specifications of the number and types of arguments of a word (usually a verb), and they are believed to be listed as lexical information (that is, they are thought of as part of a speaker's knowledge of the word in the vocabulary of the language). Dozens of distinct subcategorization frames are needed to accommodate the full combinatory potential of the verbs of any given language.
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The villanelle consists of five stanzas of three lines (tercets) followed by a single stanza of four lines (a quatrain) for a total of nineteen lines.Strand et al. 2001 p. 7 It is structured by two repeating rhymes and two refrains: the first line of the first stanza serves as the last line of the second and fourth stanzas, and the third line of the first stanza serves as the last line of the third and fifth stanzas. The rhyme-and-refrain pattern of Do not go gentle into that good night can be schematized as A1bA2 abA1 abA2 abA1 abA2 abA1A2 where letters ("a" and "b") indicate the two rhyme sounds, upper case indicates a refrain ("A"), and superscript numerals (1 and 2) indicate Refrain 1 and Refrain 2.
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In the example used above ("the phone numbers of all persons who live in Acapulco and each have more than 100 appearances in my photo collection and with whom I have had e-mail within last month"), WinFS can traverse the subject relationship of all the photos to find the contact items. Similarly, it can filter all emails in last month and access the communicated with relation to reach the contacts. The common contacts can then be figured out from the two sets of results and their phone number retrieved by accessing the suitable property of the contact items. In addition to fully schematized data (like XML and relational data), WinFS supports semi-structured data (such as images, which have an unstructured bitstream plus structured metadata) as well as unstructured data (such as files) as well.
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A variant form without the heart radical appears in the Kangxi Dictionary under the head character 愛. Moreover, the simplified form 爱 is well-attested in the semi-cursive script calligraphy from imperial times, appearing in the work of Sui dynasty calligrapher Zhi Guo (智果) and Emperor Taizong of Tang and has appeared in calligraphic works from the Song, Yuan, and Ming dynasties. Pro-traditional commentators argue that the changes through the history are almost exclusively alterations in writing styles, especially vernacular writing, and not in the fundamental structure of the characters—especially after the Qin standardization. They have alleged that simplified characters were arbitrarily schematized and then imposed by the PRC on its people with the intention of subverting and eradicating selected elements of traditional Chinese culture, in order to carry out what the PRC viewed as necessary revolutionary modernization.
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Panel on Herbin's live, Haus Konstruktiv, Zurich After producing his first abstract paintings in 1917, Herbin came to the attention of Léonce Rosenberg who, after World War I, made him part of the group centred on his Galerie de l'Effort Moderne and exhibited his work there on several occasions in March 1918 and 1921. Herbin's radical reliefs of simple geometric forms in painted wood, such as Colored Wood Relief (1921; Paris, Musée National d'Art Moderne), challenged not only the status of the easel painting but also traditional figure–ground relationships. The incomprehension that greeted these reliefs and related furniture designs, even from those critics most favorably disposed towards Cubism, was such that until 1926 or 1927 he followed Rosenberg's advice to return to a representational style and produced paintings in the New Objectivity style. Auguste Herbin, Galerie de L’Effort Moderne, March 1918 Herbin himself later disowned his landscapes, still lifes and genre scenes of this period, such as Bowls Players (1923; Paris, Musée National d'Art Moderne), in which the objects were depicted as schematized volumes.
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Spin-dependent hybridization in a spinterface The physical principle that is mainly exploited when talking about spinterfaces is the spin-filtering. This is simply schematized in figure: when one considers the ferromagnet and the organic semiconductor on their own (panel a), the density of states (DOS) of the metal will be unbalanced between the two spin channels, with the difference of the up and down DOS at the Fermi level governing the spin polarization of the current flow; the DOS of the organic semiconductor will have no unbalance between the spin channels and will display localized energy levels, namely highest occupied molecular orbital (HOMO) and lowest unoccupied molecular orbital (LUMO), with zero DOS at the Fermi Level. When the two materials are put into contact they influence each others DOS at the interface: the main effects are a broadening of the molecular orbitals and a possible shift of their energy. These effects are in general spin-dependent, since they arise from the hybridization, which is strictly dependent on the DOS of the two materials, which is itself spin- unbalanced in the case of the ferromagnet.
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For example, when Eisenhower was installed at Columbia in 1948: > ...dignitaries from the world's oldest universities--Bologna, Oxford, Paris, > Cambridge, and Florence--led the procession, and representatives from over > three hundred American colleges and universities followed, including > Harvard's James Conant, Yale's Charles Seymour, Pennsylvania's Harold > Stassen, and Princeton's Harold Dodds, and some two hundred other > presidents. The order of academic processions explains in part why universities have a tendency to use strained rationales to claim traditional dates of founding that are as early as possible. For example, the University of Pennsylvania's George E. Thomas writes of a > ...debate over the founding date of the University that began in 1896 when > The Alumni Register promoted the story that the University’s origins lay in > George Whitefield’s charity school that was ostensibly founded in 1740. > Because this school was to be located in the church building later acquired > by the board founded by Benjamin Franklin in 1749 to house his new Academy, > it could be claimed as the beginning of the University... this mergers-and- > acquisitions model of institutional history had the desired effect of > placing Penn ahead of Princeton in academic processions that in turn > represented, in highly schematized form, the pecking order of American > higher education.
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