The tangibility of sound will always be something that inspires me immensely.
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I needed to get away from the tangibility of all the terribleness.
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What better way is there to experience the tangibility of Emanuel's world?
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Exploring the tangibility of currency is what makes "Money" such a fascinating exhibit.
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"The immediacy and the tangibility of serving someone is so great," he says.
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Connoisseurs are grateful for the format's return, for the permanence and tangibility it offers.
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I think it adds a heavy layer of emotion, anticipation, and tangibility with Vep's world.
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It is beautiful, giving space a feeling of tangibility, but it is not for everyone.
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The additional grit and visual tangibility of the surfaces of these works is patent, expressive, assertive.
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I don't believe in phone cases, but there was something therapeutic about the tangibility of this doughy little sea dude.
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Berger's art criticism succeeds because of its tangibility — it is grounded in human experience, historical events, and the physical artworks.
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Growing up in Northern California, I didn't experience the emotionally charged tangibility of season change—it's kinda perpetually spring there.
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There's a structure inherent to learning on campus, a rhythm and tangibility that keeps students connected to the academic community.
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That also gives them a tangibility that, in a small way, helps make the environment feel more like a real place.
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Keeping that tangibility but also making it engaging to the tech audience, "that was something I was really interested in," she said.
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People really seem to be craving that tangibility right now—like they're missing something, and don't even necessarily know what that thing is.
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The figure loitering across from it looks like one of the living dead: the ghost of long exposures past, summoned into full tangibility.
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There's a certain kind of tangibility to the objects that allows people to think about things in different ways than if they were just to see a film.
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That's an important element in an open-world game that's missing in many of Andromeda's peers, and that lack of tangibility has turned me off other games before.
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The buggy frame rate was an annoyance, but the general feel of the game's world—its tangibility and its characters—are more than worthy of celebration and recommendation.
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"That tangibility of feeling and handing over cash to somebody feels very real, that sense of loss which is hard to replicate when you're using plastic," she said.
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He also worked construction, taking quickly to the rhythms and tangibility of a job site and opting for a degree in industrial management at the University of Tennessee.
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This poetic piece addresses the tangibility of a people's history — excavations at the Deering Estate have revealed Tequesta relics, hiding in the yard of a wealthy man's former mansion.
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"I just wanted to bring back — or sort of revive — the best of that tangibility, that storytelling and that sense of ceremony that I experienced as a kid," she said.
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Pictures taken with instant cameras aren't known for their realistic color, but their faded, grainy look and real-time tangibility go hand in hand with today's lust for all things analog.
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Olivia Bee's accompanying poem: i bought a blue dress so i could slip into the sky;to cradle tangibility with camouflage,dusk's disappearance transpiring, the poison seeping, pooling around my ribs.
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In a show dominated by textiles, paintings, installations, and sculpture, tangibility felt especially urgent, signaling a moment when physical evidence — of objects in the flesh, of promises made good, of ideas turned into actions — is necessary.
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" Recording The Velvet Face EP, Zac was also particularly influenced by the tangibility of music from the past: "I was heavily influenced, and still am, by a lot of 60s and 70s music from the UK and France.
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"The tangibility of the material is something I feel really drawn to, and feel there is a great importance in sharing that, as we stray further from this connection to traditional mediums and become more invested with technology," Stouffer tells The Creators Project.
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Wear on my teeth from grinding had always seemed inevitable, but I wasn't prepared for the tangibility of it all: I could hold the damaged mouthguards in my hand, and could touch my square-cut canine with the tip of my finger.
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Though Norwegian director Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales) is still beholden to some of the worst designs from Robert Stromberg's 2014 film — including Aurora's plasticized trio of comic-relief fairy aunts — he adds welcome tangibility to his new locales.
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Film's light-dark pairing recurs throughout the show, including in Anthony McCall's "Line Describing a Cone" (1973), an installation that progressively outlines a circle on the wall that, when complete, gives the projector's white cone of light a startling tangibility (with the help of some atmospheric haze).
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Bloom's wrapping paper designs mine the histories of gift rituals, interrogate the meaning objects are endowed with as gifts, and in making these papers available in an expensive artist book and as limited edition prints, she also places value on an object that is meant to be used once and then discarded, giving tangibility to the ephemeral moment of exchange.
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In order to be fulfilled, this event should have "a concrete tangibility in history".
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The tangibility here of both the metaphor and the simile is typical of Thomas's tropology, as he resets the poem's tone and, figuratively, its location.
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In June 2002, MGI released their new album Tangibility. Such well known foreign labels as Netlmage Foundation (Great Britain) and MPLS. Ltd (USA) released vinyl singles from the album.
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Hence, unsought goods require advertising and personal- selling support. Marketers have classified products on the basis of durability, tangibility and use (consumer or industrial). Based on the consumer products classification arise Unsought Goods.
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According to the philosopher Piyush Mathur (2017), "Tangibility is the property that a phenomenon exhibits if it has and/or transports mass and/or energy and/or momentum". Mathur, Piyush (2017) Technological Forms and Ecological Communication: A Theoretical Heuristic (Lexington Books: Lanham, Boulder, New York & London), p. 120 A commonplace understanding of "tangibility" renders it as an attribute allowing something to be perceptible to the senses. In criminal law, one of the elements of an offense of larceny is that the stolen property must be tangible.
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"[A] knowledge of anything is acquired in three modes: by knowing what is inevitable, or by knowing what is analogous, or by what is possible and fit to exist." Later he adds the obvious: the direct tangibility of nature.E. W. West (SBE 24) at 121 (SGV I: 39) re truth leading to dignity and the true religion. The three approaches to knowledge listed: at 140 (SGV V: 10-11). Tangibility also: at 142 (SGV V: 46), and at 163, 164 (SGV IX: 5-6, 18).
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"Domino" permits Emily to connect several of her enemies together so that they share the same outcome. With "Shadow Walk", she is turned into a shadowy cloud that moves swiftly and changes tangibility at will. "Doppelganger" conjures a clone of Emily in order to misdirect her opponents, and can work alongside "Domino".
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Since 1970, Kapitolina Rumiantseva has participated in Art Exhibitions. She painted landscapes, still lifes, genre scenes, sketches from the life. Most famous for her sensual still lifes with wildlife flowers and fruits in interior and exterior. Her painting style evolved in the direction to decorative and local color while maintaining interest to the object, for transfer of its texture and material tangibility.
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He fails, and Warlock traps him in the Soul Gem. Since he is only part of a soul, he cannot interact with the other inhabitants of Soul World and exists only as a phantom. The Magus escapes the Soul Gem in an immaterial form, absorbing the life energies of others to regain tangibility. He is defeated by Genis-Vell and reverts to an ethereal entity.
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Her work is also featured in private collections. In addition to photography, van Ree makes short films and works in other visual media, including painting and pencil drawings. In her drawings, she finds inspiration in her dreams, and has undertaken drawing as an attempt to give the images of her dreams tangibility. This dream-drawing, according to Van Ree, also creates a sense of familiarity with her waking life.
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Ernest W. Lefever , Ethics and Public Policy Center. Accessed August 3, 2009. While there, a visit to the remains of the Bergen- Belsen concentration camp turned him into a self-described "humane realist", with his sight of "scattered rib bones in the red clay" convincing him of the tangibility of evil. He took a bone from the camp which he would show at lectures to explain his transformation.
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Nick Brown also left the band around the same time. In 1994, PI secured a deal with Cyclops Records, releasing their first CD album, Floating Tangibility. Meeting with widespread critical acclaim from all quarters it sold several thousand copies with very little promotion. The 1990s saw them securing support slots with the likes of IQ, Pendragon, and John Wetton, with the latter musician being particularly impressed by their live show.
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Richard Culham was replaced by Chris Brown (drums) in 1995. In a similar manner to Tom Scholz of Boston, principal songwriter Sheridan does not rush to follow up albums, and to stem the demand from fans waiting for a follow up to Floating Tangibility, PI released a cherry-picked selection of early demos as "Ice For Eskimos" in 1998. Andy Quinnell left to pursue a career in banking leaving PI to continue as a three-piece.
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Types of goods in economics. Goods' diversity allows for their classification into different categories based on distinctive characteristics, such as tangibility and (ordinal) relative elasticity. A tangible good like an apple differs from an intangible good like information due to the impossibility of a person to physically hold the latter, whereas the former occupies physical space. Intangible goods differ from services in that final (intangible) goods are transferable and can be traded, whereas a service cannot.
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Strange Tales #115 Similarly, the Red Skull later activated the fifth Sleeper, only to have it stopped by Captain America and the Falcon as well.Captain America #148 The fourth Sleeper was later restored to tangibility by the Machinesmith and was used as a "Trojan horse" to gain entrance onto Avengers Island in order to liberate the various robots incarcerated there. It was thwarted by Captain America, and badly damaged.Captain America #354 The damage done to the fourth Sleeper was later repaired by the Machinesmith.
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Jason Wilkes (portrayed by Reggie Austin) is a scientist for Isodyne, the only company willing to hire him as a black man, who informs Carter of the company's Zero Matter discovery. He is rendered invisible and intangible following exposure to the substance, and under its influence he attempts to take drastic steps to gain power. He expresses remorse for his actions after the Zero Matter is eventually purged from his body and he regains tangibility. Austin joined the cast as Wilkes in October 2015.
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Together with Bill Moggridge, they coined the term interaction design in the mid-1980s. From 1992-2000 at Interval Research Corporation, he directed the design and research for collaboration, tangibility and music. When Interval Research closed in 2000, Verplank joined Stanford’ University's CCRMA part-time with Max Mathews and developed a course on HCI for computer music and a conference (spun off from CHI) called NIME (New Interfaces for Musical Expression). He was on the steering committee and taught at the Interaction Design Institute Ivrea (2000–2005).
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The Red Ghost can become transparent or invisible when in intangible form, to the extent that Reed Richards was unable to detect him hiding in the same spacecraft over several days with sensitive equipment. The Red Ghost can alter the tangibility of parts of his body independently of each other. Thus, he can grab an object in a hand while the rest of his body remains intangible. Since his additional exposures to cosmic rays, Red Ghost can make people and objects become intangible if they are nearby or in his field of vision.
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Much of Dey's research deals with the construction and intersectional nature of ubiquitous computing. In 2002, in a research project at the University of California, Berkeley alongside Scott Lederer and Jennifer Mankoff, the team developed a conceptual model exploring the tangibility and accessibility of everyday end-user privacy in ubicomp environments. The model takes considerations from societal influences, contextual factors, and subjectivity to develop a far-reaching scope for ubicomp privacy. The model was then used to explore an interactional metaphor called situational faces, which makes the issue of privacy in ubiquitous computing environments more accessible to users.
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His art is self-referential and establishes a fundamental reflection on the construction of a work of art. Form, color, scale, and space are the main media for him to conduct a study of the central issues of the build, tangibility and morphology of an “artistic body”. The morphology of the works in Jastrzębski's concept is not only about a result of theoretical reflection on the subject of art, but also a “point of arrival” of a movement involving a deep exploration of form. During his artistic work, Jastrzębski has been active under two different pseudonyms.
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The Allmusic review awarded the album 4 stars out of 5, stating "As with 2014's High Risk, Dark Territory features live, in-studio performances Douglas has dubbed "electro-acoustic" jams. These primarily consist of computer- and synth-based soundscapes created by Shigeto that Douglas and his ensemble play along to. Shigeto then manipulates and interacts with the band and his soundscapes in real time, sculpting the proceedings. The result is a sound that falls somewhere in between experimental electronica and avant-garde jazz improvisation ... Ultimately, it's that visual and physical tangibility of Douglas and Shigeto's collaborations that makes Dark Territory such a heightened listening experience".
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Layoffs have remained the greatest way for a company to cut costs. Although from the employer's perspective a layoff is beneficial for the business, layoffs create an uncertainty in the workplace environment and lowers other employees' job security as well as creates an apprehension and fear of termination for the remaining employees, and subsequently lowers overall motivation in the workplace environment. According to Healing the Wounds: Overcoming the trauma of Layoffs and Revitalizing Downsized Organizations, in the post-layoff environment, there is a need for empathy, tangibility, self-knowledge, and relentlessly seeking customers among the surviving employees. The remaining employees may have feelings of survivors guilt.
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Joostens remarkable performance at the Conference of Peking did not pass unnoticed at the Belgian royal court. In 1904 Leopold II gave Joostens the hereditary title of baron as a final reward for his time in Peking. This focus on his own person enabled Joostens to use this attention to put the Belgian expansion on the agenda of the Belgian economic scene as pointed out before. On the other hand, the attention for Joostens also played a great part in the awareness of the Belgian presence in China and raised the tangibility of the project for a great deal of people who had never heard of the activities of the Belgian missionaries, Belgian investors and Belgian diplomats before.
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Engelstad sent questionnaires to people in living in North America, Europe and the Middle East on their ideas about peace following the September 11 attacks. The material that was sent to Engelstad by the survey participants, including poetry, prose, images and music was collected into a book and was followed by design of a public space with furniture and tableware within the gallery. The exhibition space was used to discuss the many different definitions of peace and the tangibility of peace within individuals and groups. Peace Room / Make Room for Peace was published in the Chicago Tribune newspaper, where readers were asked to contribute their own vision of peace to be designed on their own peace plate.
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It can be said that in all of Schneerson's many-dimensional scholarship, he captures the simple essence of Hasidic mysticism, and unites it with the Revealed aspects of Judaism, always seeking to bring ideas into greatest tangibility, and above all practical outcomes ("The main thing is the deed"). This reflects the essential meaning of Hasidism, which uncovers the inner spiritual meaning of Kabbalah, and seeks to bring this Divine essence down to the lowest levels. The talks represent this, as in contrast to the Maamarim (Hasidic discourses), the historically more traditional vehicle for Hasidic mysticism, in the informal Sichos (Talks), the Rebbe tends to avoid deep Kabbalistic terminology. The talks bring Hasidic thought into everyday language.
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My windows faced west, and looked down on the busy Chicago River. The river stretched out before me, its bridges one after the other rising and descending with the coming and going of boats and ships of all kinds, large and small. The tall buildings of the Loop towered over me to the south while across the river to the north and west there was the contrast of dingy old warehouses and wharfs." "Between 1929 and 1931 I had done a series of wash drawings from my window high up in Passy overlooking Paris and it was in these that I discovered how the aggressive tangibility of spaces could dissolve the concrete object world.
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In Thinking Architecture Peter Zumthor expresses his motivation in designing buildings that have an emotional connection and possess a powerful and unmistakable presence and personality. It is illustrated throughout with color photographs by Laura J. Padgett of Zumthor's new home and studio in Haldenstein. > “To me, buildings can have a beautiful silence that I associate with > attributes such as composure, self-evidence, durability, presence, and > integrity, and with warmth and sensuousness as well; a building that is > being itself, being a building, not representing anything, just being. The > sense that I try to instil into materials is beyond all rules of > composition, and their tangibility, smell, and acoustic qualities are merely > elements of the language we are obliged to use.
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Responding to the streaming age of music becoming the principal way of listening and continuing her approach of trying to reunite music in the digital age with a sense of tangibility, ceremony and storytelling, Wolfe released Raw Space as the world's first live 360° AR stream in collaboration with Bell Labs and Theo Watson's design company, Design I/O. This was a first in the world for combining live, 360˚ stereoscopic video and real-time AR visuals, creating a modern, Fantasia-like live streamed album experience. In an interview with Hoboken Life, Wolfe described the thinking behind Raw Space: > Raw Space touches on the themes I’ve been exploring since my first album but > in perhaps the most extreme and technicolor way. For this album, it began > with a question.
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Patten's work has been exhibited or performed in various venues including the Cooper Hewitt, Smithsonian Design Museum, the Museum of Modern Art, the Transmediale Festival in Berlin, the Museo Guggenheim Bilbao and the Ars Electronica Center in Linz, Austria and recognized in several international design competitions. James Patten is Director and Principal of Patten Studio, a decade old practice operating at the confluence of design, technology, and physical space to create interactive experiences. Projects and clients vary in scale and across industries, from brand activations, like Intel's SenseScape at CES 2016, to installations for public institutions, like the Museum of Science and Industry (Chicago) to monolithic rotating projectors for Rag & Bone's Spring/Summer Fashion Show 2017. His body of work however remains consistent, conceptually, in its merging of both digital and physical spaces for "richer, real-world" tangibility.
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Silk vol. 2 #9 prompting Silk to fight her. During the ensuing fight, Cindy falls into one of the dumpster, and was saved by a mysterious figure called Spectro, who was revealed to be Cindy's ex-boyfriend Hector.Silk vol. 2 #10 It is revealed that Hector actually died (while Cindy was being held in the bunker) when a neighbor attempted to summon a demon in his apartment block, resulting in him wandering the Material World and only able to manage tangibility when in combat. Cindy's colleagues Rafferty and Lola at Fact Channel News discover her secret identity and Cindy embraces this opportunity to open up to them, which helps relief some of her feelings of loneliness in the world. Rafferty reveals that they have discovered Dr. Kapoor's lab, which has been abandoned for months but has a secret benefactor continually paying the rent.
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Heck works with both analog and digital photography as well as with Super 8 for film shorts. Heck identifies himself as a “painter who uses photography,” and cites the 19th century painter Edouard Vuillard as one of his major influences as well as the work of modern photographer Harry Callahan. Due to Heck's interest in mediums and technologies of the past, his reoccurring use of nature as a theme, as well as his focus on beauty as the ultimate ideal, Heck’s work has often been described as a contemporary extension of Romanticism. Referencing his own work, Heck explains that “...to access beauty is what we ultimately desire, and the tangibility of this access is what in my opinion ultimately differentiates fashion from art as end points on a continuum, and simultaneously elevates fashion photography to such an important place in contemporary society.”A Magazine Curated by Giambattista Valli, Issue #10. 2010.
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On the lower part of the painting were three-dimensional body parts and formulas on a white background.See: Dalia Manor, “Pinchas Cohen Gan: Painting and Antithesis,” Kol Yerushalayim, December 5, 1986. [Hebrew] The formulas were an expression of philosophical-esthetic texts, in which Cohen Gan divided artistic activity into units and the connections between them, and presented them as a linguistic-mathematical system. In other works of this period, such as “The Other Science in Gray” (1982) or “Israeli Paradigm of the Prodigal Son No.1” (1982), a large number of images appear. Mordechai Omer pointed out with regard to the relationship between the images and the background in these works that they create a sealed space, that in spite of its tangibility, we were “unable to sense.”Mordechai Omer (Editor), Pinchas Gan 1983 (Haifa: Haifa Museum of Modern Art and the Haim Eter Museum of Art Ein Harod, 1983), p. 8. [Hebrew] Another expression of his preoccupation with the concept of space appears in works such as those exhibited in the series of works entitled “Area Drawings, Space Drawings, Abyss Drawings” (1981) in the Gimel Gallery, Jerusalem, and in the installation “Programmed Figure in Curved Space, or Painted Solution to Advance Problem no. 457617” (1981) in the Noemi Givon Gallery, Tel Aviv.
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