This is a list of all the questions and their associated study carrel identifiers. One can learn a lot of the "aboutness" of a text simply by reading the questions.
| identifier | question |
|---|---|
| work_2by36bz7pfcadjkotl735ayfv4 | What traces, or nuances can be left behind, or m o r e importantly, what end can the garage serve that makes the garage a place for human activity? |
| work_3g26vrz6cbez3eshzm4uhaixga | « MPEG-21: la norme des TICE du XXIème siècle? |
| work_fayvipl3anchbipevihencnxgy | Ravin JG, Hartman JJ& Fried RI, Mark Rothko''s paintings, suicide notes?, Ohio State Med J. |
| work_agjv37fy5fdx5d5kf7okczcxyi | ¿ Puede decirme qué piensa de ellos? |
| work_7zk47jio5vavdm2bbahnhktane | ‘ Do we believe in Tripadvisor? ’ Examining credibility perceptions and online travelers ’ attitude toward using user- generated content. |
| work_dekvm2hchje3pl33tpeoosmn4e | A little key to oxalate formation in oil paints: protective patina or chemical reactor? |
| work_eyttdmp5hba2dgjgj6ay2x5pna | 김재웅 역, 『( 어떻게 이해할 까?) |
| work_g7qkcaeg3jbqrcgyqp7nnlpira | Peter, T.; Keith, M.; Robert, S. Chromostereopsis: A multicomponent depth effect? |
| work_57jnzzlxrbbbxjys3tzysqqpva | VON BALTHASAR, ¿ Qué es un cristiano? |
| work_4y22w26canduze3pe27yy5oh7i | Who owns a group ’s proposals: The initiator or the group as a whole? |
| work_kd77dpwpbne7hayre7br7ssj74 | Modern Chinese Paintings: An Investment Alternative? |
| work_3l4i7l35qjhznnhbri44igmkau | Or can it still be useful in modern day general practice? |
| work_4ygjgk5dwzgrrpfhf3exddce4a | She asks,"What happens when the texts of Anglo- American history and literature are participants in Native space rather than the center of the story? |
| work_4ygjgk5dwzgrrpfhf3exddce4a | What kind of map emerges?" |
| work_kuaoa5c4sfctlhk7bmh43nbq6i | How many words are in the English language( 9)? |
| work_mllav53zafeppdfdqksfpeuqmm | Sinha, P.; Kalia, A.A. Tactile picture recognition: Errors are in shape acquisition or object matching? |
| work_b7cwv4jn75bozbnft4vlwqq5cy | 3.4 Relationship with style What do the clusters in Figure 4 represent? |
| work_b7cwv4jn75bozbnft4vlwqq5cy | So how does this models help us with style? |
| work_bdgouxk4a5fqve3cmyifkucwra | Picasso, matisse, or a fake? |
| work_bdgouxk4a5fqve3cmyifkucwra | What is the future ahead of us? |
| work_ffpddqu6s5gotcryac6mxxfluu | Determinants of preference: when do we like what we know? |
| work_ffpddqu6s5gotcryac6mxxfluu | Processing fluency and aesthetic pleasure: is beauty in the perceiver � s processing experience? |
| work_euohbjfyjnfe7b6p5uslhnl6fe | How is a random but biased mosaic pattern generated in an otherwise regularly organized sensory field? |
| work_euohbjfyjnfe7b6p5uslhnl6fe | Why is this? |
| work_3cwttq2vdvh6tclkclpefeprg4 | Captivated by the image, my first thoughts were – Was that the natural color in the soil pit? |
| work_3cwttq2vdvh6tclkclpefeprg4 | If yes, was the filming location specifically chosen for this look? |
| work_3cwttq2vdvh6tclkclpefeprg4 | – Alternatively, were some profile color effects enhanced through computer- generated imagery or other methods? |
| work_jl3ufvuuwzacbac4s4k4slx7mi | After all, was not he completing a mural for Henry Ford in Detroit? |
| work_jl3ufvuuwzacbac4s4k4slx7mi | Has not everything about that incident already been said and written? |
| work_733qb624cfhqlm2bth2ptsxw7u | Appropriation through pollution? |
| work_733qb624cfhqlm2bth2ptsxw7u | PD- Art/ PD- old-100=/1810/? |
| work_4namjhchrvfz7gy4j24hiwgdzq | How might we focus this lens of entropy to address particular concerns of designing in post- industrial contexts? |
| work_6ojmtoiigfb4doujn3hueyngw4 | But what made this design so special for Loos? |
| work_6ojmtoiigfb4doujn3hueyngw4 | To Lambirth ’s question ‘ What about movement? ’ he responds that many of his pictures are concerned with movement. |
| work_6ojmtoiigfb4doujn3hueyngw4 | What if the building were to give way under the weight of the water? |
| work_jum53bzee5e4hg6h6rxwidrbvy | BABACAN, İ., 1997, “ Karel Appel ”, Eczacıbaşı Ansiklopedisi 1, YEM Yayın, İstanbul BARRET, T., 2015, Neden Bu Sanat? |
| work_44szwsuwjnerpjevfcvysj4hqq | SANTAELLA, L. Por que as comunicações e as artes estão convergindo? |
| work_nqm6w62vsvhozcvq7rnz3xps7u | What happens along strokes where the gray level vary? |
| work_5dtsgouud5dstbzabs5e3vmc7m | The Invisible Self Why do we habitually omit the view we have of our own bodies from representations of the visual world? |
| work_fbedmsry2fd5ljzo32yb3arnmq | Ecol Econ 74: 8−18 Chan KMA, Guerry AD, Balvanera P, Klain S and others( 2012b) Where are cultural and social in ecosystem serv- ices? |
| work_haiefteiizbx7f223nydwwjsjm | Does achievement have a time limit? |
| work_haiefteiizbx7f223nydwwjsjm | What does such a life consist of? |
| work_haiefteiizbx7f223nydwwjsjm | What is meant by a fulfilling life? |
| work_h4s4fa6jbvhlfhrv4jbluxadmy | What would be the advantage of working directly from the original rather than from a memory image? |
| work_h4s4fa6jbvhlfhrv4jbluxadmy | When is an object not an object? |
| work_h4s4fa6jbvhlfhrv4jbluxadmy | Why ca n''t most people draw what they see? |
| work_i5yios5iijd2rgg76z2hy5b3d4 | 3 Shelly Errington, “ Globalizing Art History, ” in Is Art History Global?, ed. |
| work_i5yios5iijd2rgg76z2hy5b3d4 | Karena dia sudah tahu, kan? |
| work_i5yios5iijd2rgg76z2hy5b3d4 | Would this also apply to the hyperspace of Taman Mini where the Asmat art is more exposed to forces of the global art market? |
| work_bj3l4yocmzbuno6plcdg2jl43i | A história é importante e Klein a repetiu várias vezes com algumas variações: Por que cheguei a esse período azul? |
| work_bj3l4yocmzbuno6plcdg2jl43i | Seria a expressão de Matisse “ um centímetro quadrado de azul não é tão azul quanto um metro quadrado do mesmo azul ” familiar a Klein? |
| work_dbllj5j3lvguri2ppeiimlqc4e | Primitive and Italian? |
| work_dbllj5j3lvguri2ppeiimlqc4e | See also, De Chirico to Ardengo Soffici, 30 December 1914(? |
| work_ajubuv5u7jgbnfhv27sh3ju2ju | So what will be left of the Diaghilev repertoire twenty- fijive years from now? |
| work_ajubuv5u7jgbnfhv27sh3ju2ju | Where would ballet be without him? |
| work_ajubuv5u7jgbnfhv27sh3ju2ju | Who, after all, can take Schéhérazade seriously today? |
| work_cefvqcvuwvfwtdfzd6nxykqe5a | Login nowDon''t have an account? |
| work_fis5jqyzjrfzrn2aklakmhuyra | ( ii) What is the nature of the alteration compounds of cadmium yellow paints? |
| work_fis5jqyzjrfzrn2aklakmhuyra | ( iii) Which environmental factors contribute to promote degradation of cadmium yellow paints? |
| work_er3b6bwywrcevmzlvnro5mz2ni | H o w shall I describe t h e r o o m? |
| work_er3b6bwywrcevmzlvnro5mz2ni | then somewhere asked a voice:"Can you explain why this abode should open to your glam''rous claim and in its golden halls, your greatness entertain?" |
| work_7fusxj7so5dgppgwmnq5vpfdxu | COMPONENT KEY SENTENCE SUMMARY DESCRIPTION What? |
| work_eo2ddmjuenfxbdcswow67jomg4 | Did Cavallini study Roman togas on some old sarcophagus? |
| work_eo2ddmjuenfxbdcswow67jomg4 | Did I know that Thomas Aquinas wrote part of his Summa while a monk of St. Dominic ’s? |
| work_eo2ddmjuenfxbdcswow67jomg4 | Shakespeare, some say, went to Italy, and why not Cavallini to England? |
| work_eo2ddmjuenfxbdcswow67jomg4 | Was he of the Church Militant, doing battle for the Lord when he fell? |
| work_qj7anlwlzvboxh2mrn3phoknbi | What is Basic Desing? |
| work_qjots3p23zbcjj237ykmtskq44 | What does dance mimic, what does it tell us? |
| work_hfaw5fqpm5g47bukyrgehi23oq | is this dominant spike assumption of a spectral- maximum- based scheme valid for other artists and other periods as well? |
| work_hfaw5fqpm5g47bukyrgehi23oq | meters) along the same bundle of threads? |
| work_hfaw5fqpm5g47bukyrgehi23oq | therefore, why not on into the originally neighboring canvas? |
| work_rtk3f7jgx5dgdhhfqyfffkueya | Are smokestacks prettier or healthier than groves or do they give rise to finer deeper emotions? |
| work_55urj4x2snfplbno6zxhnlcyzq | Abstract This study aimed to find the architectural meaning and characteristics of L''Art Sacr? |
| work_55urj4x2snfplbno6zxhnlcyzq | At the same time, Courturier''s clear and vigorous L''Art Sacr? |
| work_55urj4x2snfplbno6zxhnlcyzq | From 1936 till 1954 Father Couturier was the chief editor of the review L''Art Sacr? |
| work_55urj4x2snfplbno6zxhnlcyzq | These L''Art Sacr? |
| work_smc2pj4usrglboaowwpwg6hrue | With the exception of the paintings by Dai Yunqi 戴雲起( 1910 –?) |
| work_6zmwsbf2ofgqzj4o3nh3gp6vce | A typical query URL looks like: content.guardianapis.com/search? |
| work_6zmwsbf2ofgqzj4o3nh3gp6vce | Carnegie Mellon University, on 06 Apr 2021 at 01:46:16, subject to the Cambridge Core terms of use, available at content.guardianapis.com/search? |
| work_6zmwsbf2ofgqzj4o3nh3gp6vce | For example, how do we begin to answer questions such as ‘ Where can I see artworks by the Scottish Artist Joan Eardley? ’. |
| work_6zmwsbf2ofgqzj4o3nh3gp6vce | q= pablo+picasso§ion= artanddesign&format= xml content.guardianapis.com/search? |
| work_5opccyjtarb2hhtxlyd4cuccly | But how is the body seen in the light of feminist approaches to visual autographies? |
| work_5opccyjtarb2hhtxlyd4cuccly | Hence a return to this sort of cry of Spinoza ’s: what can a body do? |
| work_ff6mnzj25zegrct2ipe5o6jtxq | Alternatively, the presence of varnish, as observed in the case of the S5 sample, may have partially dissolved CdSO4 and freed Cd 2? |
| work_ff6mnzj25zegrct2ipe5o6jtxq | J. Susini et al., Why infrared spectromicroscopy at the ESRF? |
| work_ff6mnzj25zegrct2ipe5o6jtxq | These ions could have then reacted with Cd 2? |
| work_ff6mnzj25zegrct2ipe5o6jtxq | to energies where the absorption and consecutively the XRF from sulphides( S 2-) or sulphates( S 6?) |
| work_itk56zzqyneblkmm6sn7eeivie | Why this new Journal? |
| work_lj6a2uvk2vbzlbnpx5wtdgac3i | We thus come to the question of how to characterize a painting that tries to cross painting out? |
| work_evhxhw6tardqhcvso3buefaxcm | Z=-0.324, p=0.746 The usability of the tool effects visual query expression? |
| work_evhxhw6tardqhcvso3buefaxcm | Z=-2.322, p=0.020 The usability of the tool effects the retrieval results? |
| work_evhxhw6tardqhcvso3buefaxcm | Z=-2.410, p=0.016 Retrieval results are effected by the RGB colour values? |
| work_e6zohesjqrhqniazzesy4g2haq | How did Picasso ’s private cognitive work trans- late into pictures that had, and continue to have, a pro- found effect on us? |
| work_e6zohesjqrhqniazzesy4g2haq | What does this look like? |
| work_e6zohesjqrhqniazzesy4g2haq | of Pages 3 object? |
| work_ust5lwnnkrbqfmylqjzqgjo62e | why “ jazz diaspora ”? |
| work_dklh3bduwffffmqbhznwj6sata | A questão ecfrástica O que implica falar de uma imagem? |
| work_dklh3bduwffffmqbhznwj6sata | Mas será que a expressividade estética pode ser somente fundamentada segundo os modelos desta transferência? |
| work_dklh3bduwffffmqbhznwj6sata | Ou, ainda melhor: como pode um médium descrever as vivências dadas por outro médium? |
| work_vgqxswh4pzcdhpr2livk4yr5vm | Retrieved from http://www2.segye.com/Articles/News/Article.asp? |
| work_p3iurvjwkfcrbl6c3e6hn6v4sm | Natürlich könnte man einwenden: Was hätte auch der nackte Mann zu bieten? |
| work_p3iurvjwkfcrbl6c3e6hn6v4sm | Wie sähe es in den Museen, in unseren Köpfen aus, wenn die Bil- der von Künstlerinnen gemalt worden wären? |
| work_p3iurvjwkfcrbl6c3e6hn6v4sm | Worauf schaut der Maler? |
| work_2v775ec7knbofh7c4tx22akmn4 | Raciology made a comeback while we were happy in the belief that it had disappeared, but did it ever really go away? |
| work_2v775ec7knbofh7c4tx22akmn4 | Was the reemergence of raciology in the postcolony inevitable? |
| work_7qslytfy7nad3nx2aruejnbcpm | ( 2007), Exploring repurchase intention in a performing arts context: who comes? |
| work_7qslytfy7nad3nx2aruejnbcpm | 10 Would n’t it be wonderful to include a trip to his Giverny gardens to develop a fuller understanding of the experience? |
| work_7qslytfy7nad3nx2aruejnbcpm | And why do they come back? |
| work_7qslytfy7nad3nx2aruejnbcpm | IESE Business School- University of Navarra- 3 The need to change Why should a cultural institution embark on such a journey? |
| work_7qslytfy7nad3nx2aruejnbcpm | IESE Business School- University of Navarra- 5 http://ec.europa.eu/culture/pdf/doc967_en.pdf How are cultural institutions addressing these changes? |
| work_7qslytfy7nad3nx2aruejnbcpm | So what are the trends in cultural audiences? |
| work_nryvamrfrzck5kle6kzqer5yq4 | Has Ikaros resigned and is falling back, or is he still struggling to gain height? |
| work_nryvamrfrzck5kle6kzqer5yq4 | We perceive Ikaros as a mirror image as if we looked ourselves into a mirror; and what is the mirror doing? |
| work_nryvamrfrzck5kle6kzqer5yq4 | What is Matisse showing in this cutout? |
| work_tr5t72prb5bppfe2js55hbip6m | com.tr/search? |
| work_tr5t72prb5bppfe2js55hbip6m | org/ artist- bran- cusi- constantin-artworks.htm#pnt_2 Resim 4. https:// www.google.com.tr/ search? |
| work_txquvystnvaf3bansf64pycqpa | See furthermore Christophe Flubacher and Deirdre Wandfluh- Colahan, eds., Divisionism: Mastery of Color? |
| work_txquvystnvaf3bansf64pycqpa | What does this mean for the analogy of the pointillist technique? |
| work_ubsb6fmgcraf3ojnql45vi2lbu | Singer MC, Fletcher V( 2004) The conservation of art''s bronzes: preserving the sculpture''s history or the artist''s intent?. |
| work_uemeax6g7bguzeoedgmxdhiwzm | Who dares, in public, to allow reservations about the work of our official genius? |
| work_dzxbthylsvhebmyguh6blhhiya | But can we go further? |
| work_dzxbthylsvhebmyguh6blhhiya | Do different technologies and arenas of artistic practice within the same culture therefore imply differently modulated ways of seeing? |
| work_dzxbthylsvhebmyguh6blhhiya | He, too, abstracted individual motifs from a total design and asked the familiar question of Kuba artists: ‘ what do you call this? ’( Figure 3). |
| work_ox7suoy5fnejtnuey5pd7una6a | O que se pode dizer que mudou em Rothko entre o período de Thru the Window e a sua obra subsequente, dos anos 1950? |
| work_qrshdzmofvexdhyjhaptb2twt4 | ¿ Qué explica la personalidad única del Museo Inka? |
| work_6gu5gx47urgpnlzz4uyj4fgunm | 4 James Elkins, ed., Is Art History Global? |
| work_6gu5gx47urgpnlzz4uyj4fgunm | 8 Béatrice Joyeux- Prunel, “ ¿ Exponer al cubista sin cubismo? |
| work_6gu5gx47urgpnlzz4uyj4fgunm | Amongst her publications, the books: Nul n’est prophète en son pays? |
| work_6gu5gx47urgpnlzz4uyj4fgunm | For example: why did surrealist artists live so comfortably during the Great Depression, while their abstract peers were starving? |
| work_6gu5gx47urgpnlzz4uyj4fgunm | See Béatrice Joyeux- Prunel, “ Provincializing Paris … ” 24 Camille Mauclair, L’Architecture va- t- elle mourir? |
| work_6gu5gx47urgpnlzz4uyj4fgunm | To start with, one can ask how might the mobility of the avant- gardes have led to the victory of Paris and surrealism in art history? |
| work_6gu5gx47urgpnlzz4uyj4fgunm | Why dalinism? |
| work_npqenegou5ejphlebsmz7lmupm | 54 « Dopo aver esaltato al pubblico Zorn e Zuloaga, come persuaderlo che Monet e Renoir erano artisti autentici? |
| work_npqenegou5ejphlebsmz7lmupm | Come curarla? |
| work_bs6wgrgacfawlm5lzi7pa5atma | And second-- and perhaps more relevant-- does this APV- based return agree with estimates computed with more popular approaches? |
| work_bs6wgrgacfawlm5lzi7pa5atma | First, what does this return mean? |
| work_bs6wgrgacfawlm5lzi7pa5atma | That is, a return based on an “ ideal ” revenue composition? |
| work_bs6wgrgacfawlm5lzi7pa5atma | Which is correct? ” Previous researchers have also focused on other topics. |
| work_bs6wgrgacfawlm5lzi7pa5atma | Would you then attempt to control for revenue composition to arrive at a return figure reflecting the “ average ” or “ typical ” return? |
| work_bs6wgrgacfawlm5lzi7pa5atma | “ Better off Dead? |
| work_ymrfq2x54vbrxpaj6zsy6nfrzq | Comprehensively: András Szántó, Will U.S. museums succeed in reinventing themselves? |
| work_x4xzk3ez2zewlfyg2ephkegoqm | ( 1997) ‘ Value dimensions — are there really that many? ’, proceedings from the 49th Annual Esomar Conference, Istanbul, September. |
| work_j52g66khljas5apbqzejujmomm | Paul Cézanne padre de la pintura moderna- M. Miranda Rev Med Chile 2017; 145: 508- 513 512 ARTÍCULO ESPECIAL ¿ Cézanne como neurocientista? |
| work_j52g66khljas5apbqzejujmomm | ¿ Entre un pino que se muestra ante mis ojos y uno tal cual es en realidad? |
| work_j52g66khljas5apbqzejujmomm | ¿ No sería ello la realización de un parte de la natura- leza, que el cuadro nos da al caer sobre nuestra mirada? |
| work_j52g66khljas5apbqzejujmomm | ¿ Qué hay en común entre los árboles y nosotros? |
| work_j52g66khljas5apbqzejujmomm | ¿ los árboles como seres sensibles? |
| work_dstd5dp6craircs3clqbgtfsga | 88 ‘ The New Art History? ’ was a conference( and later book) organised by Jon Bird at Middlesex Polytechnic in 1982. |
| work_dstd5dp6craircs3clqbgtfsga | 93 Frances Borzello, ‘ Preaching to the Converted? |
| work_dstd5dp6craircs3clqbgtfsga | Contributors debated whether the 26 Frances Borzello, ‘ Preaching to the Converted? |
| work_i6wyhdtt2rfztm27clqz7t7uc4 | < 쿠스코? |
| work_i6wyhdtt2rfztm27clqz7t7uc4 | < 쿠스코? |
| work_i6wyhdtt2rfztm27clqz7t7uc4 | < 쿠스코? |
| work_i6wyhdtt2rfztm27clqz7t7uc4 | < 쿠스코? |
| work_i6wyhdtt2rfztm27clqz7t7uc4 | 디즈니의 애니메이션< 쿠스코? |
| work_i6wyhdtt2rfztm27clqz7t7uc4 | 본질과 현상| 2010년 겨울 22호| pp.296- 325| 2010년 12월| 본질과 현상 김윤지, “ 미야자키 하야오"3D 애니메이션? |
| work_sjvcndejnzdu5itebi2pbytz64 | Mas como poderia ela ser obtida de tal modo que o mistério da aparência seja cap- tado no mistério da fatura? |
| work_sjvcndejnzdu5itebi2pbytz64 | Mas o que é o ritmo? |
| work_sjvcndejnzdu5itebi2pbytz64 | À heteronímia do Eu artístico corresponde o polimorfismo( ou o amor- fismo?) |
| work_vwzxskvxkjh65mruup4zx7no5e | 10 SEPTEMBER 2008 Opening of the exhibition, Academia: Qui es- tu? |
| work_vwzxskvxkjh65mruup4zx7no5e | 19 MARCH 2008 Kassel, Germany, exhibited King Lustik? |
| work_vwzxskvxkjh65mruup4zx7no5e | 24 JUNE 2008 The Jewish Museum in Paris[ Musée d’art et d’histoire du Judaisme] opened A qui appartenaient ces tableaux? |
| work_sul5qbuq7rgsvdpbfe6xxp3b6a | How, and with the help of which dealers, were they to be put on the art market? |
| work_sul5qbuq7rgsvdpbfe6xxp3b6a | What were the paths of the plundered objects? |
| work_sul5qbuq7rgsvdpbfe6xxp3b6a | Which criteria were used to select the works for the art trade? |
| work_q4va5r55pjaxnevd44bxqudwd4 | How were they devised for, presented to, and received by their different audiences, at home or abroad? |
| work_q4va5r55pjaxnevd44bxqudwd4 | Kemp M.( 2012), Where next after Leo- mania?, « The Art Newspaper », n. 232, 1 February, p. 36. |
| work_q4va5r55pjaxnevd44bxqudwd4 | Was there not, Sir Austen Chamberlain wondered, a lesson here for Englishmen85? |
| work_yc365vslyrdulcm7u7roacikku | Email address/ Username? |
| work_yc365vslyrdulcm7u7roacikku | Sign in Do n''t already have an account? |
| work_oxsp7e4o6zgnxejmeq6up2uag4 | 9, 1994; Kool- haas en Mau( noot 23), 1995, ‘ Whatever happened to urbanism? |
| work_oxsp7e4o6zgnxejmeq6up2uag4 | 9, 1994; Koolhaas and Mau( note 23), 1995, ‘ What- ever happened to urban- ism? |
| work_oxsp7e4o6zgnxejmeq6up2uag4 | Does the ‘ myth of the tower ’ really still belong in the contemporary economy? |
| work_oxsp7e4o6zgnxejmeq6up2uag4 | Past de ‘ mythe van de toren ’ nog wel in onze hedendaagse economie? |
| work_xftlvbuar5hnxa5ldohw6z2zmy | 10 SEPTEMBER 2008 Opening of the exhibition, Academia: Qui es- tu? |
| work_xftlvbuar5hnxa5ldohw6z2zmy | 19 MARCH 2008 Kassel, Germany, exhibited King Lustik? |
| work_xftlvbuar5hnxa5ldohw6z2zmy | 24 JUNE 2008 The Jewish Museum in Paris[ Musée d’art et d’histoire du Judaisme] opened A qui appartenaient ces tableaux? |
| work_6glii24ggfhvxhtuezunxlsica | Are you ever dizzy? |
| work_6glii24ggfhvxhtuezunxlsica | Can molecular geometry be so simple? |
| work_6glii24ggfhvxhtuezunxlsica | Did A n n W i c k h a m''s m e t a p h o r s p a r a l l e l B e r n a l''s d i s c o v e r i e s? |
| work_6glii24ggfhvxhtuezunxlsica | H o w much visible and how much less visible s y m m e t r y is there in the arts? |
| work_6glii24ggfhvxhtuezunxlsica | How old are you? |
| work_6glii24ggfhvxhtuezunxlsica | Kazimir Malevich: Black square( 1915?). |
| work_6glii24ggfhvxhtuezunxlsica | On my money? |
| work_6glii24ggfhvxhtuezunxlsica | Perhaps symmetry considerations could facilitate relating the perception o f structures and the world of emotions? |
| work_6glii24ggfhvxhtuezunxlsica | That''s did you put it? |
| work_dur6qvtlwzgphd6wtjn6o6amuq | 3) Is there a geographic source for Romanesque, from which other regions received the impetus for its development? |
| work_dur6qvtlwzgphd6wtjn6o6amuq | 5]? |
| work_dur6qvtlwzgphd6wtjn6o6amuq | How could early Irish jewelry be so easily linked to twelfth- century Italian sculpture? |
| work_dur6qvtlwzgphd6wtjn6o6amuq | How could this be? |
| work_e5lcgryhizg3db2xl53be7zoyy | How can we find our creative voices? |
| work_e5lcgryhizg3db2xl53be7zoyy | How do we know that we are being creative? |
| work_e5lcgryhizg3db2xl53be7zoyy | If literature is usually considered a result of creativity, is only writing a creative act or can translation be considered a creative act, too? |
| work_e5lcgryhizg3db2xl53be7zoyy | If literature is usually considered a result of creativity, is only writing a creative act or can translation be considered a creative act, too? |
| work_e5lcgryhizg3db2xl53be7zoyy | Of course this fact raises a few intriguing questions: if they are not a hundred percent ours, where do ideas come from? |
| work_e5lcgryhizg3db2xl53be7zoyy | Writing was definitely a creative act but what about translating? |
| work_e5lcgryhizg3db2xl53be7zoyy | Writing was definitely a creative act but what about translating? |
| work_nwglxm3qozcyjaji4a2erto3tq | Can consciousness be measured? |
| work_nwglxm3qozcyjaji4a2erto3tq | First- person Methodologies: What, Why, How? |
| work_nwglxm3qozcyjaji4a2erto3tq | Francisco Varela''s neurophenomenology of time: Temporality of consciousness explained? |
| work_nwglxm3qozcyjaji4a2erto3tq | Introduction Can the study of a single subject by means of a first- person analysis be considered from a scientific methodological approach? |
| work_nwglxm3qozcyjaji4a2erto3tq | What could be the limitations of this approach? |
| work_nwglxm3qozcyjaji4a2erto3tq | What is this firs- person analysis proposed for? |
| work_li7f6zj7bfdnpkeofl3b3z7ufe | But how long is it going to take America, I wonder, to realize this? |
| work_li7f6zj7bfdnpkeofl3b3z7ufe | Was the impresario under the influence of Cocteau and perhaps less invested in the production than others? |
| work_li7f6zj7bfdnpkeofl3b3z7ufe | “ What is Modern Architecture? ” Nation 199, 30 July 1924. |
| work_v4f5hfqrcrdq3npmnqwtbpg36a | But what, in reality, are the features of this morphological and stylistic uniqueness? |
| work_v4f5hfqrcrdq3npmnqwtbpg36a | HOW WE CAN DRAW THE VAL DI NOTO? |
| work_v4f5hfqrcrdq3npmnqwtbpg36a | How can the idea of these overlapping ver- tical cities be rendered with a drawing? |
| work_v4f5hfqrcrdq3npmnqwtbpg36a | How can the pomegranate city be drawn? |
| work_v4f5hfqrcrdq3npmnqwtbpg36a | How, then, can these feelings described in cine- ma be drawn? |
| work_c6ettxiwdbdpvj3yiirl456fay | But who dares to say to a painter “ This far and no further ”? |
| work_c6ettxiwdbdpvj3yiirl456fay | Can we say that the art of the Hungarian fauves counts as one of the exceptional moments in Hungarian painting? ’ Passuth replied: ‘ Yes. |
| work_c6ettxiwdbdpvj3yiirl456fay | [...] But did anyone notice us? |
| work_c6ettxiwdbdpvj3yiirl456fay | ‘ Were the Hungarian fauves really fauves? ’ asked art historians and art critics. |
| work_qydyskeisnhd3bjdwsnph3anmq | The Y o u n g e r A m e r i c a n P a i n t e r s: A r e They C r e a t i n g a N a t i o n a l A r t? |
| work_qydyskeisnhd3bjdwsnph3anmq | H e i b e l, Y u l e F."D i f f e r e n c e s A s i d e? |
| work_qydyskeisnhd3bjdwsnph3anmq | These"p a t r o n s"( o r s h o u l d we c a l l them p a d r o n e s?) |
| work_qydyskeisnhd3bjdwsnph3anmq | What m a t t e r t h e s u b j e c t? |
| work_yzxameipfze73ajyg6yyx6yofu | ¿ Soy criollista? |
| work_yzxameipfze73ajyg6yyx6yofu | ¿ Tenía la intención de crear una escuela de este tipo? ”( 79). |
| work_yzxameipfze73ajyg6yyx6yofu | “ La comunicación científica: ¿ arte o técnica? ” Ars Pharmaceutica 41, 1( 2000): 11- 18. |
| work_vwwrgdzpj5ebvl2522z7dck6rq | Afinal, como limitar, conter, tal superfície extravagante, reluzente? |
| work_vwwrgdzpj5ebvl2522z7dck6rq | O minimalismo continuaria a atrair público décadas depois, se os trabalhos fossem transparentes, como fomos informados? |
| work_vwwrgdzpj5ebvl2522z7dck6rq | Qual o sentido de criar novos, quando se pode aproveitar essa abundância, esse excesso tipicamente capitalista? |
| work_vwwrgdzpj5ebvl2522z7dck6rq | São as luzes de Flavin, fáceis de se ver, conhecer? |
| work_xfy6bpxbrbdxxc34453jiwulp4 | Captivated by the image, my first thoughts were: – was that the natural color in the soil pit? |
| work_xfy6bpxbrbdxxc34453jiwulp4 | The visitors generally found these can- vases splendid, and asked if they were painted by a contemporary artist? |
| work_xj23nld4g5bvtmbyl3epakp2pi | 9 Gilles Deleuze and Félix Guattari, Percept, Concept and Affect, in: i d., What Is Philosophy?, London 1994, 193–194. |
| work_xj23nld4g5bvtmbyl3epakp2pi | Would radical self- objectification prevent the naturalism demanded by an institutional reflex that creates artistic life as “ only work ”? |
| work_zfktmdjwcjebtaruajnp7rv7fm | Co skłaniało człowieka z Cro- Magnon do ta- kiego rodzaju notacji? |
| work_zfktmdjwcjebtaruajnp7rv7fm | What prompted Cro- Magnon man to do this kind of notation? |
| work_zfktmdjwcjebtaruajnp7rv7fm | [ 9] Cennini C., Rzecz o malarstwie, Oficyna Florencka Tyszkiewi- czów, Florencja 1933, 21, http://kpbc.umk.pl/dlibra/doccontent? id=36932. |
| work_zhbs72arnfbihotiyt5umcvvji | What happens in perception when the stimulus is open to multiple interpretations? |
| work_ejuchsj4qrfebb4wcmrtfklxg4 | “ Are n’t you all doing it — consciously or unconsciously? |
| work_ym2xu2agbndrles33ojwjv26fm | ( O fim da história da arte?). |
| work_ym2xu2agbndrles33ojwjv26fm | Em 1983, Hans Belting publicou um livro sob o título Das Ende der Kunstgeschichte? |
| work_ym2xu2agbndrles33ojwjv26fm | Quais eram, contudo, as utopias cujo fim a pós- modernidade anunciava? |
| work_ym2xu2agbndrles33ojwjv26fm | Que arte é essa? |
| work_hmeboxeqj5a7da3fd6mufvwxsu | Adham Ismaʿil, Syrian Zajal( al- Zajal al- Sūrī), 1947(? |
| work_hmeboxeqj5a7da3fd6mufvwxsu | see samar Ḥamārna, Kayfa Yarā Fātiḥ al- Mudarris? |
| work_amysq7fbgjdxxddfnq2c57y2ju | ,? |
| work_amysq7fbgjdxxddfnq2c57y2ju | 1 3 4 Hofmann, E x h i b i t i o n Catalogue Berkeley, 1931, Hofmann,"P l a s t i c Creation, 1? |
| work_amysq7fbgjdxxddfnq2c57y2ju | ? |
| work_amysq7fbgjdxxddfnq2c57y2ju | Has he not t r i e d t o d e f i n e c r e a t i o n and the p r i n c i p l e s upon which i t i s based? |
| work_amysq7fbgjdxxddfnq2c57y2ju | In a r e p l y t o the question,"how should one approach a r t?" |
| work_amysq7fbgjdxxddfnq2c57y2ju | In both these a r t i c l e s, Hofmann r e p l i e d t o the question, what makes an A r t i s t? |
| work_amysq7fbgjdxxddfnq2c57y2ju | Plate V I I? |
| work_5zb7ipywq5fwdkgezcx6izbhmy | .? |
| work_5zb7ipywq5fwdkgezcx6izbhmy | AESTHETIC OR POSTMODERN PICTURE BOOKS? |
| work_5zb7ipywq5fwdkgezcx6izbhmy | After this Rosie wants to head home, but where is her home and where is her mother? |
| work_5zb7ipywq5fwdkgezcx6izbhmy | Hur gick det sen? |
| work_5zb7ipywq5fwdkgezcx6izbhmy | Illustreren om je penselen te kunnen betalen? |
| work_5zb7ipywq5fwdkgezcx6izbhmy | It inevitably evokes questions such as: ‘ What is to be considered as artistic and therefore aesthetic? |
| work_5zb7ipywq5fwdkgezcx6izbhmy | It is left unclear how this opening scene should be read exactly; maybe Rosie just escaped from the wolf ’s belly after she had been eaten by him? |
| work_5zb7ipywq5fwdkgezcx6izbhmy | This book was first published in French as Où est Maman? |
| work_tkdjnf3nnvcpdamuekuzu6qp6a | What are the characteristics exhibited in each decade in Korean women ’s fashion and Nora Noh''s fashion? |
| work_tkdjnf3nnvcpdamuekuzu6qp6a | What are the important features of Korean women ’s fashion design in the mid- to- late twen- tieth century? |
| work_tkdjnf3nnvcpdamuekuzu6qp6a | 또한 이를 통해 추출된 한국패션사적 사건들은 무엇이며 이것이 20세기 한국패션사에 기여한 점은 무엇인가? |
| work_tkdjnf3nnvcpdamuekuzu6qp6a | 첫째, 1940년대~1990년대 한국패션과 패션디자이 너 브랜드 노라노의 발전과정은 어떠한 관계가 있는 가? |
| work_titxdrmjjbbjpj677g4nzbj4uy | And is it necessary to show the product to make it seems attractive? |
| work_titxdrmjjbbjpj677g4nzbj4uy | And what are the most important features of images on the toys and toys packaging surfaces? |
| work_titxdrmjjbbjpj677g4nzbj4uy | How it will be used? |
| work_titxdrmjjbbjpj677g4nzbj4uy | That the product is considered for what age group? |
| work_titxdrmjjbbjpj677g4nzbj4uy | • What is the first effect of Images on the surfaces of toys and toys packages? |
| work_6uxydnor4necxamvzyscb7ivtq | (%) Was art therapy helpful? |
| work_6uxydnor4necxamvzyscb7ivtq | Are aesthetic elements clearly expressed? |
| work_6uxydnor4necxamvzyscb7ivtq | Are the expression techniques and contents related to the topic? |
| work_6uxydnor4necxamvzyscb7ivtq | Can Art therapy for fatigue during RT 137www.e-roj.orghttp://dx.doi.org/10.3857/roj.2016.01760 the painting attract patients ’ interest? |
| work_6uxydnor4necxamvzyscb7ivtq | Can the painting evoke patients ’ internal motives? |
| work_6uxydnor4necxamvzyscb7ivtq | Is the painting easy for the patients to understand? |
| work_6uxydnor4necxamvzyscb7ivtq | No Would you recommend art therapy? |
| work_6uxydnor4necxamvzyscb7ivtq | Questions to aid selection were as follows: Is the painting related to the topic? |
| work_6uxydnor4necxamvzyscb7ivtq | The effectiveness of art therapy: does it work? |
| work_6uxydnor4necxamvzyscb7ivtq | Wood MJ, Molassiotis A, Payne S. What research evidence is there for the use of art therapy in the management of symptoms in adults with cancer? |
| work_4zyfi3uojzfdjcdtaeixyfam6a | And what may be the nature of that inactive unthinking being? |
| work_4zyfi3uojzfdjcdtaeixyfam6a | D. — And preferring what? |
| work_4zyfi3uojzfdjcdtaeixyfam6a | D. — What other plane can there be for the maker? |
| work_4zyfi3uojzfdjcdtaeixyfam6a | How does a historian or historiographer account for this Heraclitean flow, the process of thoughts being made and unmade? |
| work_4zyfi3uojzfdjcdtaeixyfam6a | Like a biographer, the designer seeks to illuminate: what is the relationship or emotional bond between or behind these characters? |
| work_4zyfi3uojzfdjcdtaeixyfam6a | Like a close reader, the actor asks: what is the action or meaning behind a given line, and what is the heritage of any difficult words? |
| work_4zyfi3uojzfdjcdtaeixyfam6a | Like a genetic historian, the director asks: which is the most accurate text that actors should memorize? |
| work_ca4su7c6qvhwlc65xubezqbyci | Now, what general principles can we extract from the CMMI model? |
| work_ca4su7c6qvhwlc65xubezqbyci | When are observable states necessary? |
| work_ca4su7c6qvhwlc65xubezqbyci | Why is defining levels important? |
| work_ca4su7c6qvhwlc65xubezqbyci | Why is it hard to get the level right? |
| work_qcqqdk6ctnge5mukldipq4ujpy | Does the scientific evidence support the recovery model? |
| work_k5lw5nq3rvd7bayygaf3wqwigq | 1919 New York 6(t) 8 28 Gauguin, Where do We Come From? |
| work_k5lw5nq3rvd7bayygaf3wqwigq | See Kenneth Clark, What is a Masterpiece? |
| work_k5lw5nq3rvd7bayygaf3wqwigq | What Are We? |
| work_k5lw5nq3rvd7bayygaf3wqwigq | Where Are We Going? |
| work_67tu5iqqbbagtkzsoxc2dh3pxi | 43 Fontainas,"Les Artistes Indépendants,"in: La Plume( 1901), 352-355, here 352:"Chose étrange, est- ce dû à l''atmosphère plus sympathique? |
| work_67tu5iqqbbagtkzsoxc2dh3pxi | And what, Fagus asked, were they moving towards? |
| work_67tu5iqqbbagtkzsoxc2dh3pxi | Is it due to the more pleasant atmosphere? |
| work_67tu5iqqbbagtkzsoxc2dh3pxi | Is it the selection of the official juries that restrained them? |
| work_67tu5iqqbbagtkzsoxc2dh3pxi | La clairvoyance des bons citoyens s''en inquiète[...] Un art qui recherche du nouveau ne signifie- t- il pas: émancipation?" |
| work_67tu5iqqbbagtkzsoxc2dh3pxi | Luce? |
| work_67tu5iqqbbagtkzsoxc2dh3pxi | Luce?" |
| work_67tu5iqqbbagtkzsoxc2dh3pxi | Signac? |
| work_67tu5iqqbbagtkzsoxc2dh3pxi | Why M. Signac? |
| work_67tu5iqqbbagtkzsoxc2dh3pxi | [ …] pourquoi M. Signac? |
| work_67tu5iqqbbagtkzsoxc2dh3pxi | est- ce le choix des jurys officiels les y a contraints? |
| work_blnkiy37nrd2dblh35dqg6dd3q | Aldığımız her kararda kendimize şunu sorduk: Bu van Gogh’un bir resminin parçası olabilir mi? |
| work_blnkiy37nrd2dblh35dqg6dd3q | Göstergebilimle yolunda gitmeyen nedir? ” Sorunlardan birisi şudur: Modada göstergeler yazınsal alanda olduğu gibi arı simgeler değillerdir. |
| work_blnkiy37nrd2dblh35dqg6dd3q | Jean- Marie Schaeffer, Qu’est- ce qu’un genre littéraire( Yazınsal bir tür nedir?) |
| work_blnkiy37nrd2dblh35dqg6dd3q | Nasıl alıntılanmaktadır? |
| work_blnkiy37nrd2dblh35dqg6dd3q | Peki, alıntılanan nedir? |
| work_blnkiy37nrd2dblh35dqg6dd3q | Peki, yaklaşımın en belirgin yöntemi nedir? |
| work_blnkiy37nrd2dblh35dqg6dd3q | R. Barthes’ın girişimi bir başka düş kırıklığıdır: “ Modayla yolunda gitmeyen nedir? |
| work_blnkiy37nrd2dblh35dqg6dd3q | Rembrandt Koleksiyonu’nda( 2015) bir saplantı durumuna getirdiği ressamın etkisinden söz eder: Ya ben? |
| work_wxzkefgxczczjdzhtkiwlv6lcm | ( 593) Was she tempted by patriarchal poetry ’s pronouncements, or did it fail to pronounce her? |
| work_wxzkefgxczczjdzhtkiwlv6lcm | Did it fail to pronounce her temptation? |
| work_wxzkefgxczczjdzhtkiwlv6lcm | Did it fail to tempt her? |
| work_wxzkefgxczczjdzhtkiwlv6lcm | Is it that patriarchal poetry risks putting us to sleep, or that Stein sets patriarchal poetry to lullaby? |
| work_e3tcy7fk6rfzjdqwhfwqg53jjy | Do you think hearing a “ no, thank you ” at the end of your interview process is the end? |
| work_e3tcy7fk6rfzjdqwhfwqg53jjy | How do the subcategories of reading, test- taking and learning strategies for L2 reading predict the learners ’ English proficiency? |
| work_e3tcy7fk6rfzjdqwhfwqg53jjy | How is the employment of reading and test- taking strategies different according to item type and learners ’ English proficiency? |
| work_e3tcy7fk6rfzjdqwhfwqg53jjy | Researcher: How do you do this? |
| work_e3tcy7fk6rfzjdqwhfwqg53jjy | Researcher: What kinds of words do you mean? |
| work_e3tcy7fk6rfzjdqwhfwqg53jjy | To what extent were the repertoire of reading and test- taking strategies employed by the learners in solving MC items? |
| work_e3tcy7fk6rfzjdqwhfwqg53jjy | What is the best order of( A),( B), and( C) after the sentence in the box? |
| work_e3tcy7fk6rfzjdqwhfwqg53jjy | Which one best fits in the blank? |
| work_e3tcy7fk6rfzjdqwhfwqg53jjy | Which one is NOT true about Amy? |
| work_awwathv6evcmneedcv2oh6p46u | 56 CHAPTER 4 MOVING FORWARD: THE OBSOLESCENCE OF QUEER ENCODING? |
| work_awwathv6evcmneedcv2oh6p46u | Can the piece be understood as a flag, or does its status as a piece of fine art interrupt the inherent meaning contained within a flag? |
| work_awwathv6evcmneedcv2oh6p46u | For Democrats? |
| work_awwathv6evcmneedcv2oh6p46u | For Democrats? |
| work_awwathv6evcmneedcv2oh6p46u | Is it a sign or a referent? |
| work_awwathv6evcmneedcv2oh6p46u | MOVING FORWARD: THE OBSOLETION OF QUEER ENCODING? |
| work_neg7q52odffhjeafdnhykarjbu | Why Has Critique Run out of Steam? work_neg7q52odffhjeafdnhykarjbu 2) How does the process of observation influence the development of painting? work_neg7q52odffhjeafdnhykarjbu 3) How can still life be used to further expand and understand the work of a painting? work_neg7q52odffhjeafdnhykarjbu In his book What Do Pictures Want? work_neg7q52odffhjeafdnhykarjbu Mitchell, W. J. T. What Do Pictures Want? work_neg7q52odffhjeafdnhykarjbu This final question informs an overarching investigation of my practice: how to paint? work_neg7q52odffhjeafdnhykarjbu Verwoert, Jan. “ Why Are Conceptual Artists Painting Again? work_ytqea63bhvchzcayfpprrow76a Do you see its perspective? work_ytqea63bhvchzcayfpprrow76a What does her position on the ontology of art objects( “ an oil painting is an oil paint- ing ”) have to do with Stein as a writer? work_ytqea63bhvchzcayfpprrow76a Where is your Vortex?, ed. work_z4q52f6clzchvc52apjamqwkmm accuracy?''! work_z4q52f6clzchvc52apjamqwkmm appearances!are!detached!from!the!world,!as!they!are!now!in!the!digital!age?!! work_z4q52f6clzchvc52apjamqwkmm canvas,!piece!of!paper!or,!even!the!walls!of!an!architectural!space?!! work_z4q52f6clzchvc52apjamqwkmm immediately!implies!reference!of!some!kind?! work_z4q52f6clzchvc52apjamqwkmm within!my!Spatial!Painting!practice?!! work_z4q52f6clzchvc52apjamqwkmm work?!! work_y42a4nbndnbzljk5umufzjodta But what about 20th- century Western philosophy? work_y42a4nbndnbzljk5umufzjodta When inner is outer, and outer inner, what belongs to me, what to the world? work_y42a4nbndnbzljk5umufzjodta Where to draw the lines, according to what criteria, how? work_y42a4nbndnbzljk5umufzjodta Why do Middle Eastern paintings themselves, or Islamic philosophy, seem to lack the proximity to the West that is sug- gested by the novel? work_y42a4nbndnbzljk5umufzjodta Why would a contemporary reader with a Western education find My Name Is Red appealing? work_a3at6r67jbh6nkdwjyabv6c7nm 334 Lawal, “ ORÍ ÒDE/ ORÍ INÚ: Metaphysics of the Head in Osi Audu ’s Art. ”[ IS THIS CITATION COMPLETE?] work_a3at6r67jbh6nkdwjyabv6c7nm But can the energy be channeled? work_a3at6r67jbh6nkdwjyabv6c7nm How does one pattern fit into another so that it becomes invisible in terms of the repeat? work_a3at6r67jbh6nkdwjyabv6c7nm Or could it be a reflection[ of something] back on itself, or a protective device? work_a3at6r67jbh6nkdwjyabv6c7nm Oyo(? work_a3at6r67jbh6nkdwjyabv6c7nm Oyo(? work_a3at6r67jbh6nkdwjyabv6c7nm http://www.youtube.com/watch? work_a3at6r67jbh6nkdwjyabv6c7nm “ Sokari Douglas Camp: Ekine Woman in London? ” in Play and Display, Steel Masquerades from Top to Toe( exhibition catalog). work_n3t7oh2ndjb2lkgbyhiw4iaaqi ABSTRACT EXPRESSIONS OF AFFECT Then how can abstract expression of affect ben- efit an affective technology such as the robot? work_n3t7oh2ndjb2lkgbyhiw4iaaqi And how is disgust shaped? work_n3t7oh2ndjb2lkgbyhiw4iaaqi Do people prefer curved objects? work_n3t7oh2ndjb2lkgbyhiw4iaaqi Do you see the cups or the vases? work_n3t7oh2ndjb2lkgbyhiw4iaaqi Indeed, can you imagine a humanoid design effectively finding its way through small holes in a wall or corridors filled with rubble? work_n3t7oh2ndjb2lkgbyhiw4iaaqi None focus on cognitive appraisal, for obvious reasons( what should the subject cognitively appraise about an abstract feature?). work_n3t7oh2ndjb2lkgbyhiw4iaaqi Processing fluency and aesthetic pleasure: is beauty in the perceiver ’s processing experience? work_n3t7oh2ndjb2lkgbyhiw4iaaqi The high and mighty among man and beast: how universal is the relationship between height( or body size) and social status? work_n3t7oh2ndjb2lkgbyhiw4iaaqi Too real for comfort? work_n3t7oh2ndjb2lkgbyhiw4iaaqi Which are the stimuli in facial displays of anger and happiness? work_vfo3ftdjyzabxmai72jhoghaoy How is that difference to be thought? work_vfo3ftdjyzabxmai72jhoghaoy Precisely because the line works as a point of departure, the opening question has to be: Was the drawn line ever just a line? work_vfo3ftdjyzabxmai72jhoghaoy The question that has to be faced is how, if there is flesh, could the potential for the erotic ever absolutely excised? work_vfo3ftdjyzabxmai72jhoghaoy There is now a new question: What is presented? work_vfo3ftdjyzabxmai72jhoghaoy What is drawing? work_vfo3ftdjyzabxmai72jhoghaoy What is it that the line presents? work_vfo3ftdjyzabxmai72jhoghaoy What is its quality? work_vfo3ftdjyzabxmai72jhoghaoy Why? work_rvnl5eeftvexvm36byxjk4pll4 Beyond control of variables: What needs to develop to achieve skilled scientific think- ing? work_rvnl5eeftvexvm36byxjk4pll4 Given this finding, why did the philosophy intervention have such a focused and dramatic effect on the value domain? work_rvnl5eeftvexvm36byxjk4pll4 Peer interaction and learning: Can two wrongs make a right? work_rvnl5eeftvexvm36byxjk4pll4 Perspective taking and theory of mind do children predict interpretive diversity as a function of differences in observers ’ knowledge? work_rvnl5eeftvexvm36byxjk4pll4 To trust or not to trust? work_rvnl5eeftvexvm36byxjk4pll4 Would the results have been different if the same dialogic attention had been applied to issues in the field of history or science, for example? work_k2nyanvrtre7hff5oj35ndbnde Where Are We?" |
| work_k2nyanvrtre7hff5oj35ndbnde | / V £>~fi~ ffa lh<^n4/ I f c^/- A g^^ z x^ g_( A<, fr/ r^&n X L e r^vr- h U S r |
| work_k2nyanvrtre7hff5oj35ndbnde | A s Le Corbusier commented:"But where does sculpture begin, where does painting commence, where does architecture start? |
| work_k2nyanvrtre7hff5oj35ndbnde | Beatriz Colomina, in"Where are We?" |
| work_k2nyanvrtre7hff5oj35ndbnde | Name of Author( please print)''Date( dd/ mm/ yyyy) Title of Thesis:( h C-SV> y? |
| work_k2nyanvrtre7hff5oj35ndbnde | This is contradictory to the premise of this thesis, which argues that art and architecture, as 1 9 A s cited in Beatriz Colomina,"Where Are We?" |
| work_k2nyanvrtre7hff5oj35ndbnde | What evidence exists then that Ronchamp represents the symbiosis of art and architecture? |
| work_k2nyanvrtre7hff5oj35ndbnde | • What other artists, architects and critics were influential within the same period in advocating for a synthesis o f the arts and architecture? |
| work_k2nyanvrtre7hff5oj35ndbnde | • Why did Le Corbusier consider achieving a symbiosis between art and architecture to be necessary to his practice? |
| work_gtdysu3cofhs5e2mhztywvtw2a | Are we any faster or more accurate in recognizing an apple when it is seen in color versus black- and- white? |
| work_gtdysu3cofhs5e2mhztywvtw2a | Does the presence of color help us recognize objects in our world? |
| work_gtdysu3cofhs5e2mhztywvtw2a | Does the presence( or absence) of accurate color information affect the recognition performance of experts more than novices? |
| work_gtdysu3cofhs5e2mhztywvtw2a | If so, what are the neural substrates related to the processing of an object ’s texture? |
| work_gtdysu3cofhs5e2mhztywvtw2a | Like object color, can the perception of object texture be neurologically distinguished from knowledge of object texture? |
| work_gtdysu3cofhs5e2mhztywvtw2a | To what extent does knowledge of object color facilitate the rapid subordinate- level recognition of the expert? |
| work_gtdysu3cofhs5e2mhztywvtw2a | What are the ecological benefits of representing objects and scenes in terms of both color and shape? |
| work_gtdysu3cofhs5e2mhztywvtw2a | What ecological advantage does this give primates over animals with dichromatic or monochromatic vision? |
| work_gtdysu3cofhs5e2mhztywvtw2a | ‘ What color name would you give communists? ’) and concrete objects( e.g. |
| work_gtdysu3cofhs5e2mhztywvtw2a | • What is the relationship between object color and the expertise of the perceiver? |
| work_uh2gezdeargshe2altjma4rm2a | Are these changes clinically relevant? |
| work_uh2gezdeargshe2altjma4rm2a | Are these changes clinically relevant? |
| work_uh2gezdeargshe2altjma4rm2a | Lancet 347:241–243 Graefes Arch Clin Exp Ophthalmol( 2008) 246:631–639 639 Do dissociated or associated phoria predict the comfortable prism? |
| work_uh2gezdeargshe2altjma4rm2a | NEUROPHTHALMOLOGY Do dissociated or associated phoria predict the comfortable prism? |
| work_uh2gezdeargshe2altjma4rm2a | What are the limitations of our study? |
| work_uh2gezdeargshe2altjma4rm2a | What are the limitations of our study? |
| work_uh2gezdeargshe2altjma4rm2a | What are the practical inferences of our study? |
| work_uh2gezdeargshe2altjma4rm2a | What is the reason for the tendency towards eso deviation in the two phoria conditions? |
| work_up4ci7mpprcj3jrphmcdymnbvm | At this point of our analysis, we might ask: Does it all matter? |
| work_up4ci7mpprcj3jrphmcdymnbvm | Is our mind an invention of our brain? |
| work_up4ci7mpprcj3jrphmcdymnbvm | Or, do we have a mind because the background of the universe is mindlike and expresses itself in our mind? |
| work_up4ci7mpprcj3jrphmcdymnbvm | Was C. G. Jung a Mystic? |
| work_up4ci7mpprcj3jrphmcdymnbvm | What are probabilities? |
| work_up4ci7mpprcj3jrphmcdymnbvm | Why is the background of atoms not known and even unknowable? |
| work_up4ci7mpprcj3jrphmcdymnbvm | Why should we care? |
| work_yoxxqtpbzrgu3hlru3s7oe2acy | I ask her, “ Ruth, what gives you strength? |
| work_yoxxqtpbzrgu3hlru3s7oe2acy | One thing to listen for is the language used by the patient — do they more often use words or images that are cognitive, visual, or auditory? |
| work_yoxxqtpbzrgu3hlru3s7oe2acy | What is your prayer for the path forward? |
| work_yoxxqtpbzrgu3hlru3s7oe2acy | What things do you love? |
| work_yoxxqtpbzrgu3hlru3s7oe2acy | [ 17] M. Byrne, “ Spirituality in palliative care: what language do we need? ” International Journal of Palliative Nursing, vol. |
| work_z5bevyfolvgqrkcyu3oxp6ca4m | Constant, “ Why do older adults garden? ” Activities, Adaptation and Aging, vol. |
| work_z5bevyfolvgqrkcyu3oxp6ca4m | Gardening? |
| work_z5bevyfolvgqrkcyu3oxp6ca4m | How Does Your Garden Grow? |
| work_z5bevyfolvgqrkcyu3oxp6ca4m | References[ 1] S. D. Wright and D. Lund, “ Gray and green? |
| work_z5bevyfolvgqrkcyu3oxp6ca4m | What is the connection between gardening and care and well- being? |
| work_z5bevyfolvgqrkcyu3oxp6ca4m | [ 123] H. Parr, Mental Health and Social Space: Toward Inclusionary Geographies? |
| work_j2ad6gu5v5hblfhoou6dlgm4ka | Com quantos bons projetos se faz um bom artista? |
| work_j2ad6gu5v5hblfhoou6dlgm4ka | E Moscou? |
| work_j2ad6gu5v5hblfhoou6dlgm4ka | E o trecho no qual irrompe a fotografia é de conversas típicas de encontros entre artistas( “ Como é a passagem do projeto ao ato? |
| work_j2ad6gu5v5hblfhoou6dlgm4ka | Foi a Cuba? |
| work_j2ad6gu5v5hblfhoou6dlgm4ka | Intervenção? |
| work_j2ad6gu5v5hblfhoou6dlgm4ka | Por que não? |
| work_j2ad6gu5v5hblfhoou6dlgm4ka | Você é mais intuitivo ou do tipo socrático? |
| work_j2ad6gu5v5hblfhoou6dlgm4ka | [...] ” – ERBER, 2013a, p. 55- 54)? |
| work_j2ad6gu5v5hblfhoou6dlgm4ka | a fotografia descreveria, as- sim, o vernissage narrado por Ciprian quando encontra Nys? |
| work_j2ad6gu5v5hblfhoou6dlgm4ka | acha que o mercado é um incentivo ou execrável? |
| work_j2ad6gu5v5hblfhoou6dlgm4ka | será que você cabe? |
| work_j2ad6gu5v5hblfhoou6dlgm4ka | É casado? |
| work_zojz72rwnbfbpltbb3t5fpjea4 | When d i d P i c a s s o complete Les D e m o i s e l l e s d''A v i q n o n? work_zojz72rwnbfbpltbb3t5fpjea4 , 289- 291, Gourmont had asked''Q u i done v o u d r a i t se mettre quotidiennement sous l e s yeux ces femmes d''h o p i t a l ou de lupanar? |
| work_zojz72rwnbfbpltbb3t5fpjea4 | , Une H i s t o l r e des Femmes e s t- e l l e P o s s i b l e? |
| work_zojz72rwnbfbpltbb3t5fpjea4 | 4 B r i t t a Martensen-^Larsen,"When d i d P i c a s s o complete''L e s D e m o i s e l l e s d''A v i g n o n''? |
| work_zojz72rwnbfbpltbb3t5fpjea4 | I l l, et t r i s t e m e n t y v o i r l e temoignage d e p l o r a b l e d''une impuissance aggravee de v a n i t e? |
| work_zojz72rwnbfbpltbb3t5fpjea4 | Une h i s t o l r e des femmes e s t- e l l e p o s s i b l e? |
| work_zojz72rwnbfbpltbb3t5fpjea4 | Where has he found h i s o g r i l l l o n s? |
| work_g43il6loobdbdcvkz72th65r6a | But what is a book? |
| work_g43il6loobdbdcvkz72th65r6a | Colin Sackett The Ordinary made Extraordinary Why books? |
| work_g43il6loobdbdcvkz72th65r6a | What can the book format achieve that can not be achieved in another form? |
| work_g43il6loobdbdcvkz72th65r6a | When the artist ’s book is produced in conjunction with an exhibition is it a work of art or merely a catalogue? |
| work_g43il6loobdbdcvkz72th65r6a | Where is Campibisenzio? |
| work_vta3jcg2ybgsrpqqs5y3fmvcai | 77: Mark Rothko, Landscape[?] |
| work_vta3jcg2ybgsrpqqs5y3fmvcai | 77: Mark Rothko, Landscape[?] |
| work_vta3jcg2ybgsrpqqs5y3fmvcai | Did Rothko see his colorfield abstractions as representing something tangible, something he could identify with a source? |
| work_vta3jcg2ybgsrpqqs5y3fmvcai | Has Rothko silenced him by not showing us his face, deliberately excluding us, and himself, from the discourse? |
| work_vta3jcg2ybgsrpqqs5y3fmvcai | Large- scaled buildings also appear in Landscape[?] |
| work_vta3jcg2ybgsrpqqs5y3fmvcai | Or, as what Wick seems to be suggesting here, was there a source in Italian art for Rothko‘s compositions? |
| work_vta3jcg2ybgsrpqqs5y3fmvcai | Why? |
| work_vta3jcg2ybgsrpqqs5y3fmvcai | [ you know Lewis Kachur‘s book?] |
| work_glgzrbza2fgnxg7j7wpxpqieum | 0 cm charcoal on canvas Additional Information: d across bottom under comp.. New York, 1922/ Miller''s class? |
| work_glgzrbza2fgnxg7j7wpxpqieum | Did FitzGerald''s readings on Pre- Raphaelitism have any effect on his later works? |
| work_glgzrbza2fgnxg7j7wpxpqieum | Enjoyed them all over again and got a little more intimate with some of the things? |
| work_glgzrbza2fgnxg7j7wpxpqieum | Is there an underlying meaning to this work? |
| work_glgzrbza2fgnxg7j7wpxpqieum | January 7, 1942; April 30, 1945? |
| work_glgzrbza2fgnxg7j7wpxpqieum | November 16, 1937; March 14, 1938; November 1, 1938; March 21, 1939; May 16, 1939; June 25, 1942; July 27, 1945; September 20, 1945; October 5, 1945? |
| work_glgzrbza2fgnxg7j7wpxpqieum | Pausing to look at what he was doing one day, the teacher, Boardman Robinson, exclaimed in surprise,"What''s happened to you?" |
| work_glgzrbza2fgnxg7j7wpxpqieum | What could have caused FitzGerald to have suddenly lightened and brightened his palette? |
| work_glgzrbza2fgnxg7j7wpxpqieum | What do you think, Mr. King? |
| work_glgzrbza2fgnxg7j7wpxpqieum | What other influences had FitzGerald absorbed that may be found in this painting? |
| work_glgzrbza2fgnxg7j7wpxpqieum | What was the thrust of Ruskin''s teaching and how did they influence the later artistic development of FitzGerald? |
| work_glgzrbza2fgnxg7j7wpxpqieum | What was this style and whose influences can be seen in it? |
| work_glgzrbza2fgnxg7j7wpxpqieum | What was this"French Modernism"in American painting? |
| work_glgzrbza2fgnxg7j7wpxpqieum | Why was FitzGerald so fascinated with apples? |
| work_glgzrbza2fgnxg7j7wpxpqieum | got notice from Montreal"O l d Hat"painting not accepted for Canadian Group Painters show — Teddy[ Dr. Ted Thomas?] |
| work_zo6j6bkr55dcfgevn7xicimila | Geertz, Armin W. “ Can we move beyond primitivism? |
| work_zo6j6bkr55dcfgevn7xicimila | How might a person continue after being stripped of their goals and defining characteristics? |
| work_zo6j6bkr55dcfgevn7xicimila | How might an object function once its means to do so have vanished? |
| work_zo6j6bkr55dcfgevn7xicimila | However, its massive, key- shaped burial mounds( kofun) evidence a more clearly defined 42 Armin W. Geertz, “ Can we move beyond primitivism? |
| work_zo6j6bkr55dcfgevn7xicimila | Japan ’s salon system also posed an issue for artists like Numata — were his creations to be considered ceramic or sculpture? |
| work_zo6j6bkr55dcfgevn7xicimila | “ Disposable but Indispensable: The Earthenware Vessel as Vehicle of Meaning in Japan. ” In What ’s the Use of Art? |
| work_zo6j6bkr55dcfgevn7xicimila | “ Is There Such a Thing as Animism? ” Journal of the American Academy of Religion 85, no. |
| work_bnbvmodb6be2ppzezbtqjqw3fi | And how did these decisions go on to shape the trajectory of art history? |
| work_bnbvmodb6be2ppzezbtqjqw3fi | And what do the strategies that artists employ in making their work tell us about brain function? |
| work_bnbvmodb6be2ppzezbtqjqw3fi | But what about the decisions that followed? |
| work_bnbvmodb6be2ppzezbtqjqw3fi | How do artists account for this change in color during the production of a painting? |
| work_bnbvmodb6be2ppzezbtqjqw3fi | To identify this unique character, people will typically use a time- consuming search strategy, interrogat- ing each letter( “ is this a 5? ”). |
| work_bnbvmodb6be2ppzezbtqjqw3fi | What accounts for the sudden decline of the painting, coincident with work on the background? |
| work_bnbvmodb6be2ppzezbtqjqw3fi | What is so special about color? |
| work_bnbvmodb6be2ppzezbtqjqw3fi | What lay behind Matisse ’s intention? |
| work_dh42o6tjqjgn3ngmihchmv4era | And where is the periphery? |
| work_dh42o6tjqjgn3ngmihchmv4era | And where is the periphery? |
| work_dh42o6tjqjgn3ngmihchmv4era | Citation for the original published paper( version of record): Edling, M.( 2019) From Margin to Margin? |
| work_dh42o6tjqjgn3ngmihchmv4era | F RO M M A R GI N T O M A R GI N? |
| work_dh42o6tjqjgn3ngmihchmv4era | From Margin to Margin? |
| work_dh42o6tjqjgn3ngmihchmv4era | It was explicitly referred to as a magazine that had made “ the biased standpoint into a F RO M M A R GI N T O M A R GI N? |
| work_dh42o6tjqjgn3ngmihchmv4era | On the relationship between the academic position and the art critical assignments, see E. H., “ Konsthistorikerna F RO M M A RG I N T O M A RG I N? |
| work_dh42o6tjqjgn3ngmihchmv4era | Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37909 From Margin to Margin? |
| work_dh42o6tjqjgn3ngmihchmv4era | What is a centre? |
| work_dh42o6tjqjgn3ngmihchmv4era | What is a centre? |
| work_dh42o6tjqjgn3ngmihchmv4era | Zan, perhaps a reference to the sculptor Jack Zan, who first F RO M M A RG I N T O M A RG I N? |
| work_asooqphl2za3bostk6uorwuxqy | O bien, a la inversa, ¿ la artesanía a partir del arte? |
| work_asooqphl2za3bostk6uorwuxqy | O bien, aún, ¿ algo diferente? |
| work_asooqphl2za3bostk6uorwuxqy | Pero ¿ está permitido siquiera hablar así? |
| work_asooqphl2za3bostk6uorwuxqy | Pero ¿ una estatua de Poseidón? |
| work_asooqphl2za3bostk6uorwuxqy | Por lo demás ¿ se puede hablar aquí de otro arte? |
| work_asooqphl2za3bostk6uorwuxqy | René Char ¿ no habla a partir del origen de la obra de arte cuando enuncia cómo se ha confiado a su lealtad? |
| work_asooqphl2za3bostk6uorwuxqy | ¿ Cuál es la acepción griega de τέχνη[ téchne]? |
| work_asooqphl2za3bostk6uorwuxqy | ¿ Cómo se presenta la poesía? |
| work_asooqphl2za3bostk6uorwuxqy | ¿ Esto es decir que el pintor no da pinceladas de color sobre un lienzo? |
| work_asooqphl2za3bostk6uorwuxqy | ¿ Esto quiere decir que comprendían implícitamente el arte a partir de la artesanía? |
| work_asooqphl2za3bostk6uorwuxqy | ¿ Hay, inclusive, una óptica específica que corresponda a la manera en que nos aparecen las cosas? |
| work_asooqphl2za3bostk6uorwuxqy | ¿ Por qué digo que “ se resignó ”? |
| work_asooqphl2za3bostk6uorwuxqy | ¿ Por qué – a propósito de esto – se pone en cuestión la obra de arte? |
| work_asooqphl2za3bostk6uorwuxqy | ¿ Qué pasa con una obra de arte? |
| work_asooqphl2za3bostk6uorwuxqy | ¿ Qué viene a hacer aquí la obra de arte? |
| work_pficsiimjrbihomqak3hpnj3xq | Could he have made the instrument without the kinesthetic skills of an artist? |
| work_pficsiimjrbihomqak3hpnj3xq | Do its patterns provide structured guidance, or themes, along which ideas can travel and merge like the carrier waves of radio fre- quencies? |
| work_pficsiimjrbihomqak3hpnj3xq | Does everyone do their best problem- solving while doing something else? |
| work_pficsiimjrbihomqak3hpnj3xq | Does the musical theme link and carry diverse thoughts, bridging the silences or gaps between them? |
| work_pficsiimjrbihomqak3hpnj3xq | How does music help the scientist per- form better( yes, the puns are purpose- ful!)? |
| work_pficsiimjrbihomqak3hpnj3xq | Is synosia all- pervasive? |
| work_pficsiimjrbihomqak3hpnj3xq | Okay: so what? |
| work_pficsiimjrbihomqak3hpnj3xq | What difference does it make that so many scientists indulge in musical avocations? |
| work_ezxjbsudfbb2jockr54wcnhigi | Can concurrent verbaliza- tion reveal design cognition? |
| work_ezxjbsudfbb2jockr54wcnhigi | Do artistic images and ideas suddenly come up in their minds? |
| work_ezxjbsudfbb2jockr54wcnhigi | Do artists’body movements influence their minds? |
| work_ezxjbsudfbb2jockr54wcnhigi | First, how do artists generate their new ideas and im- ages? |
| work_ezxjbsudfbb2jockr54wcnhigi | How did he draw so smoothly with- out forming the whole image or complete plans in his mind? |
| work_ezxjbsudfbb2jockr54wcnhigi | How do artists create artwork? |
| work_ezxjbsudfbb2jockr54wcnhigi | How do artists manage conformity to transcend their previous artworks? |
| work_ezxjbsudfbb2jockr54wcnhigi | Is this my habit? |
| work_ezxjbsudfbb2jockr54wcnhigi | Nonverbal behavior and nonverbal communication: What do conversational hand gestures tell us? |
| work_ezxjbsudfbb2jockr54wcnhigi | Second, how do artists transcend their previous works when creating new artwork? |
| work_ezxjbsudfbb2jockr54wcnhigi | Task demands and generative thinking: What changes and what remains the same? |
| work_ezxjbsudfbb2jockr54wcnhigi | Third, what is the relationship between cognition and body movement? |
| work_ezxjbsudfbb2jockr54wcnhigi | This seems to be my habit, does n’t it? |
| work_ezxjbsudfbb2jockr54wcnhigi | What do architects and students perceive in their design sketches? |
| work_ezxjbsudfbb2jockr54wcnhigi | What kinds of creative cognitive processes can we find from online processes of an artist ’s creation? |
| work_uoa75hvy2vgahmm6shuafaifdy | A Beauty Center? |
| work_uoa75hvy2vgahmm6shuafaifdy | At what spatial scale, and within what brain regions, do we find these correlations? |
| work_uoa75hvy2vgahmm6shuafaifdy | But can these tools advance our understanding of aesthetics beyond Fech- ner ’s insights[ 1]? |
| work_uoa75hvy2vgahmm6shuafaifdy | Cloutier J, Heatherton TF, Whalen PJ, Kelley WM( 2008) Are attractive people rewarding? |
| work_uoa75hvy2vgahmm6shuafaifdy | How can this be accomplished? |
| work_uoa75hvy2vgahmm6shuafaifdy | Leaving aside meth- odological challenges[ 25,26], is such a correlation meaningful to understanding aesthetics? |
| work_uoa75hvy2vgahmm6shuafaifdy | Poldrack RA( 2006) Can cognitive processes be inferred from neuroimaging data? |
| work_uoa75hvy2vgahmm6shuafaifdy | Should we deny someone ’s experience of beauty if the mOFC is not activated? |
| work_uoa75hvy2vgahmm6shuafaifdy | So, what is neuroaesthetics supposed to study? |
| work_uoa75hvy2vgahmm6shuafaifdy | What Questions Can Neuroaesthetics Answer? |
| work_uoa75hvy2vgahmm6shuafaifdy | What functions do the brain regions implicated serve in other behaviors? |
| work_uoa75hvy2vgahmm6shuafaifdy | What signals during development and experi- ence are responsible for wiring up these circuits? |
| work_uoa75hvy2vgahmm6shuafaifdy | Yu DW, Shepard GH Jr( 1998) Is beauty in the eye of the beholder? |
| work_x5tggs6f5fhwvbzukdjml34vga | A “ filosofia dos fatos ” própria da psicologia seria então uma “ estética ”, i.e., uma “ filosofia da arte ”? |
| work_x5tggs6f5fhwvbzukdjml34vga | In A. Toomela e J. Valsiner Methodological thinking in psychology 60 years gone astray? |
| work_x5tggs6f5fhwvbzukdjml34vga | O que prevalecerá? |
| work_x5tggs6f5fhwvbzukdjml34vga | Qual deles vencerá: o de magistrado imparcial ou o de esposo amoroso? |
| work_x5tggs6f5fhwvbzukdjml34vga | Se a personalidade for como uma obra de arte dramática, quem será o autor/ criador que escreve a peça? |
| work_x5tggs6f5fhwvbzukdjml34vga | Se para escolher precisamos ter mais que uma opção, como haveria volição sem pairar sobre nossas consciências qualquer “ sombra ” de dúvida? |
| work_reqowwq4urfn3abcjmfmhqwqo4 | ( Uzgred, da li je verovati da je Bob Dilan inspiraciju za svoju pesmu pronašao u „ kotrljajuæem kame- nu “? |
| work_reqowwq4urfn3abcjmfmhqwqo4 | Ali šta je sa lupom? |
| work_reqowwq4urfn3abcjmfmhqwqo4 | Ali šta æemo s slikarstvom? |
| work_reqowwq4urfn3abcjmfmhqwqo4 | Caplan, Ben i Matheson, Carl( 2004), „ Can a Musical Work Be Crea- ted? “, British Journal of Aesthetics 44: 113 � 34. |
| work_reqowwq4urfn3abcjmfmhqwqo4 | Da li koncertno izvoðenje Rolingstonsa predstavlja instan- cu originalne Dilanove pesme ili instancu njihove studijske obrade? |
| work_reqowwq4urfn3abcjmfmhqwqo4 | Do sad smo analizirali identitet umetnièkog dela u slikarstvu i muzici, ali gde se nalazi umetnièko delo u knji � evnosti? |
| work_reqowwq4urfn3abcjmfmhqwqo4 | Ili mikroskopom? |
| work_reqowwq4urfn3abcjmfmhqwqo4 | Kako stvari stoje s njom? |
| work_reqowwq4urfn3abcjmfmhqwqo4 | Koja je razlika izmeðu originalnog dela i njegovog falsifikata ako je vizuelno nemoguæe utvrditi razliku? |
| work_reqowwq4urfn3abcjmfmhqwqo4 | Pa kako onda to mogu biti dva razlièita dela? |
| work_reqowwq4urfn3abcjmfmhqwqo4 | ka � emo da nam se dopadaju Pikasove „ Gospoðice iz Avinjona “ zato što nam se dopadaju skice koje smo imali prilike da vidimo? |
| work_reqowwq4urfn3abcjmfmhqwqo4 | Šta bi sagovornik mogao da zakljuèi iz našeg od- govora? |
| work_nezhe4c6jjf55fitl5myezzkty | Qu’est- ce à dire? |
| work_nezhe4c6jjf55fitl5myezzkty | THe arMisTice: frencH vicTory in defeaT? |
| work_nezhe4c6jjf55fitl5myezzkty | To help faÿ, who felt that arranging for this translation would aid his career?10 all of the above? |
| work_nezhe4c6jjf55fitl5myezzkty | What use have we made of the victory in 1918? |
| work_nezhe4c6jjf55fitl5myezzkty | What use would we have made of an easy victory in 1940? |
| work_nezhe4c6jjf55fitl5myezzkty | as a move to ingratiate herself with the vichy administration, given the precarious status she and alice had as Jewish lesbians? |
| work_nezhe4c6jjf55fitl5myezzkty | as an opportunity to make money at a juncture when she was low on funds? |
| work_nezhe4c6jjf55fitl5myezzkty | but are one ’s poetics necessarily coextensive with one ’s ethics and politics? |
| work_nezhe4c6jjf55fitl5myezzkty | did she carry out the translation because of her admiration for Pétain? |
| work_nezhe4c6jjf55fitl5myezzkty | did she wish to garner american support for her adopted country and its new leader, as she wrote in her introduction to the speeches? |
| work_nezhe4c6jjf55fitl5myezzkty | la victoire aurait- elle change de camp?] |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | Why is Sculpture Boring? |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | How quickly can the viewer absorb the content of the Donatello choir relief? |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | It offers artists a means to obliquely approach formal questions( such as why do n’t you call yourself a sculptor?) |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | Monahan ’s “ no skulls! ” policy marks their difference as 98 Claire Bishop Participation and Spectacle: Where Are We Now? |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | Must We Mean What We Say? |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | To what extent can the intimacy of labouring with physical materials save relief from becoming another veneer, another cladding? |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | What Does''Research''Mean for the Henry Moore Institute, a Centre for the Study of Sculpture? |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | What Is an Image? |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | What if motif preceded form? |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | What relief and sculpture would become in the impending new millennia? |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | When does the setting become a character? |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | and how could sculpture catch up with painting? |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | to the lived space? |
| work_3yc54oxe5vdnpi3vbhvzbv4d44 | “ Participation and Spectacle: Where Are We Now? |
| work_mba6cdcvofaxpj263in73kem3a | ..?.05 p·:107-111- Stockhausen''s for t, hree orchestras stems out of his preoccupation with the spatial dimension in music,. |
| work_mba6cdcvofaxpj263in73kem3a | 1J.lo these he gave such titles as"Ocean Sona·ta? |
| work_mba6cdcvofaxpj263in73kem3a | : rganized?) |
| work_mba6cdcvofaxpj263in73kem3a | A musical painter? |
| work_mba6cdcvofaxpj263in73kem3a | And does he then, in his astounding consequence, believe that a symphony in F contains no other notd, but shall bB a con- tinued repetition ofF, F, F? |
| work_mba6cdcvofaxpj263in73kem3a | Have colours ever before been so sonorous? |
| work_mba6cdcvofaxpj263in73kem3a | Scriabin, Sch8nberg, and Kandinsky tried to combine music? |
| work_mba6cdcvofaxpj263in73kem3a | Since the musician works with notes, why should we not accept that colour by its intr io fo3oe is capable of expressing a painter''s thought? |
| work_mba6cdcvofaxpj263in73kem3a | What malres a painting"musical"? |
| work_mba6cdcvofaxpj263in73kem3a | Why could we not 1 transrwse these means into music? |
| work_mba6cdcvofaxpj263in73kem3a | Why should we not invent pure painting? |
| work_mba6cdcvofaxpj263in73kem3a | did this wise person expect white hair and chalked faces? |
| work_mba6cdcvofaxpj263in73kem3a | se to a: n art forw which is 011(? |
| work_tybrqbanxvdfhigsb5mvq7fbv4 | Absolutely Fake?, in: The New York Times, August 4th, 1991 and The Getty Kouros Colloquium. |
| work_tybrqbanxvdfhigsb5mvq7fbv4 | After World War II, an interesting issue was raised: is a copy less valuable, less authentic than the original? |
| work_tybrqbanxvdfhigsb5mvq7fbv4 | Anna Mykoniati Is Fake the new Original? |
| work_tybrqbanxvdfhigsb5mvq7fbv4 | Do these differences exist objectively or do we see them because we search for them? |
| work_tybrqbanxvdfhigsb5mvq7fbv4 | For the case of the Getty Kouros see Michael Kimmelman, Abso- lutely Real? |
| work_tybrqbanxvdfhigsb5mvq7fbv4 | How can we distin- guish and define the difference? |
| work_tybrqbanxvdfhigsb5mvq7fbv4 | Title Anna Mykoniati, Is Fake the new Original?, in: Original – Kopie – Fälschung/ Original – Copy – Forgery, ed. |
| work_tybrqbanxvdfhigsb5mvq7fbv4 | file:///C:/Users/ admin/ Documents/ kunsttexte/ Original_Kopie_F%C3%A4lschung/ Aufs%C3%A4tze/ Mikoniati/ Anna Mykoniati Is Fake the New Original? |
| work_tgviv7sv5zhvxdz5uhvfmmjcvu | And finally, how could we computationalize answers to these questions? |
| work_tgviv7sv5zhvxdz5uhvfmmjcvu | Colors as a coding scheme Why did we choose to render aesthetic impressions of text as color grids? |
| work_tgviv7sv5zhvxdz5uhvfmmjcvu | How can the composition of a color impression account for the sensibilities of different people who engage, read, and value a text differently? |
| work_tgviv7sv5zhvxdz5uhvfmmjcvu | How do colors evoke psychologically, and what sorts of things could they signal( emotions, visual memories, etc.)? |
| work_tgviv7sv5zhvxdz5uhvfmmjcvu | How does the form into which colors are organized influence the aesthetic efficacy of the impression? |
| work_tgviv7sv5zhvxdz5uhvfmmjcvu | Liu, H. and P. Maes: 2004, What Would They Think? |
| work_tgviv7sv5zhvxdz5uhvfmmjcvu | We do so using the What Would They Think? |
| work_tgviv7sv5zhvxdz5uhvfmmjcvu | What are the semantic dimensions of text that contribute to the color impression of the text? |
| work_tgviv7sv5zhvxdz5uhvfmmjcvu | What color is a school bus, a bee, a smiley face, a traffic light, or the sun? |
| work_tgviv7sv5zhvxdz5uhvfmmjcvu | Which ‘ aesthetics ’? |
| work_vyhfsz3n3baolbdnfpp52y4qba | 38 To see more: PAWŁOWSKA, Aneta, Aesthetics and Art in Africa: Conceptual Clarification, Confusion or Colo- nization? |
| work_vyhfsz3n3baolbdnfpp52y4qba | Aesthetics and Art in Africa: Conceptual Clarification, Confusion or Colonization? |
| work_vyhfsz3n3baolbdnfpp52y4qba | Afryka – kontynent bez sztuki i historii? |
| work_vyhfsz3n3baolbdnfpp52y4qba | Afryka – kontynent bez sztuki i historii? |
| work_vyhfsz3n3baolbdnfpp52y4qba | And from such a question we can arrive at a dreadful conclusion, do we still need ethnographic museums in order to showcase art objects from Africa? |
| work_vyhfsz3n3baolbdnfpp52y4qba | Does Africa a cultural adjustment program? |
| work_vyhfsz3n3baolbdnfpp52y4qba | Does Africa need a cultural adjustment program? |
| work_vyhfsz3n3baolbdnfpp52y4qba | Is it really essential and indispensable? |
| work_vyhfsz3n3baolbdnfpp52y4qba | What distinguishes a fetish from a reliquary? |
| work_vyhfsz3n3baolbdnfpp52y4qba | What insights can we gain from the joint display of works of art with such different histories? |
| work_vyhfsz3n3baolbdnfpp52y4qba | Why were some of these objects classified as ethnological artefacts and others as works of art? |
| work_nco3rqchcndw3hdgkydiuyetqq | How do you visualize? |
| work_nco3rqchcndw3hdgkydiuyetqq | NICHOLAS: As an art collector, would you say that you look at works of art with a dif- ferent set of eyes than someone who is not an artist? |
| work_nco3rqchcndw3hdgkydiuyetqq | NICHOLAS: Have you ever come across a find like that here in the United States? |
| work_nco3rqchcndw3hdgkydiuyetqq | NICHOLAS: Were you able to collect any art while you were in Europe? |
| work_nco3rqchcndw3hdgkydiuyetqq | NICHOLAS: What did you do after graduating from Howard University? |
| work_nco3rqchcndw3hdgkydiuyetqq | NICHOLAS: What is your focus as an art collector? |
| work_nco3rqchcndw3hdgkydiuyetqq | NICHOLAS: What, in particular, attracted you to Rembrandt ’s work? |
| work_nco3rqchcndw3hdgkydiuyetqq | NICHOLAS: When did you attend Howard University? |
| work_nco3rqchcndw3hdgkydiuyetqq | NICHOLAS: Where did you go in Europe? |
| work_nco3rqchcndw3hdgkydiuyetqq | NICHOLAS: Why did you collect Japanese prints? |
| work_nco3rqchcndw3hdgkydiuyetqq | NICHOLAS: Would you say that, at Howard University, you were trained to collect art? |
| work_nco3rqchcndw3hdgkydiuyetqq | What was it that attracted European artists to Japanese art? |
| work_nco3rqchcndw3hdgkydiuyetqq | When did you begin to collect art? |
| work_nlh4f6mtb5dd5as7e2aloruwnq | 2, also from 1960( Figure 33), the pose is frontal, confrontational and somewhat menacing in the enigmatic expression( is it a smirk or a smile? |
| work_nlh4f6mtb5dd5as7e2aloruwnq | Are we to say that the first man called the sun and the stars God as an act of communication and only after he had finished his day ’s labor? |
| work_nlh4f6mtb5dd5as7e2aloruwnq | Richard Bretell summarizes: What kind of time is there in Impressionism? |
| work_nlh4f6mtb5dd5as7e2aloruwnq | See, for instance, Michel Schmidt- Chevalier, “ Were the Cave Paintings in Southwest France Made by Women? ” Leonardo, Vol. |
| work_nlh4f6mtb5dd5as7e2aloruwnq | The loon gliding lonesome over the lake, with whom is he communicating? |
| work_nlh4f6mtb5dd5as7e2aloruwnq | “ Dialogue, Eight Artists Reply, Why Have There Been No Great Women Artists? ” Art News( January 1971): 40- 41, 62- 67. |
| work_nlh4f6mtb5dd5as7e2aloruwnq | “ Subject: What, How or Who? ” Art News( April 1955): 26- 29, 61- 62. |
| work_nlh4f6mtb5dd5as7e2aloruwnq | “ Triumph of Willem? ” New Art Examiner( November 1994): 31- 34. |
| work_nlh4f6mtb5dd5as7e2aloruwnq | “ Were the Cave Paintings in Southwest France Made by Women? ” Leonardo, Vol. |
| work_nlh4f6mtb5dd5as7e2aloruwnq | “ Why Have There Been No Great Women Artists? ” Art News( January 1971): 23- 39, 62- 68. |
| work_xhnc2y7cc5fl7conrtd7bj2uei | Can concurrent verbaliza- tion reveal design cognition? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | Do artistic images and ideas suddenly come up in their minds? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | Do artists’body movements influence their minds? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | First, how do artists generate their new ideas and im- ages? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | How did he draw so smoothly with- out forming the whole image or complete plans in his mind? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | How do artists create artwork? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | How do artists manage conformity to transcend their previous artworks? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | Is this my habit? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | Nonverbal behavior and nonverbal communication: What do conversational hand gestures tell us? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | Second, how do artists transcend their previous works when creating new artwork? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | Task demands and generative thinking: What changes and what remains the same? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | Third, what is the relationship between cognition and body movement? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | This seems to be my habit, does n’t it? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | What do architects and students perceive in their design sketches? |
| work_xhnc2y7cc5fl7conrtd7bj2uei | What kinds of creative cognitive processes can we find from online processes of an artist ’s creation? |
| work_zksgqxtqoffpjoe736e7lerjd4 | 12 Peki ya düşünce dediğimiz şey nedir? |
| work_zksgqxtqoffpjoe736e7lerjd4 | 2- Sanatçının düşsel algısı ve düş nesnesi sanat eserine ne denli yansımaktadır? |
| work_zksgqxtqoffpjoe736e7lerjd4 | 3- Sanatta mantık ve bilincin yeri nedir? |
| work_zksgqxtqoffpjoe736e7lerjd4 | 5- Sanatçının resimsel imge yaratımı, doğanın gerçekliği ile sanatçının içsel gerçekliği arasındaki çatışmanın ürünü müdür? |
| work_zksgqxtqoffpjoe736e7lerjd4 | Alt Problemler 1- Sanatçıyı, sanat eserini oluşturma evresinde etkileyen unsurlar nelerdir? |
| work_zksgqxtqoffpjoe736e7lerjd4 | Doğrusunu isterseniz, resimlerimi gören biri kendi kendine şu basit soruyu sorar: ‘ Bunun manası ne? ’ O resmin bir manası yoktur. |
| work_zksgqxtqoffpjoe736e7lerjd4 | Problem Durumu Sanatçı öznenin, sanat eserinde kullandığı imgelerinin ardındaki gizil güç nedir? |
| work_zksgqxtqoffpjoe736e7lerjd4 | Terapide Serbest Çağrışım Nasıl İşe Yarar?, http://www.psikologankara.net/terapide- serbest-cagrisim-nasil-ise-yarar.html( 08.12.2018). |
| work_kwy3ddpkmzgm3o5hntjpcwj3me | 42 Ways of unknowing: are there any? |
| work_kwy3ddpkmzgm3o5hntjpcwj3me | 44| Ways of unknowing: are there any? |
| work_kwy3ddpkmzgm3o5hntjpcwj3me | 61 Are there ways to explore? |
| work_kwy3ddpkmzgm3o5hntjpcwj3me | From this I think that there is possibility for a third space between the terrain and the map? |
| work_kwy3ddpkmzgm3o5hntjpcwj3me | Is there a fan in the house? |
| work_kwy3ddpkmzgm3o5hntjpcwj3me | Perhaps something more is possible? |
| work_kwy3ddpkmzgm3o5hntjpcwj3me | Sham – Real Shadows Are there ways to explore? |
| work_kwy3ddpkmzgm3o5hntjpcwj3me | So perhaps we should spend more time in the terrain and do our best to toss the maps aside? |
| work_kwy3ddpkmzgm3o5hntjpcwj3me | Susan Rome, Coordinator of School Programs at the Vancouver Art Gallery, writes of the work “ Was I inside the box or outside it? |
| work_kwy3ddpkmzgm3o5hntjpcwj3me | The future as not presentable, art as salve| 61 Sham – Real Shadows The future as not presentable, art as salve 62| Are there ways to explore? |
| work_kwy3ddpkmzgm3o5hntjpcwj3me | Ways of unknowing: are there any? |
| work_kwy3ddpkmzgm3o5hntjpcwj3me | We may all see Aesop ’s arrow, but what of its shadow(s)? |
| work_kwy3ddpkmzgm3o5hntjpcwj3me | What happens to our thinking about nature when Nature is excluded from the view? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | Definición y antecedentes: ¿ qué entendemos como fotografía fija? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | El siguiente protagonista del libro es León Siminiani quien en su ¿ Hacia una poética de la contradicción? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | Finalmente ¿ Chicas y maletas? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | Harry: ¿ Cómo? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | Harry: ¿ Por qué quiere vengarse el hijo? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | Which reasons could cause this financial fail? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | Y a un parásito es difícil respetarle, ¿ no? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | Y dices: todo esto, ¿ para qué? ”( Boyero, 2009). |
| work_ivve27nrafcn7fxhjdtn2x35g4 | ¡ Savia Nutricia? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | ¿ Acaso será necesario devorarse a sí mismo para seguir creando? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | ¿ Cuáles han podido ser las razones de este fracaso económico en España? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | ¿ Cuáles pudieron ser los motivos de este fracaso? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | ¿ Cómo explicar tal unanimidad en la celebración de la película? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | ¿ Que esta inversión nos interesaba como material promocional? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | ¿ Qué iconos distinguirían el drama de la comedia en Almodóvar? |
| work_ivve27nrafcn7fxhjdtn2x35g4 | “ ¿ Qué he hecho yo para merecer esto? ” En El País, 18 de marzo de 2009 BRITO, Sara( 2011). |
| work_ocf7wyvv6fezha5zhan6qimchy | Apuntes de un pintor 289 El canto del arabesco, – ¿ el que lo organiza como una música? |
| work_ocf7wyvv6fezha5zhan6qimchy | Componiéndolo abruptamente en el texto, ¿ no invita Matisse a apreciar el ámbito que indica? |
| work_ocf7wyvv6fezha5zhan6qimchy | Es decir, ¿ no hace falta leerla? |
| work_ocf7wyvv6fezha5zhan6qimchy | Jorge Acevedo Guerra 300 ¿ Qué quiere decir Matisse hablando del conocimiento de los colores? |
| work_ocf7wyvv6fezha5zhan6qimchy | Pero ¿ no es eso también una indicación que invita a leerlo? |
| work_ocf7wyvv6fezha5zhan6qimchy | Pero ¿ por qué recurre Matisse, para hablar de lo que hay de más pictórico en su pintura al vocabulario del conocimiento? |
| work_ocf7wyvv6fezha5zhan6qimchy | Y cuando habla de su manera – de él, pintor – de mirar un cuadro, ¿ qué dice? |
| work_ocf7wyvv6fezha5zhan6qimchy | [ Esta frase, ¿ no es un pensamiento que se articula con el mismo perfil ideogramático de un dibujo de Matisse?]. |
| work_ocf7wyvv6fezha5zhan6qimchy | ¿ Cómo debemos entender eso? |
| work_ocf7wyvv6fezha5zhan6qimchy | ¿ Cómo pueden ellas, las sensaciones, clasificarse? |
| work_ocf7wyvv6fezha5zhan6qimchy | ¿ En qué sentido? |
| work_ocf7wyvv6fezha5zhan6qimchy | ¿ No sería esta la razón por la que el espectador, por su lado, no siente, mirándola, la necesidad de salir de sí? |
| work_ocf7wyvv6fezha5zhan6qimchy | ¿ Ornamenta qué? |
| work_ocf7wyvv6fezha5zhan6qimchy | ¿ Por qué Debussy pone comillas a ―ornamento‖? |
| work_ocf7wyvv6fezha5zhan6qimchy | ¿ Por qué dice él sobreexcitar? |
| work_ocf7wyvv6fezha5zhan6qimchy | ¿ Por qué? |
| work_ocf7wyvv6fezha5zhan6qimchy | ¿ Qué decir de este contraste de tono? |
| work_ocf7wyvv6fezha5zhan6qimchy | ¿ Qué es la expresión? |
| work_ocf7wyvv6fezha5zhan6qimchy | ¿ Qué quiere decir aquí ―organizar‖, y Jorge Acevedo Guerra 294 más precisamente aún, ―organizar sus sensaciones‖? |
| work_ocf7wyvv6fezha5zhan6qimchy | ¿ Respecto de qué? |
| work_ocf7wyvv6fezha5zhan6qimchy | ¿ Tenemos la justa percepción de lo espectacular, tal como lo imagina Matisse? |
| work_zeqqiyzq6bbuvfyzsse3b7w5gm | Are works based upon the symbols of other religions automatically disqualified? |
| work_zeqqiyzq6bbuvfyzsse3b7w5gm | Does clear Christian symbolism preclude all forms of abstraction, for example, or rule out ambient or conceptual works? |
| work_zeqqiyzq6bbuvfyzsse3b7w5gm | Does it infer that at some level everyone should be able to appreciate it? |
| work_zeqqiyzq6bbuvfyzsse3b7w5gm | Does this imply easy access to a work? |
| work_zeqqiyzq6bbuvfyzsse3b7w5gm | Is there not a sense in which at times accessibility takes second place to mystery, uncertainty or complexity? |
| work_zeqqiyzq6bbuvfyzsse3b7w5gm | SECULAR PEGS AND GoD- SHAPED HoLES 47 © Equinox Publishing Ltd 2012. themes, even if is far from clear how the former may be achieved? |
| work_zeqqiyzq6bbuvfyzsse3b7w5gm | What is required of a work of art for it to be accessible, and to whom must it be accessible? |
| work_zeqqiyzq6bbuvfyzsse3b7w5gm | Would it discount works that might be considered difficult or abstruse? |
| work_zeqqiyzq6bbuvfyzsse3b7w5gm | or do we come at this question from the wrong direction entirely? |
| work_zeqqiyzq6bbuvfyzsse3b7w5gm | ‘ Can Art Fill the Vacuum? ’ In Art, Creativity and the Sacred: An Anthology in Religion and Art, Diana Apostolos- Cappadona( ed. |
| work_zeqqiyzq6bbuvfyzsse3b7w5gm | ‘ Is there a God- Shaped Hole in the Middle of Modern Art? ’. |
| work_zeqqiyzq6bbuvfyzsse3b7w5gm | ‘ Mundane? |
| work_isggktgsl5gw5fxih43evvgpei | ''And what about the other arts, Monsieur Matisse? |
| work_isggktgsl5gw5fxih43evvgpei | ''Can the Master be very productive working that way?'' |
| work_isggktgsl5gw5fxih43evvgpei | ''Do you know Klimt, Monsieur Matisse?'' |
| work_isggktgsl5gw5fxih43evvgpei | ''If I may ask the Master, if you could say in words what you are trying to express with your paintbrush, what would you say?'' |
| work_isggktgsl5gw5fxih43evvgpei | ''Well, among the modern French artists, who is close to you?'' |
| work_isggktgsl5gw5fxih43evvgpei | ''Who are the Master''s best customers?'' |
| work_isggktgsl5gw5fxih43evvgpei | 11, 1914, 185, p. 137), there were two more sites: St. Louis( February 8- March 1(? |
| work_isggktgsl5gw5fxih43evvgpei | A''neós''művészet Nagybányán,"Magyar Vadak Párizstól Nagybányáig 1904- 1914["Dissonance or New Harmony? |
| work_isggktgsl5gw5fxih43evvgpei | Although the Steins''parents had been 46 Dezső Orbán''s letter to István Varró, April 23, 1961[?]. |
| work_isggktgsl5gw5fxih43evvgpei | Are you interested in them?'' |
| work_isggktgsl5gw5fxih43evvgpei | Boys Bathing, c. 1911(? |
| work_isggktgsl5gw5fxih43evvgpei | Did I say woman? |
| work_isggktgsl5gw5fxih43evvgpei | Have you had any Hungarian students?'' |
| work_isggktgsl5gw5fxih43evvgpei | How did Burgess hear of the Hungarian painter, and why should he have paid him a visit? |
| work_isggktgsl5gw5fxih43evvgpei | How do you like them? |
| work_isggktgsl5gw5fxih43evvgpei | I took him for a poor devil like myself, but what is a hungry man to do? |
| work_isggktgsl5gw5fxih43evvgpei | Portrait of Leo Stein, c. 1930(?). |
| work_isggktgsl5gw5fxih43evvgpei | See: Szücs, György:"Disszonancia vagy új harmónia? |
| work_isggktgsl5gw5fxih43evvgpei | She asked,''What Hungarian painters do you know?'' |
| work_isggktgsl5gw5fxih43evvgpei | What about your exhibition? |
| work_isggktgsl5gw5fxih43evvgpei | Who were the foreigners? |
| work_isggktgsl5gw5fxih43evvgpei | Why did he wait two years before informing America of the newest developments in artistic life seething in Europe? |
| work_isggktgsl5gw5fxih43evvgpei | Would you like to come with me when I visit the studios of some of these men? |
| work_isggktgsl5gw5fxih43evvgpei | – Tell me Jesus Christ, how is doing the Good Lord?] |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | À l''ombre des jeunes filles d''Anna Ancher( 1859- 1935): Masque ou miroir? |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | 69 Stork,"À l''ombre des jeunes filles d''Anna Ancher( 1859- 1935): Masque ou miroir?" |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | 82 Françoise Tétart- Vittu, “ Who Creates Fashion? ” in Impressionism, Fashion, and Modernity, ed. |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | Did her pursuit of a career pose a threat to male productivity? |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | The Invisible Flâneuse? |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | The Invisible Flâneuse? |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | Thomas, Greg M. “ Women in Public: The Display of Femininity in the Parks of Paris. ” In The Invisible Flâneuse? |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | Where are the bourgeois spa guests and fashionable tourists who populate Krøyer ’s Skagen canvases? |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | Why did she not paint fishermen like her husband? |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | Will He Round the Point? |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | Will He Round the Point? |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | “ Gender and the Haunting of Cities( or, the Retirement of the Flâneur). ” In The Invisible Flâneuse? |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | “ Mary Cassatt: Modern Woman or the Cult of True Womanhood? ” Woman''s Art Journal, Vol. |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | “ Why Ca n’t Anna be Modern? ” I am Anna: A Homage to Anna Ancher. |
| work_s4nmvmo3vrhtjdxvhwh6srrd6e | “ ’ Wot ’s Awl This Abaat the Noo Woman? ” In High Art and Low Life: The Studio and the fin de siècle. |
| work_hbyhfwmqn5ctrkhl7avdcfwule | 140 Figure 37 Internet Meme, Raw Chicken or Donald Trump? |
| work_hbyhfwmqn5ctrkhl7avdcfwule | 25 James Elkins, “ What Are We Seeing, Exactly?, ” The Art Bulletin 79, no. |
| work_hbyhfwmqn5ctrkhl7avdcfwule | 29 Butler, What Is Appropriation?, 15. |
| work_hbyhfwmqn5ctrkhl7avdcfwule | 34 Roland Barthes, “ Is Painting a Language? ” trans. |
| work_hbyhfwmqn5ctrkhl7avdcfwule | 61 Roland Barthes, “ Is Painting a Language? ” trans. |
| work_hbyhfwmqn5ctrkhl7avdcfwule | 78 Claire Bishop, “ Digital Divide: Whatever Happened to Digital Art? ” Artforum International 51, no. |
| work_hbyhfwmqn5ctrkhl7avdcfwule | 8 What exactly does Matisse mean by ‘ impression ’? |
| work_hbyhfwmqn5ctrkhl7avdcfwule | At the time, the press I was working for was printing the second edition of What Is Appropriation? |
| work_hbyhfwmqn5ctrkhl7avdcfwule | Figure 37 Internet Meme Raw Chicken or Donald Trump? |
| work_hbyhfwmqn5ctrkhl7avdcfwule | Figure 37 Internet Meme, Raw Chicken or Donald Trump? |
| work_hbyhfwmqn5ctrkhl7avdcfwule | He outlines this in response to Paul Taylor ’s seminal exhibition Popism at the NGV in 1982; Rex Butler, ed., What Is Appropriation? |
| work_hbyhfwmqn5ctrkhl7avdcfwule | Sarah Whiting( New Jersey: Princeton University Press, 2013); and W. J. T. Mitchell What Do Pictures Want? |
| work_hbyhfwmqn5ctrkhl7avdcfwule | That is, how can I highlight that the shapes in the work have come from elsewhere? |
| work_hbyhfwmqn5ctrkhl7avdcfwule | What Do Pictures Want?, Chicago: University of Chicago Press, 2005. |
| work_hbyhfwmqn5ctrkhl7avdcfwule | What Is Appropriation? |
| work_hbyhfwmqn5ctrkhl7avdcfwule | What Is Appropriation? |
| work_hbyhfwmqn5ctrkhl7avdcfwule | What are the particular devices that signify this element as a photocopy? |
| work_hbyhfwmqn5ctrkhl7avdcfwule | What does it mean to engage and compose these shapes based only on their appearance before painting them? |
| work_hbyhfwmqn5ctrkhl7avdcfwule | “ Digital Divide: Whatever Happened to Digital Art? ” Artforum International 51, no. |
| work_hbyhfwmqn5ctrkhl7avdcfwule | “ Is Painting a Language? ” Translated by Richard Howard. |
| work_hbyhfwmqn5ctrkhl7avdcfwule | “ What Are We Seeing, Exactly? ” The Art Bulletin 79, no. |
| work_jdm6sgbahngmjeztevuymgkami | De acuerdo, ¿ son o no hechos, los actuales e impracticables solares? |
| work_jdm6sgbahngmjeztevuymgkami | Entonces, ¿ por qué Auguste Perret, Tony Gamier y Frank Lloyd Wright no llegaron a una forma de expresión generalmente válida? |
| work_jdm6sgbahngmjeztevuymgkami | O por el contrario, ¿ podría imponerse con su ayuda, sobre toda la maquinaria y todas las abstracciones? |
| work_jdm6sgbahngmjeztevuymgkami | Para ser libre, ¿ tiene la humanidad que triunfar sobre ustedes y su nueva abstracción creada por las máquinas? |
| work_jdm6sgbahngmjeztevuymgkami | Pero, ¿ se ha hecho realmente mal uso de sus ¡ deas? |
| work_jdm6sgbahngmjeztevuymgkami | Qué ha sucedido? |
| work_jdm6sgbahngmjeztevuymgkami | Se huele la selva Volver a la prehistoria cuando el hombre tenía rabo? |
| work_jdm6sgbahngmjeztevuymgkami | Un critico alemán, el Dr. Walter Curt Behrendt a raíz del manifiesto de Wright estableció la antíte- sis: ¿ Le Corbusier o Wright? |
| work_jdm6sgbahngmjeztevuymgkami | ¿ Cree él entonces que es arte? |
| work_jdm6sgbahngmjeztevuymgkami | ¿ Cómo está la situación? |
| work_jdm6sgbahngmjeztevuymgkami | ¿ Cómo puede aplicarse de forma práctica? |
| work_jdm6sgbahngmjeztevuymgkami | ¿ El arte o el sentimiento comienzan con los ornamentos? |
| work_jdm6sgbahngmjeztevuymgkami | ¿ Estamos realmente siendo superficiales? |
| work_jdm6sgbahngmjeztevuymgkami | ¿ Existe hoy en día peligro de superficialidad? |
| work_jdm6sgbahngmjeztevuymgkami | ¿ Hasta dónde? |
| work_jdm6sgbahngmjeztevuymgkami | ¿ No es Einstein un artista por la gracia de Dios? |
| work_jdm6sgbahngmjeztevuymgkami | ¿ No es cierto que los problemas de la técnica y la física están mucho más especializados desde el siglo pasado? |
| work_jdm6sgbahngmjeztevuymgkami | ¿ Podemos negar que una fuga de Bach tiene una pureza de construcción inexorable que la convierte en"altanera"? |
| work_jdm6sgbahngmjeztevuymgkami | ¿ Por qué la especial denominación"arte"cuando lo que se quiere significar es"un estado de ánimo altanero"? |
| work_jdm6sgbahngmjeztevuymgkami | ¿ Uniformidad? |
| work_jdm6sgbahngmjeztevuymgkami | ¿ Y qué hay de la temida superficialidad? |
| work_l6ssnchitneonfnevyfbhqirb4 | 100 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 102 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 104 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 106 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 108 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 110 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 112 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 114 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 116 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 118 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 120 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 90 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 92 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 94 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 96 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | 98 Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | And finally, does the self- image of documenta 14 as “ transdocumenta ” reveal itself in relation to these practical implications? |
| work_l6ssnchitneonfnevyfbhqirb4 | But how can an institution ’s established role of host be subverted into the role of guest without being invited as such? |
| work_l6ssnchitneonfnevyfbhqirb4 | Learning from Crisis? |
| work_l6ssnchitneonfnevyfbhqirb4 | Moreover, who is invited to participate in this exhibition and who is supposed to learn? |
| work_22zh7shbzrflfep4wo6tsx77lu | Conflict example • What is a typical example for conflict that you encounter in your private or professional life? |
| work_22zh7shbzrflfep4wo6tsx77lu | Definition of conflict • What is conflict? |
| work_22zh7shbzrflfep4wo6tsx77lu | Focus your assignment on the key dynamics of the community: what are key values shared? |
| work_22zh7shbzrflfep4wo6tsx77lu | How am I perceived and how do I present myself? |
| work_22zh7shbzrflfep4wo6tsx77lu | How do I want to present it? |
| work_22zh7shbzrflfep4wo6tsx77lu | How does it interact with other communities? |
| work_22zh7shbzrflfep4wo6tsx77lu | How does the community interact with the national/ regional level? |
| work_22zh7shbzrflfep4wo6tsx77lu | How does the community make decisions? |
| work_22zh7shbzrflfep4wo6tsx77lu | The key guiding questions for your assignment are: • What defines this community? |
| work_22zh7shbzrflfep4wo6tsx77lu | What are some underlying conflicts and how do they affect the relationships between the community groups? |
| work_22zh7shbzrflfep4wo6tsx77lu | What are the key challenges for community development? |
| work_22zh7shbzrflfep4wo6tsx77lu | What can be done about conflict? |
| work_22zh7shbzrflfep4wo6tsx77lu | What does it represent? |
| work_22zh7shbzrflfep4wo6tsx77lu | What would make a difference in this conflict? |
| work_22zh7shbzrflfep4wo6tsx77lu | Who am I and what do I want to( re)present? |
| work_22zh7shbzrflfep4wo6tsx77lu | Who is involved? |
| work_22zh7shbzrflfep4wo6tsx77lu | Why is it relevant to you? |
| work_22zh7shbzrflfep4wo6tsx77lu | instrumental music instead of spoken voice or a self- written song capturing personal history conveyed in the clip? |
| work_22zh7shbzrflfep4wo6tsx77lu | • Do you have any previous CAM related knowledge and training? |
| work_22zh7shbzrflfep4wo6tsx77lu | • What are the dynamics, key challenges, and conflicts that face the community? |
| work_22zh7shbzrflfep4wo6tsx77lu | • What are your expectations for the program? |
| work_22zh7shbzrflfep4wo6tsx77lu | • What happens and what it is about? |
| work_22zh7shbzrflfep4wo6tsx77lu | • What makes conflict destructive and detestable? |
| work_22zh7shbzrflfep4wo6tsx77lu | • What makes conflict interesting and valuable? |
| work_22zh7shbzrflfep4wo6tsx77lu | • What would you like to( or what are you going to) do about it? |
| work_22zh7shbzrflfep4wo6tsx77lu | • Who are the key actors? |
| work_pwk4gbu4gbcg3przgdddw56xe4 | But how much longer can we ignore the corollary: that if we can deconstruct their “ Nature ”, then so too can they( literally) deconstruct ours? |
| work_pwk4gbu4gbcg3przgdddw56xe4 | But the latter begs a vital question: does( and/or should) that nature include humanity? |
| work_pwk4gbu4gbcg3przgdddw56xe4 | But what he really means is, is nature only a social construct? |
| work_pwk4gbu4gbcg3przgdddw56xe4 | Not that systematicity has any inherent virtue – what has? |
| work_pwk4gbu4gbcg3przgdddw56xe4 | Reinventing Nature? |
| work_pwk4gbu4gbcg3przgdddw56xe4 | What better alternative – more promising, hopeful and yes, with due respect for context, truer – am I suggesting? |
| work_pwk4gbu4gbcg3przgdddw56xe4 | What is Nature? |
| work_pwk4gbu4gbcg3przgdddw56xe4 | Why does this matter? |
| work_pwk4gbu4gbcg3przgdddw56xe4 | ‘ Ecological embeddedness and personhood: Have we always been capitalists? ’, Anthropology Today 14( 2): 3- 5. |
| work_pwk4gbu4gbcg3przgdddw56xe4 | ‘ Is Nature Real? ’, Resurgence 190: 32. |
| work_pwk4gbu4gbcg3przgdddw56xe4 | ‘ Wild Thoughts: A Deconstructive Environmental Ethic? ’, Environmental Ethics 23( 2): 115- 134. |
| work_pwk4gbu4gbcg3przgdddw56xe4 | “ Intrinsic Value for Pragmatists? ” Environmental Ethics 23( 1): 57- 75. |
| work_7cgto4cytrfmrccx2kqo5j523y | A C h a n g i n g A m e r i c a n C h a r a c t e r? |
| work_7cgto4cytrfmrccx2kqo5j523y | 14 11 I- l L o i s P a t t i s o n d e M e''n i l, Who S p e a k s f o r E u r o p e? |
| work_7cgto4cytrfmrccx2kqo5j523y | 2 5:"T o u t l e m o n d e? |
| work_7cgto4cytrfmrccx2kqo5j523y | 65 C l y d e K l u c k h o h n, q u o t e d b y S e y m o u r M a r t i n L i p s e t,"A C h a n g i n g A m e r i c a n C h a r a c t e r?" |
| work_7cgto4cytrfmrccx2kqo5j523y | 69 S e y m o u r M a r t i n L i p s e t,"T h e E n d o f I d e o l o g y? |
| work_7cgto4cytrfmrccx2kqo5j523y | 9 8 NOTES R a y m o n d C o g n i a t,"L a p e i n t u r e de c e s d e r n i e r e s a n n e e s a u b o r d d e l a f a i l l i t e?" |
| work_7cgto4cytrfmrccx2kqo5j523y | ? |
| work_7cgto4cytrfmrccx2kqo5j523y | B u t was t h i s u n i o n b e t w e e n g o v e r n m e n t a n d c u l t u r e t o b e a s g o l d e n a s R o b e r t F r o s t p r e d i c t e d? |
| work_7cgto4cytrfmrccx2kqo5j523y | C u l t u r e f o r t h e M i l l i o n s? |
| work_7cgto4cytrfmrccx2kqo5j523y | How t h e n, i s t h i s i n n o v a t i o n p a r t i c u l a r l y"r e v o l u t i o n a r y"? |
| work_7cgto4cytrfmrccx2kqo5j523y | How w e r e t h e s e p o t e n t i a l"i m p e r i a l i s t a e s t h e t i c s"p e r c e i v e d? |
| work_7cgto4cytrfmrccx2kqo5j523y | L a p e i n t u r e d e c e s d e r n i e Y e s a n n e e s a u b o r d d e l a f a i l l i t e?" |
| work_7cgto4cytrfmrccx2kqo5j523y | S t a t e A v a n t- G a r d i s m a t t h e B i e n n a l e T h e New C l a s s i c i s m? |
| work_7cgto4cytrfmrccx2kqo5j523y | T h e 1 9 6 4 B i e n n a l e: P r i z e- W i n n i n g M a c h i n a t i o n s A Map f o r t h e F u t u r e? |
| work_7cgto4cytrfmrccx2kqo5j523y | W h a t''s D i m m i n g t h e C i t y L i g h t s?" |
| work_7cgto4cytrfmrccx2kqo5j523y | W h a t''s i n a Name? |
| work_7cgto4cytrfmrccx2kqo5j523y | Was t h i s n o t e v i d e n c e o f t h e s u p e r i o r i t y o f R a u s c h e n b e r g''s w o r k? |
| work_7cgto4cytrfmrccx2kqo5j523y | Was t h i s n o t w h a t S o n t a g h a d a d v o c a t e d i n h e r p l e a f o r"e x p a n d i n g s e n s i- b i l i t i e s"? |
| work_7cgto4cytrfmrccx2kqo5j523y | What Was L i t e r a t u r e? |
| work_7cgto4cytrfmrccx2kqo5j523y | Who S p e a k s f o r E u r o p e? |
| work_7cgto4cytrfmrccx2kqo5j523y | Why d i d R a u s c h e n b e r g w i n? |
| work_7cgto4cytrfmrccx2kqo5j523y | [ D o n a l d J u d d?] |
| work_3yrwfohlbzhbthkrakwdjyljr4 | Bu soruların yanıtlarını da birlikte vermemiz gerekmez mi? |
| work_3yrwfohlbzhbthkrakwdjyljr4 | Düşünce zenginliği daha fazla başka hangi ortamda sağlanabilir? |
| work_3yrwfohlbzhbthkrakwdjyljr4 | Empati yetisi başka nerede daha iyi kazanılabilir? |
| work_3yrwfohlbzhbthkrakwdjyljr4 | En önemlisi kendi stratejisi gereği erkeğe bu gücü atfeden de kadın değil midir? |
| work_3yrwfohlbzhbthkrakwdjyljr4 | En önemlisi kendi stratejisi gereği erkeğe bu gücü atfeden de kadın değil midir? |
| work_3yrwfohlbzhbthkrakwdjyljr4 | Günümüzde jet uçağını uçuran kadın varken, kaç balıkçı teknesi kaptanı vardır? |
| work_3yrwfohlbzhbthkrakwdjyljr4 | Kadınlar, örneğin makina mühendisi olmak yerine çok daha fazla oranda neden doktor olmayı yeğliyorlar? |
| work_3yrwfohlbzhbthkrakwdjyljr4 | Kuşkusuz bu tartışma, aslında sosyal bilimler alanındaki insan davranışının belirleyicisinin doğa mı; yoksa sosyalleşme süreci mi? |
| work_3yrwfohlbzhbthkrakwdjyljr4 | Peki, kadının, kadına olan bu ‘ düşmanlığının ’ nedeni nedir? |
| work_3yrwfohlbzhbthkrakwdjyljr4 | Peki, kadının, kadına olan bu ‘ düşmanlığının ’ nedeni nedir? |
| work_3yrwfohlbzhbthkrakwdjyljr4 | Ve çocuklar için bu birlikten daha ideal bir yetişme ortamı bulunabilir mi? |
| work_3yrwfohlbzhbthkrakwdjyljr4 | Ya da pek çok kadın diş hekimimiz varken; diş teknisyenliğine o oranda neden ilgi göstermiyorlar? |
| work_f3apmctpofbural37srvzrqgu4 | 15 There seems to be a great deal of disagreement over the issue,Is ERWARTUNG athematic or not?." |
| work_f3apmctpofbural37srvzrqgu4 | Ipf• Hi iff- in iiff- a( f^- f — —^ V —: M —:*^ mir? work_f3apmctpofbural37srvzrqgu4 Oh, oh, What is it? |
| work_f3apmctpofbural37srvzrqgu4 | Shall I go here? work_f3apmctpofbural37srvzrqgu4 ''.I n a? work_f3apmctpofbural37srvzrqgu4 ( r i n g t d i e H a n d e, s i e h t z u r i i c k)> i*? r\ nji^^^^ ft Wie ein Sturm grau- en- voll ru- hig und 4eer... i t t a* j L tare • • U. work_f3apmctpofbural37srvzrqgu4 ( w i l d, g r e i f t s i c h i n s G e s i c h t) a6 Ein- ge- klemmt?.. work_f3apmctpofbural37srvzrqgu4 , VREA A cowr4 u i s w r& T L SOOW.. •1 z o 2 8 2? work_f3apmctpofbural37srvzrqgu4 -| —^ 1 1 s t h i e rj e- m u n d? |
| work_f3apmctpofbural37srvzrqgu4 | 1 s t h i e r j e- m a n d? |
| work_f3apmctpofbural37srvzrqgu4 | 1? |
| work_f3apmctpofbural37srvzrqgu4 | 89- te- te...^ k s z 4ftfS S.L Wo ist sie hin- lau- fen als du i m Blut lagst?... |
| work_f3apmctpofbural37srvzrqgu4 | < B< rZ i 2 II 3E£XVJO Pipe H/8/8/ |
| work_f3apmctpofbural37srvzrqgu4 | A chen?... |
| work_f3apmctpofbural37srvzrqgu4 | I L J,- hast du sie ral g< Mein Lie- ber... mein ein H y loy- Of...""^ or, ieb- Iin zi- ger LiebTing... hast du sie ral ge- kiiflt?... |
| work_f3apmctpofbural37srvzrqgu4 | It is a question each one must answer for oneself... did the Woman in fact murder her lover, or merely wish i t upon him? |
| work_f3apmctpofbural37srvzrqgu4 | J= 60 vioi««+(v( heftiger) sehaust''du? |
| work_f3apmctpofbural37srvzrqgu4 | J«J.»itK K*~ A «, i c/ e*~ u D.V«cWot Ist dasnochder Weg?.. |
| work_f3apmctpofbural37srvzrqgu4 | This brings me to my last and perhaps most important question,"What was the major drive or goal of the Woman in ERWARTUNG?" |
| work_f3apmctpofbural37srvzrqgu4 | This brings up the question,"What caused the d i f f i c u l t i e s to arise between her and her lover?" |
| work_f3apmctpofbural37srvzrqgu4 | Vis m-bloe^t,?.. |
| work_f3apmctpofbural37srvzrqgu4 | W T f^ t t J^ J,^ i^^ f r fr •orSehn- sueht ver- ging... nast du sie sehr ge- iiebt? |
| work_f3apmctpofbural37srvzrqgu4 | Was? |
| work_f3apmctpofbural37srvzrqgu4 | We are faced with the question,"What happened to the Woman after the monodrama?" |
| work_f3apmctpofbural37srvzrqgu4 | ^ C^, a? |
| work_f3apmctpofbural37srvzrqgu4 | b o r f? |
| work_f3apmctpofbural37srvzrqgu4 | da?.. |
| work_f3apmctpofbural37srvzrqgu4 | du warst..^ D U J? |
| work_f3apmctpofbural37srvzrqgu4 | hedr me.?... |
| work_f3apmctpofbural37srvzrqgu4 | hort mich denn n o OAC nie- mand?... |
| work_f3apmctpofbural37srvzrqgu4 | n 0/ t u> 7 34 „ n ii n ii kz 3? |
| work_f3apmctpofbural37srvzrqgu4 | stark... ™ i Was soil ich tun, dafi er auf- wacl Was soil ich nur tun, dafi''er auf- wacht?... |
| work_f3apmctpofbural37srvzrqgu4 | yen/ m hast du Have you sie sehr ge- Iiebt? |
| work_f3apmctpofbural37srvzrqgu4 | £ A*tiwiTVl9 WiTH I O 7 H I I Af3£A-^ S> «: u&^ T V/ J f i M 18 8 tc It n& AA* |
| work_lzapa7ym3rac3gium7fbirfhcm | 24 environment? |
| work_lzapa7ym3rac3gium7fbirfhcm | Can we put it in a conceptual box? |
| work_lzapa7ym3rac3gium7fbirfhcm | Does the environment include or exclude us? |
| work_lzapa7ym3rac3gium7fbirfhcm | Earth ’s gravitational field? |
| work_lzapa7ym3rac3gium7fbirfhcm | Earth ’s magnetic field, without which everything would be scorched by solar winds? |
| work_lzapa7ym3rac3gium7fbirfhcm | Image source: http://christojeanneclaude.net/projects/surrounded-islands? images= completed#.Vl0bttDrPGs. |
| work_lzapa7ym3rac3gium7fbirfhcm | Image source: http://www.gac.culture.gov.uk/work.aspx? obj=32356. |
| work_lzapa7ym3rac3gium7fbirfhcm | In questioning what the environment is, Timothy Morton asks, Is there such a thing as the environment? |
| work_lzapa7ym3rac3gium7fbirfhcm | Is it everything ‘ around ’ us? |
| work_lzapa7ym3rac3gium7fbirfhcm | Is it natural or artificial, or both? |
| work_lzapa7ym3rac3gium7fbirfhcm | It is relatively easy to accept that a nature reserve or national park contains a certain amount of nature, but what about an urban botanical garden? |
| work_lzapa7ym3rac3gium7fbirfhcm | The Galaxy? |
| work_lzapa7ym3rac3gium7fbirfhcm | The atmosphere? |
| work_lzapa7ym3rac3gium7fbirfhcm | The high- density dwellings provided a stark contrast to the vast 21 W. A. Marshall,"What Can We Do about Tall Girls?" |
| work_lzapa7ym3rac3gium7fbirfhcm | The sun, without which we would n’t be alive at all? |
| work_lzapa7ym3rac3gium7fbirfhcm | Where is ‘ outside ’ in this case? |
| work_lzapa7ym3rac3gium7fbirfhcm | “ Climate Change: How Do We Know? ” NASA Global Climate Change: Vital Signs of the Planet. |
| work_lzapa7ym3rac3gium7fbirfhcm | “ Patricia Piccinini: Early Installations. ”( Originally published as “ What Is Installation? ”) Patricia Piccinini. |
| work_lzapa7ym3rac3gium7fbirfhcm | “ What Can We Do About Tall Girls? ” Archive of Diseases in Childhood 50, no. |
| work_lzapa7ym3rac3gium7fbirfhcm | • Can this exploration enrich notions of what constitutes a natural environment in contemporary urban society? |
| work_lzapa7ym3rac3gium7fbirfhcm | • Using the botany encountered in contemporary urban society as a leitmotif, how can creative works explore issues of the wider natural environment? |
| work_powd6hp7prekhfalihfvqzntau | ; 2) How does one value an artwork? |
| work_powd6hp7prekhfalihfvqzntau | ; 3) Does an artwork have to be “ beautiful, ” or at least clean and without blemishes? |
| work_powd6hp7prekhfalihfvqzntau | A jumble of inconsequential images that might or might not mean anything to anyone else, and littered with objects possessed or hankered for? |
| work_powd6hp7prekhfalihfvqzntau | Can a found object or something mediated by an artist be deemed ‘ art ’? |
| work_powd6hp7prekhfalihfvqzntau | Funny effluents, man in Superman costume ravaging a woman( or is it a sex dolls? |
| work_powd6hp7prekhfalihfvqzntau | Her personal life, her ex ‘ Justin Timberlake and present beau, Good Charlotte rocker Benji Madden, and that she falls for singers? |
| work_powd6hp7prekhfalihfvqzntau | Indirectly, it also questions 1) What is it that makes a work to be construed as art, and who decides? |
| work_powd6hp7prekhfalihfvqzntau | Is Sabri a fan, too, of the ones he painted, and who does he choose to paint, and why? |
| work_powd6hp7prekhfalihfvqzntau | Is it just to show off that he can paint a photograph? |
| work_powd6hp7prekhfalihfvqzntau | Is it related to the man ’s head showing the top half popping up from the ground? |
| work_powd6hp7prekhfalihfvqzntau | Is the girl asking permission to keep it as a pet? |
| work_powd6hp7prekhfalihfvqzntau | Is this somebody in the news recently, and are the cursive handwritten script shed any clue to person or event, or is it just something random? |
| work_powd6hp7prekhfalihfvqzntau | It does show that many things are all gloss, and yes, poses the question: What is Reality? |
| work_powd6hp7prekhfalihfvqzntau | RM 19,0 0 0 – RM 28,0 0 0 What is the relationship with the cow inside the core of a yellow seed- studded fruit? |
| work_powd6hp7prekhfalihfvqzntau | Sharing the passion www.crownfineart.com An art thief you ca n’t see? |
| work_powd6hp7prekhfalihfvqzntau | So I did an experiment for myself to see if I did not get a certificate — could I still be an artist? |
| work_powd6hp7prekhfalihfvqzntau | So is this all there is to it, a clever trick? |
| work_powd6hp7prekhfalihfvqzntau | So what ’s the three about? |
| work_powd6hp7prekhfalihfvqzntau | The little duckling( or is it a chick? |
| work_powd6hp7prekhfalihfvqzntau | Thermos flask? |
| work_powd6hp7prekhfalihfvqzntau | What does Sabri ’s image try to say? |
| work_powd6hp7prekhfalihfvqzntau | What is the Slug Man, the largest by scale, doing with its balloon of rocks? |
| work_powd6hp7prekhfalihfvqzntau | What price memories? |
| work_powd6hp7prekhfalihfvqzntau | Whatever the clues or secrets, the skull looking out, facing right seems to be sniggering, or is it gritting its teeth? |
| work_powd6hp7prekhfalihfvqzntau | Why is a set of plier placed close to Ah Poon ’s ear on the right? |
| work_powd6hp7prekhfalihfvqzntau | Yes, why clutter up the world with pictures? |
| work_powd6hp7prekhfalihfvqzntau | ” And then, “ Why Ah Poon? |
| work_ly4mhuowlvgwpmmkbxcca662nq | Hy Lei... Maar waarheen? |
| work_ly4mhuowlvgwpmmkbxcca662nq | Hy lei... maar waarheen? |
| work_ly4mhuowlvgwpmmkbxcca662nq | Watter soort mens is jy:''n kuifie of''n asterix? |
| work_ly4mhuowlvgwpmmkbxcca662nq | What''s wrong with this picture? |
| work_ly4mhuowlvgwpmmkbxcca662nq | ( Bitterkomix, 1993) R, OO/ ES IS VERRNTtvOO/{J> ELII<: WIJ&, LIlI/ T El< E E.f? |
| work_ly4mhuowlvgwpmmkbxcca662nq | ( Francis, Dugmore& Rico,1993)) bo1m1HAf,~?! |
| work_ly4mhuowlvgwpmmkbxcca662nq | /Jls she available Tuesdays?" |
| work_ly4mhuowlvgwpmmkbxcca662nq | 143 tJHAT IF... Yoo AC7lJALLY... PAlt> MEMORE? |
| work_ly4mhuowlvgwpmmkbxcca662nq | 2~3 Zapir? |
| work_ly4mhuowlvgwpmmkbxcca662nq | 91-ttr? 5eluk,~newe~''M~~tjie:). |
| work_ly4mhuowlvgwpmmkbxcca662nq | 92 HY LEt 000 MAAR WAARHEEN? |
| work_ly4mhuowlvgwpmmkbxcca662nq | :?~\PANGERoDsL1~:.::::.:. |
| work_ly4mhuowlvgwpmmkbxcca662nq | A good example is the 1994 strip where Eve cries:"You hear that, Madam?!... |
| work_ly4mhuowlvgwpmmkbxcca662nq | Does it require certain s~ cific conditions in order to exist? |
| work_ly4mhuowlvgwpmmkbxcca662nq | I am a blind spot hurtling with both eyes open into the maw of the future, my password''And then?''. |
| work_ly4mhuowlvgwpmmkbxcca662nq | Is cartooning specifically tied to certain forms of media? |
| work_ly4mhuowlvgwpmmkbxcca662nq | Is it proper to group the range of activities practised by cartoonists under a single rubric? |
| work_ly4mhuowlvgwpmmkbxcca662nq | Is there a specific''way of signifying''that is unique to cartooning? |
| work_ly4mhuowlvgwpmmkbxcca662nq | L.xXJLD)OO Yoo''v£ BEEN LIKe A srE, AL''N~ cup?'' |
| work_ly4mhuowlvgwpmmkbxcca662nq | SINe;(''175?) |
| work_ly4mhuowlvgwpmmkbxcca662nq | So You Think You''re Depressed? |
| work_ly4mhuowlvgwpmmkbxcca662nq | Soweto? |
| work_ly4mhuowlvgwpmmkbxcca662nq | There is a pregnant pause before the priest replies:"Is she available Tuesdays?" |
| work_ly4mhuowlvgwpmmkbxcca662nq | WHY??) |
| work_ly4mhuowlvgwpmmkbxcca662nq | WHY??) |
| work_ly4mhuowlvgwpmmkbxcca662nq | What are the defining characteristics that set the various forms of cartooning apart from other forms of art, literature and popular culture? |
| work_ly4mhuowlvgwpmmkbxcca662nq | What is Literature? |
| work_ly4mhuowlvgwpmmkbxcca662nq | Why did you marry a man like Garesego? |
| work_ly4mhuowlvgwpmmkbxcca662nq | \ IAJHAT? |
| work_ly4mhuowlvgwpmmkbxcca662nq | tJ1AT IF...? |
| work_rkdu3oxhwre2revmkg6rfyn7me | ABSTRACTION: WHAT IS IT? |
| work_rkdu3oxhwre2revmkg6rfyn7me | ABSTRACTION: WHAT IS IT? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Can we improve their abilities and, if so, how? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Can we improve their abilities and, if so, how? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Do our students ’ powers of abstraction depend on their cognitive development? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Do our students ’ powers of abstraction depend on their cognitive development? |
| work_rkdu3oxhwre2revmkg6rfyn7me | How can we put this on a more scientific footing and improve our understanding of the situation? |
| work_rkdu3oxhwre2revmkg6rfyn7me | How can we put this on a more scientific footing and improve our understanding of the situation? |
| work_rkdu3oxhwre2revmkg6rfyn7me | IS ABSTRACTION TEACHABLE? |
| work_rkdu3oxhwre2revmkg6rfyn7me | IS ABSTRACTION TEACHABLE? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Intro_ lo IS ABSTRACTION THE KEY TO COMPUTING? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Is it possible to improve these skills through education and training? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Is it possible to teach abstract thinking and abstraction skills? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Is it possible to teach abstract thinking and abstraction skills? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Is it some aspect of intel- ligence? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Is it some aspect of intel- ligence? |
| work_rkdu3oxhwre2revmkg6rfyn7me | WHAT DETERMINES OUR STUDENTS ’ ABILITIES? |
| work_rkdu3oxhwre2revmkg6rfyn7me | WHAT DETERMINES OUR STUDENTS ’ ABILITIES? |
| work_rkdu3oxhwre2revmkg6rfyn7me | WHAT DO WE NEED TO DO? |
| work_rkdu3oxhwre2revmkg6rfyn7me | WHAT DO WE NEED TO DO? |
| work_rkdu3oxhwre2revmkg6rfyn7me | WHY IS IT SO IMPORTANT? |
| work_rkdu3oxhwre2revmkg6rfyn7me | WHY IS IT SO IMPORTANT? |
| work_rkdu3oxhwre2revmkg6rfyn7me | What about course content and curricula? |
| work_rkdu3oxhwre2revmkg6rfyn7me | What about course content and curricula? |
| work_rkdu3oxhwre2revmkg6rfyn7me | What is it that makes the good students so able? |
| work_rkdu3oxhwre2revmkg6rfyn7me | What is it that makes the good students so able? |
| work_rkdu3oxhwre2revmkg6rfyn7me | What is lacking in the weaker ones? |
| work_rkdu3oxhwre2revmkg6rfyn7me | What is lacking in the weaker ones? |
| work_rkdu3oxhwre2revmkg6rfyn7me | What is the purpose of the model? |
| work_rkdu3oxhwre2revmkg6rfyn7me | What is the purpose of the model? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Why is abstraction important in computer science and software engineering? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Why is abstraction important in computer science and software engineering? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Why is it that some software engineers and computer scientists are able to produce clear, elegant designs and programs, while others can not? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Why? |
| work_rkdu3oxhwre2revmkg6rfyn7me | Why? |
| work_65vugdayivdkdd5irruqvmspfm | ( Mitchell, What Do Pictures Want? |
| work_65vugdayivdkdd5irruqvmspfm | 115 Donahue,''Introduction: Art History or"Sublime Hysteria"? |
| work_65vugdayivdkdd5irruqvmspfm | 4 Donahue,''Introduction: Art History or"Sublime Hysteria"? |
| work_65vugdayivdkdd5irruqvmspfm | 41 Neil H. Donahue,''Introduction: Art History or"Sublime Hysteria"?'' |
| work_65vugdayivdkdd5irruqvmspfm | According to Worringer:...[ W]hat is naturalism? |
| work_65vugdayivdkdd5irruqvmspfm | Also, Neil H. Donahue,''Introduction: Art History or"Sublime Hysteria"?'' |
| work_65vugdayivdkdd5irruqvmspfm | Are we wrong? |
| work_65vugdayivdkdd5irruqvmspfm | Bernard: ‘ So you understand art to be a union of the world and the individual? ’ Cézanne: ‘ I understand it as personal apperception. |
| work_65vugdayivdkdd5irruqvmspfm | Empathy, in his 61 Mitchell, What Do Pictures Want? |
| work_65vugdayivdkdd5irruqvmspfm | In What Do Pictures Want? |
| work_65vugdayivdkdd5irruqvmspfm | McKay, Carol,''Modernist Primitivism? |
| work_65vugdayivdkdd5irruqvmspfm | Mitchell, W. J. T.,''What Do Pictures"Really"Want? |
| work_65vugdayivdkdd5irruqvmspfm | See W. J. T. Mitchell, What Do Pictures Want? |
| work_65vugdayivdkdd5irruqvmspfm | The dreaded weapons of the “ savages ” are their new ideas... Who are these “ savages ” in Germany? |
| work_65vugdayivdkdd5irruqvmspfm | Weiss, Peg,''Are We Ready to Memorialize Kandinsky? |
| work_65vugdayivdkdd5irruqvmspfm | What does it mean? |
| work_65vugdayivdkdd5irruqvmspfm | When one looks at this stone, does it not appear to be falling? |
| work_65vugdayivdkdd5irruqvmspfm | — — —, What Do Pictures Want? |
| work_65vugdayivdkdd5irruqvmspfm | — — —,''Introduction: Art History or"Sublime Hysteria"?'' |
| work_txjzwc46dvbczgbaomie26swwq | 37( the) customer based on factors including the customer''s financial situation, investment knowledge, investment objectives and risk tolerance"?? |
| work_txjzwc46dvbczgbaomie26swwq | 37( the) customer based on factors including the customer''s financial situation, investment knowledge, investment objectives and risk tolerance"?? |
| work_txjzwc46dvbczgbaomie26swwq | 86 How can this quest be related to a member of the securities industry? |
| work_txjzwc46dvbczgbaomie26swwq | ? |
| work_txjzwc46dvbczgbaomie26swwq | Are individuals to prioritize among practices based on personal preference? |
| work_txjzwc46dvbczgbaomie26swwq | Can a core conception of the virtues be established? |
| work_txjzwc46dvbczgbaomie26swwq | For example, in Whose Justice? |
| work_txjzwc46dvbczgbaomie26swwq | If the reply is a feeling or attitude of approval, then, what kind of approval? |
| work_txjzwc46dvbczgbaomie26swwq | Is Maclntyre''s project compatible with economic liberalism, which is embodied by the practice of laissez faire capitalism? |
| work_txjzwc46dvbczgbaomie26swwq | Is he appeasing the demands of his manager? |
| work_txjzwc46dvbczgbaomie26swwq | Is he contributing to the contemporary economic paradigm by participating in the distribution of wealth in a free market economy? |
| work_txjzwc46dvbczgbaomie26swwq | Is he earning commissions? |
| work_txjzwc46dvbczgbaomie26swwq | Is he managing a client''s portfolio? |
| work_txjzwc46dvbczgbaomie26swwq | Is he trading? |
| work_txjzwc46dvbczgbaomie26swwq | Is the exercise of managerial expertise that sustains the manager''s position and authority strictly legitimate? |
| work_txjzwc46dvbczgbaomie26swwq | Is there an ethical theory that accomplishes this task with greater effect than the status quo? |
| work_txjzwc46dvbczgbaomie26swwq | Ottawa, Canada January 6, 2009 © Robert D. Bresnahan, Ottawa, Canada, 2009? F? |
| work_txjzwc46dvbczgbaomie26swwq | Ottawa, Canada January 6, 2009 © Robert D. Bresnahan, Ottawa, Canada, 2009? F? |
| work_txjzwc46dvbczgbaomie26swwq | The conflict of interest inherent in the? |
| work_txjzwc46dvbczgbaomie26swwq | What constitutes moral approval? |
| work_txjzwc46dvbczgbaomie26swwq | What kind of feeling or attitudes? |
| work_txjzwc46dvbczgbaomie26swwq | What then is the connection between law and morality in the case of the securities industry? |
| work_txjzwc46dvbczgbaomie26swwq | Which Rationality?. |
| work_txjzwc46dvbczgbaomie26swwq | Who better than the IA to apply the concept of virtue ethics to? |
| work_txjzwc46dvbczgbaomie26swwq | Who symbolizes and embodies the emotivist culture, the product of a liberalist society better than the professional money manager? |
| work_txjzwc46dvbczgbaomie26swwq | Whose Justice? |
| work_txjzwc46dvbczgbaomie26swwq | Without such accountability the notion of responsibility would be empty.... To whom are they to understand themselves as accountable? |
| work_txjzwc46dvbczgbaomie26swwq | shall use due diligence to ensure that the recommendation is suitable for Annualized Turnover Ratio=?/? |
| work_txjzwc46dvbczgbaomie26swwq | shall use due diligence to ensure that the recommendation is suitable for Annualized Turnover Ratio=?/? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | - A r e t h e y o b t a i n a b l e? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | - Are t h e y a v a i l a b l e i n secondary s c h o o l s? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | - D i d you o b t a i n i t y o u r s e l f? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | - i f s o, how? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | - i n j u n i o r grades? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | - i n s e n i o r grades? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | - stone? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | - wood? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Can you c a r v e from a b l o c k o f- p l a s t e r? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Can you c a s t a wastemold? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Can you f i n i s h p l a s t e r t o make i t l o o k l i k e bronze? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Can you t e a c h repousse? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Can you t e a c h welded s c u l p t u r e? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Do you conduct f i e l d t r i p s t o s t u d y l o c a l s c u l p t u r e( i f any)? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Do you d e a l w i t h s c u l p t u r a l c o n c e p t s, such as mass, shape, form, monumentality? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Do you f e e l a d e q u a t e l y t r a i n e d f o r t e a c h i n g o f s c u l p t u r e? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Do you have adequate f a c i l i t i e s and equipment t o t e a c h s c u l p t u r e i n your s c h o o l? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Do you i n t r o d u c e i t u s i n g v i s u a l a i d s such as s l i d e s, f i l m s, f i l m s t r i p s? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Do you know how t o make a piecemold? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Do you know what an armature i s? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Do you know why one makes a p i e c e m o l d? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Do you t e a c h both methods, the b u i l d- u p and take- away p r o c e s s? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Do you t e a c h i t as an independent u n i t, not r e l a t e d t o c e r a m i c s? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Do you t e a c h s c u l p t u r e as p a r t o f c e r a m i c s? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Does s c u l p t u r e need s p e c i a l f a c i l i t i e s and equipment? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | S e c o n d l y, how i s i t or 2. s h o u l d i t be p r e s e n t e d? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | What have the heroes and v i l l a i n s i n common? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | What m a t e r i a l s do you use i n your t e a c h i n g? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | What t e l l s heroes and v i l l a i n s a p a r t? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Why Teach S c u l p t u r e o f the Human F i g u r e t o A d o l e s c e n t s? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Why? |
| work_3y2rhoskqjhtvo2fy4zlszsmga | Y e t one might pose the q u e s t i o n, i s l i f e n o t h i n g but a s t a g e where we a c t out our g r e a t moments? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | 23 And what of political parties and their a b i l i t y to generate a committed following? work_mo2mvasy5bd3pdmg6o4gqk726q Krieg?" |
| work_mo2mvasy5bd3pdmg6o4gqk726q | One bores us; Propaganda and Optimism, a Soporific Combination? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | ( p.?) |
| work_mo2mvasy5bd3pdmg6o4gqk726q | 2? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | 39Theodor Adorno,"Auferstehung der Kultur in Deutschland?" |
| work_mo2mvasy5bd3pdmg6o4gqk726q | 6Bernhard Guttmann,"Die Funktion des Widerstandes,"Die Geoenwart 4 Nr.6( 194? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | 8? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | ? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | ? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | And what could chaos, ruin, destruction have said to it that was new? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | Berliner KQnstler; Malerei, Grafik, Plastik, 27 July- 2? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | But by hoping for i t s destruction? — this would be how many Germans saw the resistance. |
| work_mo2mvasy5bd3pdmg6o4gqk726q | But i n w h i c h c o u n t r y o f t h e w o r l d i s t h e a v a n t- g a r d e not a m i n o r i t y? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | By 1947- 4? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | Department of-r̂ W/ f W? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | Die Zeit 48 Nr.28( 1? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | Expressionism was dead, k i l l e d( temporarily?) |
| work_mo2mvasy5bd3pdmg6o4gqk726q | Hausenstein''s polemic, which accused modern art of"nihilism,"was called"What is the meaning of modern art?" |
| work_mo2mvasy5bd3pdmg6o4gqk726q | How could artists and intellectuals, and through them the country, rebuild culture, especially in relation to its failures before and during the war? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | In 1949 the question,"What can be done to strengthen the vital-function o- f resistance?" |
| work_mo2mvasy5bd3pdmg6o4gqk726q | Magazines, and Books: Adorno, Theodor W."Au- ferstehung der Kultur in Deutschland?" |
| work_mo2mvasy5bd3pdmg6o4gqk726q | The Germany of tomorrow had come to define i t s painting; what could oppose it? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | The fact that the same exhibition would be discussed in reviews as far-119- apart as 1946/4? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | Thus, in another review of the same 1946 Dresdener show and of a 194? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | Why do we talk so much about Germany? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | Why then d i d t h i s a r t not gain a wider audience? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | greatness of the fatherland..., we''ve heard all this before, — it was n''t even so long ago, — who was i t? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | v i I n t r o d u c t i o n 1 N o t e s 1? |
| work_mo2mvasy5bd3pdmg6o4gqk726q | was soil aus Deutschland werden?" |
| work_mo2mvasy5bd3pdmg6o4gqk726q | was soil aus Deutschland werden?" |
| work_mo2mvasy5bd3pdmg6o4gqk726q | • The U n i v e r s i t y of B r i t i s h Columbia 1956 Main Mall Vancouver, Canada V6 T 1Y3 Date l(>''Ctph^lyt^ M? |
| work_ni7xxyjxczg7riydjuyqkfa464 | 46 For the voices against essentialism, see Armando Salvatore, ‘ Beyond Orientalism? |
| work_ni7xxyjxczg7riydjuyqkfa464 | And, lastly, how should one rewrite the visual history of these arts? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | But who has the right to claim renaissance? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Could the visual world of Islam suggest other classificatory systems for its varied arts? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Do the arts of Islam need to be discussed and interpreted within visual theories relatable to the field of Islamic studies? |
| work_ni7xxyjxczg7riydjuyqkfa464 | For the bevelled style of Avinoam Shalem What do we mean when we say ‘ Islamic art ’? |
| work_ni7xxyjxczg7riydjuyqkfa464 | In short, does Islamic art exist beyond the framework of Western art history? |
| work_ni7xxyjxczg7riydjuyqkfa464 | S. Lester, South Bend, IN: Saint Augustine ’s Press, 2002; Thomas DaCosta Kaufmann, ‘ Eurocentrism and Art History? |
| work_ni7xxyjxczg7riydjuyqkfa464 | See also Armando Salvatore, ‘ Beyond Orientalism? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Should Islamic art historians also accept this classification? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Should one not look to other visual modes of representation in the worlds of Islam? |
| work_ni7xxyjxczg7riydjuyqkfa464 | Should we not rewrite and critically discuss the history of the thesis of unity in Islamic art? |
| work_ni7xxyjxczg7riydjuyqkfa464 | So should one simply argue for diversity? |
| work_ni7xxyjxczg7riydjuyqkfa464 | What is Islamic Art Journal of Art Historiography Number 6 June 2012 What do we mean when we say ‘ Islamic art ’? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - 4-- What can you say about your last works? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - Can you explain to me in what sense plastic works are connected to composing patterns? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - Do you have any remarks regarding my assumptions on drawing using the drawing stream method? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - Do you know anyone who draws and can be considered a role model for newer generations? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - Do you think that entirely imaginative painting is possible? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - How do you see the creative grammar in your work? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - Is that something you can see in Tokyo? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - Is that the last one? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - Is the current state of your art some form of continuation of your abstract period? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - More real than nature? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - Perhaps he was observing reality in a way different from what we are bound to? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - So, it is a matter of memory? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - So, you never look back – what happens if you do? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - So, you think that, in his waves, Hokusai tunneled emotions that were too strong? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - Was this drawing created as a deliberate and conscious end to an ongoing series of drawings? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - What are your thoughts on publishing drawings in social media? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - What do you think about Japanese paper? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - What do you think? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | - You are talking about creative grammar – this topic is also brought up in the “ Manual of the Mustard Seed Garden ”, correct? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | 7 V 2018 – place of meeting- Tokyo University of Arts- What can you tell us about rhythm in your works? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | And I keep wondering, why “ too late ”? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | And I thought to myself – what if you could use the rhythm of passing clouds to draw other objects? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | Did Giacometti focus on some very specific aspects of reality? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | Do those rhythms come from listening or from thinking? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | Do you think it can be done? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | Do you think that Giacometti saw reality as categories of patterns? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | Does it have to do with the “ Ma ” 3 aesthetic? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | I do not know, bad – this is bad, is that true or not? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | I wonder, is it even possible to truly find the form and shape of a wave based on a real ocean, river or other natural water reservoir? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | Is it how Francis Bacon described it, too shallow to ever express anything meaningful? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | Is it not? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | Is that something you do intentionally, or is it simply coincidence? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | Perhaps if they had come to their masters at the age of 10 or 15, they might have been able to learn their craft? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | Perhaps your art still revolves around that concept? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | So, first there is the ocean, then there is a figure, and then they start to- 13- harmonize? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | Was he too hysterical? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | What is abstraction to you? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | What is it? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | What made you arrange the “ Little Story ” gallery in this particular way? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | What made you use such unusual configurations of materials? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | Where does it come from? |
| work_6paqa7gsprf3xmsbi7cjmdeh6q | Why did Giacometti need a model? |
| work_vimqis7apzdmpoyzxscztfz3da | At Harvard, the key question usually worked: will that be on the exam? |
| work_vimqis7apzdmpoyzxscztfz3da | Could that be true for Gal4? |
| work_vimqis7apzdmpoyzxscztfz3da | Could the c1 gene product on its own regulate a gene, or was it part of some more compli- cated apparatus? |
| work_vimqis7apzdmpoyzxscztfz3da | Did the repressor work directly on the DNA, the favored view, or at some other stage of gene expression? |
| work_vimqis7apzdmpoyzxscztfz3da | Do such repressors work only to counteract weak activators? |
| work_vimqis7apzdmpoyzxscztfz3da | Do they mean to say that such modifications determine gene expression? |
| work_vimqis7apzdmpoyzxscztfz3da | Establishment — The work of others added a crucial missing piece: how does transcription of the repressor gene get started in the first place? |
| work_vimqis7apzdmpoyzxscztfz3da | How do these mechanisms work together to make a switch? |
| work_vimqis7apzdmpoyzxscztfz3da | How does Gal4 work? |
| work_vimqis7apzdmpoyzxscztfz3da | How does recruitment( the mechanism of activation) help solve this problem? |
| work_vimqis7apzdmpoyzxscztfz3da | How, for example, might nucleosomes have that effect while not blocking binding of activators to DNA? |
| work_vimqis7apzdmpoyzxscztfz3da | If so, what would determine that scenario? |
| work_vimqis7apzdmpoyzxscztfz3da | Irreducible Complexity? |
| work_vimqis7apzdmpoyzxscztfz3da | Is a different mechanism for DNA binding required? |
| work_vimqis7apzdmpoyzxscztfz3da | Is the mechanism of activation different, perhaps more complicated? |
| work_vimqis7apzdmpoyzxscztfz3da | Maybe not, but then what is their image of how genes are regulated? |
| work_vimqis7apzdmpoyzxscztfz3da | Mechanism of Cooperativity How does a repressor dimer binding to site OR1 help another bind to OR2? |
| work_vimqis7apzdmpoyzxscztfz3da | Might activator- binding sites be inherently nucleosome- free? |
| work_vimqis7apzdmpoyzxscztfz3da | Might the DNA have to unwind to expose base pairs or form some unusual structure such as Z- DNA, a popular item back then? |
| work_vimqis7apzdmpoyzxscztfz3da | Might they be used only transiently during development to allow sequential binding of activators to enhancers, countering intermediate effects? |
| work_vimqis7apzdmpoyzxscztfz3da | Might unusual DNA sequences be involved? |
| work_vimqis7apzdmpoyzxscztfz3da | Perhaps Gal4 is an activator and Gal80 a repressor( making them anal- ogous to the � repressor and Cro)? |
| work_vimqis7apzdmpoyzxscztfz3da | Perhaps the C- termi- nal domain contains an activating region analogous to the � repressor activating region? |
| work_vimqis7apzdmpoyzxscztfz3da | What Is Fundamental? |
| work_vimqis7apzdmpoyzxscztfz3da | What do they mean by “ influence, ” and what would happen absent this influence? |
| work_vimqis7apzdmpoyzxscztfz3da | What precisely does the DNA- bound repressor do, and how does it do it? |
| work_vimqis7apzdmpoyzxscztfz3da | Why not just one? |
| work_vimqis7apzdmpoyzxscztfz3da | Why three repressor dimer- binding sites in the opera- tor? |
| work_xofl75h6r5ehndm5tdobnb3lwa | ( 2014) Where ’s Waldo? |
| work_xofl75h6r5ehndm5tdobnb3lwa | 29( left) seems to be attached to its bounding contour? |
| work_xofl75h6r5ehndm5tdobnb3lwa | 41( left) give rise to a 3D percept? |
| work_xofl75h6r5ehndm5tdobnb3lwa | 49( upper row, right panel) interfere with this percept? |
| work_xofl75h6r5ehndm5tdobnb3lwa | Before doing so, it is relevant to the goals of this article to ask: Why do we consciously see at all? |
| work_xofl75h6r5ehndm5tdobnb3lwa | Combining these two predictions leads to the question: What kind of resonance supports conscious percepts of visual qualia? |
| work_xofl75h6r5ehndm5tdobnb3lwa | How are self- luminous percepts gener- ated just using paint? |
| work_xofl75h6r5ehndm5tdobnb3lwa | How do closed boundaries help to form a visible 3D percept? |
| work_xofl75h6r5ehndm5tdobnb3lwa | How do we recognize what we see? |
| work_xofl75h6r5ehndm5tdobnb3lwa | How does a brain build a cognitive code? |
| work_xofl75h6r5ehndm5tdobnb3lwa | How does the brain rapidly learn and reor- ganize view- and positionally- invariant object representations in inferior temporal cortex? |
| work_xofl75h6r5ehndm5tdobnb3lwa | How does the cerebral cortex work? |
| work_xofl75h6r5ehndm5tdobnb3lwa | How does “ drawing directly in color ” change how a painting looks? |
| work_xofl75h6r5ehndm5tdobnb3lwa | How is such a top- down expectation learned? |
| work_xofl75h6r5ehndm5tdobnb3lwa | How is this property achieved? |
| work_xofl75h6r5ehndm5tdobnb3lwa | If this is indeed the case, then why is this boundary web not visible? |
| work_xofl75h6r5ehndm5tdobnb3lwa | The concept of a surface – shroud resonance also provides new insights into basic issues such as: How do we consciously see? |
| work_xofl75h6r5ehndm5tdobnb3lwa | This percept leads to the general question: How does a 2D picture give rise to a 3D percept? |
| work_xofl75h6r5ehndm5tdobnb3lwa | This question asks how strong the boundary choice will be? |
| work_xofl75h6r5ehndm5tdobnb3lwa | This translates into the mechanistic question: How does shroud activity persist during active scanning of an object, scene, or picture? |
| work_xofl75h6r5ehndm5tdobnb3lwa | Visual brain and visual perception: How does the cortex do perceptual grouping? |
| work_xofl75h6r5ehndm5tdobnb3lwa | What is learned in spatial contextual cueing: Configuration or individual locations? |
| work_xofl75h6r5ehndm5tdobnb3lwa | Why are the occluded parts of the vertical rectangle ’s boundary invisible? |
| work_xofl75h6r5ehndm5tdobnb3lwa | Why are two parallel cortical streams needed? |
| work_xofl75h6r5ehndm5tdobnb3lwa | Why do not views from multiple objects get erroneously bound together to activate a single category? |
| work_xofl75h6r5ehndm5tdobnb3lwa | Why does not the brain just define perfect edge detectors that do not fail to detect line ends? |
| work_xofl75h6r5ehndm5tdobnb3lwa | Why is hierarchical resolution of uncertainty needed? |
| work_xofl75h6r5ehndm5tdobnb3lwa | see related to what we recognize? |
| work_xofl75h6r5ehndm5tdobnb3lwa | views, but also at multiple positions, and distances — and thus sizes — relative to our retinas? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | Hulin de Loo, Bruges 1902:..., LVIII: Est- ce par inconscience ou par insouciance qu''elle laisse les tresors dans I''oubli? work_o6jhzbypjjdfph2ovtzjkyy2yi Ou en est l''histoire de I''art en France?" |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | 11 all? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | 116 frangais change or expand the way in which the term primitif was understood and applied to fifteenth century art production? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | 18 Ecole de Nicolas Froment, Pieta, avec saint Jean, la Vierge, la Madeleine et un donateur, 1470?. |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | An examination of this exhibition, its construction, representation and milieu provokes a series of questions: Why was this exhibition held? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | But did it change the canon? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | But did the public at large share that opinion? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | Cet incomparable et merveilleux tresor, do nt les monarchies abolies ont enrichi la France, n''a- t- il rein a attendre de la democratie? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | Did the claims succeed in''re- writing''art history? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | Ecole de Nicolas Froment, Pieta, avec saint Jean, la Vierge, 138 la Madeleine et un donateur, 1470?. |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | Ford, Caroline C."Which Nation? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | How were the journals of the day aligned in response to the claims? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | Impasses methodologique ou renouvellement des modeles theoriques?" |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | In Quels Musees, pour quelles fins aujourd''hui? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | Is this a religious painting because of the donor is depicted? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | Italian Masters Galerie d''Altenburg and Galerie Lindenau( Commercial) Jan? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | Or is it a secular painting because of the portrait- like depiction of the donor? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | Q1RARD D''ORLfeANS?, vers i35o. |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | Qu''est- ce qu''une Nation? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | This incomparable and marvellous treasure, with which the abolished monarchs enriched France, does it have nothing to look forward to from democracy? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | To add further injury, he asked disingenuously: Is it by ignorance or thoughtlessness that[ France] neglects its treasures? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | To what end and to whose benefit was this event contemplated? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | To what end was it organized and what was the outcome or result or effect of the claims made there? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | What differentiates this 6 exhibition from others in this period? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | What does this textual absence signify for the Exposition des Primitifs frangais? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | What is worth noting about this particular collection exhibited at this time? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | What was the climate which supported collecting so many works of art into one location? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | What was the lasting impact, if any, of this event and its circumstances? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | Why were the fundamental claims about the primacy of French cultural production made in this exhibition being asserted( or reasserted) in 1904? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | Why, in other words, did this exhibition occur when and how it did? |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | [ 190?]. |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | [ 190?]. |
| work_o6jhzbypjjdfph2ovtzjkyy2yi | •''. VSE? |
| work_wepcc2uehrdjpgy2hh77oyam54 | 4 the agency of plants 12 Questions Objectives Goals What could creative collaborations between plants and humans look like? |
| work_wepcc2uehrdjpgy2hh77oyam54 | Are innovative strategies employed? |
| work_wepcc2uehrdjpgy2hh77oyam54 | Bartens, “ Can Urban Tree Roots Improve Infiltration through Compacted Subsoils for Stormwater Management? ” 148. |
| work_wepcc2uehrdjpgy2hh77oyam54 | Bartens, “ Can Urban Tree Roots Improve Infiltration through Compacted Subsoils for Stormwater Management? ” 148. |
| work_wepcc2uehrdjpgy2hh77oyam54 | Bartens, “ Can Urban Tree Roots Improve Infiltration through Compacted Subsoils for Stormwater Management? ” 148. |
| work_wepcc2uehrdjpgy2hh77oyam54 | Bartens, “ Can Urban Tree Roots Improve Infiltration through Compacted Subsoils for Stormwater Management? ” 148. |
| work_wepcc2uehrdjpgy2hh77oyam54 | Bartens, “ Can Urban Tree Roots Improve Infiltration through Compacted Subsoils for Stormwater Management? ” 148. |
| work_wepcc2uehrdjpgy2hh77oyam54 | Bartens, “ Can Urban Tree Roots Improve Infiltration through Compacted Subsoils for Stormwater Management? ” 148. |
| work_wepcc2uehrdjpgy2hh77oyam54 | Bartens, “ Can Urban Tree Roots Improve Infiltration through Compacted Subsoils for Stormwater Management? ” 148. |
| work_wepcc2uehrdjpgy2hh77oyam54 | Characterized by manufactured soils and high levels of maintenance.71 Do these species really belong here? |
| work_wepcc2uehrdjpgy2hh77oyam54 | Characterized by manufactured soils and high levels of maintenance.71 Do these species really belong here? |
| work_wepcc2uehrdjpgy2hh77oyam54 | Characterized by manufactured soils and high levels of maintenance.71 Do these species really belong here? |
| work_wepcc2uehrdjpgy2hh77oyam54 | Characterized by manufactured soils and high levels of maintenance.71 Do these species really belong here? |
| work_wepcc2uehrdjpgy2hh77oyam54 | How can we shift common ideas of what is aesthetic? |
| work_wepcc2uehrdjpgy2hh77oyam54 | How could it step outside the box while still satisfying the public eye of how a yard should look like? |
| work_wepcc2uehrdjpgy2hh77oyam54 | How could it step outside the box while still satisfying the public eye of how a yard should look like? |
| work_wepcc2uehrdjpgy2hh77oyam54 | How do we create immersive experiences of natural processes? |
| work_wepcc2uehrdjpgy2hh77oyam54 | How will they be achieved? |
| work_wepcc2uehrdjpgy2hh77oyam54 | How will they be achieved? |
| work_wepcc2uehrdjpgy2hh77oyam54 | Management: Does management work with the natural processes of the site? |
| work_wepcc2uehrdjpgy2hh77oyam54 | People: Is encouraging people plant relationships important to the project? |
| work_wepcc2uehrdjpgy2hh77oyam54 | What are new collaborations between the plant, the gardener, and the designer? |
| work_wepcc2uehrdjpgy2hh77oyam54 | What are their combined aesthetic? |
| work_wepcc2uehrdjpgy2hh77oyam54 | What are their combined aesthetic? |
| work_wepcc2uehrdjpgy2hh77oyam54 | What new agency does the gardener have to contribute to the agency of the plant? |
| work_wepcc2uehrdjpgy2hh77oyam54 | What new agency does the gardener have to contribute to the agency of the plant?105 How do we facilitate in the movement of plants? |
| work_wepcc2uehrdjpgy2hh77oyam54 | What new agency does the gardener have to contribute to the agency of the plant?105 How do we facilitate in the movement of plants? |
| work_wepcc2uehrdjpgy2hh77oyam54 | “ Can Urban Tree Roots Improve Infiltration through Compacted Subsoils for Stormwater Management? ” Journal of Environmental Quality 37, no. |
| work_wepcc2uehrdjpgy2hh77oyam54 | “ Can Urban Tree Roots Improve Infiltration through Compacted Subsoils for Stormwater Management? ” Journal of Environmental Quality 37, no. |
| work_wepcc2uehrdjpgy2hh77oyam54 | “ Can Urban Tree Roots Improve Infiltration through Compacted Subsoils for Stormwater Management? ” Journal of Environmental Quality 37, no. |
| work_wepcc2uehrdjpgy2hh77oyam54 | “ Can Urban Tree Roots Improve Infiltration through Compacted Subsoils for Stormwater Management? ” Journal of Environmental Quality 37, no. |
| work_wepcc2uehrdjpgy2hh77oyam54 | “ Can Urban Tree Roots Improve Infiltration through Compacted Subsoils for Stormwater Management? ” Journal of Environmental Quality 37, no. |
| work_wepcc2uehrdjpgy2hh77oyam54 | “ Can Urban Tree Roots Improve Infiltration through Compacted Subsoils for Stormwater Management? ” Journal of Environmental Quality 37, no. |
| work_wepcc2uehrdjpgy2hh77oyam54 | “ Was blüht denn da i m Gleisbett? |
| work_wepcc2uehrdjpgy2hh77oyam54 | “ Was blüht denn da i m Gleisbett? |
| work_wepcc2uehrdjpgy2hh77oyam54 | “ Was blüht denn da i m Gleisbett? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | I w o n d e r what is meant b y intention? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | Why do n''t you come back in a little while? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | - m N »? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | 1 2 1 If this can be v i e w e d as a"demonstration picture,"then what was Saint- Phalle demonstrating? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | 1 6 0 from h a p p e n i n g w h i c h w o u l d have been possible p r i o r to the establishment of the discipline?" |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | 1 6 7 from each coloured form its history? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | 1 8 1 Saint- Phalle has recalled that:"An hour before the show opened an elderly man with a degenerate face came in and asked,"when can I shoot?" |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | 2 0 0 Huelsenbeck: A r e y o u against Dada? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | 3 6 1 The dialogue continues at length u n t i l V o i c e II( Backberger) asks:"Is there never a n y t h i n g n e w i n art? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | 3 6 4 Just as the marble sugar cubes i n D u c h a m p''s Why Not Sneeze Rose Selavy? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | 3 6^ D i s c u s s Why Not Sneeze Rose Selavy? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | A n d against neo- Dada, as far as I understand it? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | After a l l, if one c o u l d have asked"what if?" |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | B u t w h a t p u r p o s e d o e s art h a v e t h e n? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | But can they i n the end find what they seek? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | But h o w does this happen? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | Does it become''classic''w h e n one w r i t e about Icarus but not w h e n one writes about Sputnik?.... |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | Does n''t a big mountain evoke a feeling of wonder — whether we want it to or not? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | Ekeflo, G u d r u n"Varfor ar H o n en katedral?" |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | Ekeflo, i n an article for the Leftist''s d a i l y Stockholms Tidningen p r o p o s e d that: 3 6 ° G u d r u n Ekeflo"Varfor ar Hon en katedral?" |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | Every ten minutes he would ask,"Can I shoot Now?" |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | Expressen( editorial)"H y c k l e r i?" |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | For example, a w o m a n w h o stands o n her o w n two l e g s?" |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | H a p g o o d:"W h i c h is just the point w h e n the m e d i a p i c k e d u p o n it?" |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | H o w c o u l d they possibly have given b i r t h to the same avant- garde w h e n their intentions were so different? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | H o w does Icarus compare to a Sputnik? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | In other w o r d s, can"anything"s t i l l happen i n the new order of an"open"art? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | Is Rauschenberg''classic''? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | Is n''t it, after a l l, the future w h i c h presents us w i t h the most s p a c e? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | Is there n o R e s t a n y o v e r there to k e e p a n e y e o n w h a t artists are d o i n g? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | Is, for example, Ingres''classic''? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | Jeannine declared,"Are you kidding? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | See"Hyckleri?" |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | So w h y p r i v i l e g e S t o c k h o l m as the place where this alternate v i e w of art history has been constructed? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | T i n g u e l y brings — what? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | T i n g u e l y: What''s the use i n a large Pop hot dog? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | The quesion is, who k n o w s why? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | To a d d to these activities, John Cage was i n v i t e d to the m u s e u m to give a talk("Where are we going? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | W h a t purpose w o u l d be served to call the spot made by a d o g art?" |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | W h y have an enormous hamburger next to it? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | When someone else was taking a shot he would scream,"The center, the center? |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | ^ S i H l f S J f> s»»i* i f M l «: s C «*?< «<^«i**f> ttn&f* « « t » F i g. |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | and what are we doing?") |
| work_3lpbwiog5ncxjhy3arrkag3cs4 | —... What is more tremendous than Hghming and sound of thunder? |
| work_q4az75f22fdihf7jx5zocsf3we | ! 5! 5h''-/^f6 s al 67Vl^f 2".&, yb@:; f- f f 7 VilEI 7;"ff t Po^t P"pVt E t Etl( a@f@A*-?. |
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| work_q4az75f22fdihf7jx5zocsf3we | *? l--il-''L----)=-.,,,,, aL.^po,^o tftppourda, l.l t''e)@& r 6)r"f e"1,"!ffi! |
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| work_q4az75f22fdihf7jx5zocsf3we | -a-? 2 f roll\ tr''yro) 79 2. |
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| work_q4az75f22fdihf7jx5zocsf3we | 32 taryhetto J''=6? |
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| work_q4az75f22fdihf7jx5zocsf3we | 83. descending sequence N"1 CAVL PNINTINq? o9z 2 A.^- gLiss( I;"gen st;d''e) Ntt''ha.-5!'' |
| work_q4az75f22fdihf7jx5zocsf3we | ::-: nP+ l oPArs o Phillip H*gl''+,^p Bvf 2ot+( P""1) 14aonslono f{-rsic PoLlieations FLACK OPAL tik.. u, Jt, er.. FlL l;;t;l\ e r rl)--| p""t? |
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| work_q4az75f22fdihf7jx5zocsf3we | @.t Etie;on@ 2oal q k^Po If= t''l,=? |
| work_q4az75f22fdihf7jx5zocsf3we | @.t Etie;on@ 2oal wrtLtcn ft"a"''L 4el;c"r")- to ApjeLo( aravtti2 N"i 7 T r- L( Largo)= sa Cl)tu?'' |
| work_q4az75f22fdihf7jx5zocsf3we | @e.9.9.9.9''9''F1/-7f-,''n. D WH ITE OPAI-? a3z z loki ereFe f"t ai6wL,_ La(-b:)i-:ir.4 6--6= lA/6ut&2 dl''-. |
| work_q4az75f22fdihf7jx5zocsf3we | Concluding with opening guitar sonority combined with suspension N"l CAVE PAINTING pa3e- 5 G- G a ff\- s7z iF H-,rb 72 ff t) t? |
| work_q4az75f22fdihf7jx5zocsf3we | Diatonic cluster combined with high tessitura rae z srbf 0006( harrrrrc./slu)_ i^7YTP= T---''@J,^n RH harm 2? |
| work_q4az75f22fdihf7jx5zocsf3we | Interplay between guitars 1 and 3, and guitars 2 and 4 BLACK OPA L p@Ae 3"ttl.--/+ra@-r^?,"! |
| work_q4az75f22fdihf7jx5zocsf3we | Is this image secondary to the piece over the inspiration of the title, that being of whirling dervishes from the Mevlevi Sufi Order? |
| work_q4az75f22fdihf7jx5zocsf3we | Modulated ostinato 1 Combination of the words “ jagged ” and “ red. ” BLACK OPA L p@Ae 3"ttl.--/+ra@-r^?,"! |
| work_q4az75f22fdihf7jx5zocsf3we | The use of silence in the opening of this section is very N"2 tUil''l(lorr,-? |
| work_q4az75f22fdihf7jx5zocsf3we | This prompted me to ask “ Are any other paintings on your website connected to your compositions? |
| work_q4az75f22fdihf7jx5zocsf3we | Would you mind giving a few words on how they are connected to the works? |
| work_q4az75f22fdihf7jx5zocsf3we | d.lr? i\t#\ stb tLrtolt".i;? |
| work_q4az75f22fdihf7jx5zocsf3we | d.lr? i\t#\ stb tLrtolt".i;? |
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| work_q4az75f22fdihf7jx5zocsf3we | e/ u,!^:[tnF: f( f) CL I^f--rlb- S!-,/ J r rflr tr_ a_Y{ 7?? |
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| work_q4az75f22fdihf7jx5zocsf3we | op*t ffiffiffi^-r d ng+ d*vtrrratical4l+, i? |
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| work_q4az75f22fdihf7jx5zocsf3we | t J^* fraopcn E}, 4(-l[) r t)^).t( WrL"r"ctta")("o[,rc''''po)l Ls^ t r) l)^ 58 s? |
| work_q4az75f22fdihf7jx5zocsf3we | thL D l^d- s oa t\a bzLt- 3r No L Bla.ck O? |
| work_q4az75f22fdihf7jx5zocsf3we | wrtLtcn ft"a"''L 4el;c"r")- to ApjeLo( aravtti2 N"i 7 T r- L( Largo)= sa Cl)tu?'' |
| work_q4az75f22fdihf7jx5zocsf3we | wrtLtcn ft"a"''L 4el;c"r")- to ApjeLo( aravtti2 N"i 7 T r- L( Largo)= sa Cl)tu?'' |
| work_q4az75f22fdihf7jx5zocsf3we | yassionatclT_ cen,--- dq-- acUeL 7>==("t''f) N''2? |
| work_q4az75f22fdihf7jx5zocsf3we | { L ests 3 t, Solo 2 t 22 23 2+ o n? |
| work_q4az75f22fdihf7jx5zocsf3we | }; ig;-tam v nr 6r*.-::*;{r? |
| work_3z2khowgprbxzmpojqkuatkxwu | 7 JA: Would it be correct, then, to suggest that you have no theoretical objections against socialism, against the left as a body of thought? |
| work_3z2khowgprbxzmpojqkuatkxwu | Are there any other cultural theorists writing today whose work you admire? |
| work_3z2khowgprbxzmpojqkuatkxwu | Are they still relevant today? |
| work_3z2khowgprbxzmpojqkuatkxwu | Armitage ± Interview with Virilio 49 JA: And, in your view, this is a negative development? |
| work_3z2khowgprbxzmpojqkuatkxwu | But his underlying philosophy? |
| work_3z2khowgprbxzmpojqkuatkxwu | But what, if anything, have you learnt from their writings and how has it in¯uenced your thinking? |
| work_3z2khowgprbxzmpojqkuatkxwu | Could you describe your response to these developments? |
| work_3z2khowgprbxzmpojqkuatkxwu | Could you elaborate on this concept? |
| work_3z2khowgprbxzmpojqkuatkxwu | Could you elaborate upon these concepts? |
| work_3z2khowgprbxzmpojqkuatkxwu | Could you explain the basis of your critique of this concept? |
| work_3z2khowgprbxzmpojqkuatkxwu | Could you explain the nature and signi ® cance of dromology? |
| work_3z2khowgprbxzmpojqkuatkxwu | Could you explain this model? |
| work_3z2khowgprbxzmpojqkuatkxwu | Could you explain your interest in what you call` the transplant revolution''? |
| work_3z2khowgprbxzmpojqkuatkxwu | Could your own theoretical approach be described as anti- humanist? |
| work_3z2khowgprbxzmpojqkuatkxwu | Do the cyberfeminists really believe that cybersexuality is going to liberate them? |
| work_3z2khowgprbxzmpojqkuatkxwu | How did that come about? |
| work_3z2khowgprbxzmpojqkuatkxwu | How do you respond to this interpretation? |
| work_3z2khowgprbxzmpojqkuatkxwu | How does the theory of relativity relate to your current projects? |
| work_3z2khowgprbxzmpojqkuatkxwu | How would you de ® ne power? |
| work_3z2khowgprbxzmpojqkuatkxwu | Is n''t there some kind of connection between your work and his? |
| work_3z2khowgprbxzmpojqkuatkxwu | Is that too a grand narrative belonging to the past?'' |
| work_3z2khowgprbxzmpojqkuatkxwu | It is being carried out by, or at least on behalf of, human beings, even if none are directly involved? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: According to you, war is now a war of images? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: And the disappointments? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: Are you arguing that feminists have much more to lose than they have to gain by embracing cybernetic technologies? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: Are you suggesting that the idea of the transplant revolution is identical to the concept of endo- colonization? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: Can you recall why you felt it necessary to develop your own political perspective at that time? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: Could you elaborate on the concept of the integral, or, generalized accident, a little further? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: Do n''t you think that some people invest technology with a mystical dimension already? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: Do you consider yourself a modernist author? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: Do you mean that Deleuze and Guattari have a poetic understanding of the world, as opposed to a prosaic or an analytical one? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: Do you see any points of contact between your work and that of Derrida? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: Does the notion of the war model ¯ow only from the Second World War? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: For you, then, one class of reality is continually substituted by other realities? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: How does the transplant revolution relate to your concept of` endo- colonization''? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: Is this the basis of your criticisms, in The Art of the Motor,( 1995[ 1993]) of the Australian performance artist Stelarc? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: Nonetheless, this is a dif ® cult position to maintain with someone whose life may depend upon the insertion of a cardiac stimulator? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: So, you are arguing that the crisis in the contemporary arts is the direct outcome of motorization?... |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: What was the connection between this discovery and your thinking on military space? |
| work_3z2khowgprbxzmpojqkuatkxwu | JA: You would say that such a programme would not be a desirable aim? |
| work_3z2khowgprbxzmpojqkuatkxwu | Looking back, what do you think were the major achievements and disappointments of Architecture Principe and the theory of the oblique function? |
| work_3z2khowgprbxzmpojqkuatkxwu | Or both? |
| work_3z2khowgprbxzmpojqkuatkxwu | Or, is it linked in some way to your resistance to the Algerian war? |
| work_3z2khowgprbxzmpojqkuatkxwu | Post- structuralism? |
| work_3z2khowgprbxzmpojqkuatkxwu | Technological Culture JA: Would you say that your work on the aesthetics of disappearance is characterized by a disenchantment with the modern world? |
| work_3z2khowgprbxzmpojqkuatkxwu | What is pure war? |
| work_3z2khowgprbxzmpojqkuatkxwu | What is the relationship between speed and the aesthetics of disappearance? |
| work_3z2khowgprbxzmpojqkuatkxwu | What is your reaction to such claims? |
| work_3z2khowgprbxzmpojqkuatkxwu | What is your relationship, if any, to Marxism? |
| work_3z2khowgprbxzmpojqkuatkxwu | What role does it play in your work? |
| work_3z2khowgprbxzmpojqkuatkxwu | What was your central aim in that book? |
| work_3z2khowgprbxzmpojqkuatkxwu | What would you say you learnt most from Merleau- Ponty''s work and how has it in¯uenced your own? |
| work_3z2khowgprbxzmpojqkuatkxwu | What, for you, are the qualitative differences between conventional warfare and cyberwar? |
| work_3z2khowgprbxzmpojqkuatkxwu | What, for you, is the most important aspect of the relationship between the physical dimension and the political space of real time? |
| work_3z2khowgprbxzmpojqkuatkxwu | What, in your view, should one tell them? |
| work_3z2khowgprbxzmpojqkuatkxwu | Why is it necessary to criticize, say, the Internet and cyberspace? |
| work_3z2khowgprbxzmpojqkuatkxwu | Why is speed inextricably bound up with inertia? |
| work_3z2khowgprbxzmpojqkuatkxwu | Why is the analysis of the relationship between war and the cinema so important for you? |
| work_3z2khowgprbxzmpojqkuatkxwu | Why is this? |
| work_3z2khowgprbxzmpojqkuatkxwu | Why so? |
| work_3z2khowgprbxzmpojqkuatkxwu | Why? |
| work_3z2khowgprbxzmpojqkuatkxwu | Why? |
| work_3z2khowgprbxzmpojqkuatkxwu | Why? |
| work_3z2khowgprbxzmpojqkuatkxwu | Would it be correct to say that Nietzsche''s philosophy is close to your own? |
| work_3z2khowgprbxzmpojqkuatkxwu | Yes, OK. Postmodernism? |
| work_xmkjis5dtjcqribkw7omt3eqtu | 120 Quoted in Gavan McCormack, “ Nineteen Thirties Japan: Fascism? ” Bulletin of Concerned Asian Scholars 14. |
| work_xmkjis5dtjcqribkw7omt3eqtu | 379 “ Kokubō kokka to bijutsu: shoka wa nani o subekika ”[ National Defense State and the Fine Arts: What Should Artists Do Now? |
| work_xmkjis5dtjcqribkw7omt3eqtu | 41 Kawata Akihisa, “ Sensō- ga towa nanika ”[ What Is Sensō- ga? |
| work_xmkjis5dtjcqribkw7omt3eqtu | 457 Robertson, “ Japan ’s First Cyborg? ” 10. |
| work_xmkjis5dtjcqribkw7omt3eqtu | 459 Robertson, “ Japan ’s First Cyborg? ” 22. |
| work_xmkjis5dtjcqribkw7omt3eqtu | 495 Robertson, “ Japan ’s First Cyborg? ” 4; Morris- Suzuki, “ Debating Racial Science, ” 338. |
| work_xmkjis5dtjcqribkw7omt3eqtu | 80 McCormack, “ Nineteen Thirties Japan: Fascism? ” 23. |
| work_xmkjis5dtjcqribkw7omt3eqtu | 84 Roger Griffin, “ Introduction, ” in Fascism( Oxford: Oxford University Press, 1995); Roger Eatwell, “ Universal Fascism? |
| work_xmkjis5dtjcqribkw7omt3eqtu | 86 Eatwell, “ Universal Fascism? ” 33. |
| work_xmkjis5dtjcqribkw7omt3eqtu | 87 Eatwell, “ Universal Fascism? ” 33. |
| work_xmkjis5dtjcqribkw7omt3eqtu | 88 Eatwell, “ Universal Fascism? ” 34. |
| work_xmkjis5dtjcqribkw7omt3eqtu | Are they about to join the forces to move to the direction of the mountain? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Are those on the left side of the painting Chinese soldiers who were being “ driven out ” by the Japanese? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Do you understand? ” Percival: “ Could you wait till eleven thirty tonight? ” Yamashita: “ Eleven thirty? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Do you understand? ” Percival: “ Could you wait till eleven thirty tonight? ” Yamashita: “ Eleven thirty? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Do you understand? ” Percival: “ Could you wait till eleven thirty tonight? ” Yamashita: “ Eleven thirty? |
| work_xmkjis5dtjcqribkw7omt3eqtu | For more on this issue, see Nihon ni shinkotenshugi kaiga wa atta ka? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Got it? |
| work_xmkjis5dtjcqribkw7omt3eqtu | How was it mediated through Japanese wartime culture, paintings in particular? |
| work_xmkjis5dtjcqribkw7omt3eqtu | How were the visual manifestations of fascism potentially different in Japan, and why? |
| work_xmkjis5dtjcqribkw7omt3eqtu | In Nihon ni shinkotenshugi kaiga wa attaka? |
| work_xmkjis5dtjcqribkw7omt3eqtu | In Nihon ni shinkotenshugi kaiga wa attaka? |
| work_xmkjis5dtjcqribkw7omt3eqtu | In Nihon ni shinkotenshugi kaiga wa attaka? |
| work_xmkjis5dtjcqribkw7omt3eqtu | In Nihon ni shinkotenshugi kaiga wa attaka? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Japan 1931- 1945: Militarism, Fascism, Japanism? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Nazi Chic? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Nihon ni shinkotenshugi kaiga wa attaka? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Or are they watching their comrades passing by? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Paul Gauguin( 1848- 1903), Where Do We Come From? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Paul Gauguin, Where Do We Come From? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Payne, Stanley G. “ Fascism Outside Europe? ” In Fascism: Comparison and Definition. |
| work_xmkjis5dtjcqribkw7omt3eqtu | Shibata Suiha(?-? |
| work_xmkjis5dtjcqribkw7omt3eqtu | We might well engage in an attack before that time ” Percival:( no answer) Yamashita: “ Do you accept the proposition? |
| work_xmkjis5dtjcqribkw7omt3eqtu | What Are We? |
| work_xmkjis5dtjcqribkw7omt3eqtu | What Are We? |
| work_xmkjis5dtjcqribkw7omt3eqtu | What Are We? |
| work_xmkjis5dtjcqribkw7omt3eqtu | What is fascism? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Where Are We Going? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Where Are We Going? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Where Are We Going? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Why did you die without waiting for the day we promised to meet? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Will you accept unconditional surrender, yes or no? ” Percival: “ Yes. ”510 That juxtaposition is also articulated visually. |
| work_xmkjis5dtjcqribkw7omt3eqtu | Yes or no? ” Percival: “ Would you give me until tomorrow morning? ” Yamashita: “ Tomorrow? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Yes or no? ” Percival: “ Would you give me until tomorrow morning? ” Yamashita: “ Tomorrow? |
| work_xmkjis5dtjcqribkw7omt3eqtu | Yes or no? ” Percival: “ Would you give me until tomorrow morning? ” Yamashita: “ Tomorrow? |
| work_xmkjis5dtjcqribkw7omt3eqtu | [ Was There Neo- Classical Painting in Japan?] |
| work_xmkjis5dtjcqribkw7omt3eqtu | [ Was There Neo- Classical Painting in Japan?]. |
| work_xmkjis5dtjcqribkw7omt3eqtu | [ Was There Neo- Classical Painting in Japan?]. |
| work_xmkjis5dtjcqribkw7omt3eqtu | [ Was There Neo- Classical Painting in Japan?]. |
| work_xmkjis5dtjcqribkw7omt3eqtu | [ Was There Neo- Classical Painting in Japan?]. |
| work_xmkjis5dtjcqribkw7omt3eqtu | [ Was There Neo- Classical Painting in Japan?]. |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ Bijutsukai ni kokkateki shidōkikan wa hitsuyō ka? ”[ Is National Institution Necessary for Art Society?]. |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ Bijutsukai ni kokkateki shidōkikan wa hitsuyō ka? ”[ Is National Institution Necessary for Art Society?]. |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ Fascism from Below? |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ Japan ’s First Cyborg? |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ Japan: Fascist or Militarist? ” In Fascism: Three Major Regimes, edited by Heinz Lubasz. |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ Kikai wa naniga yue ni warera puroretariāto ni tottenomi utsukushiika? ”[ Why Does Machine Art Beautiful Only to Proletariat Art?]. |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ Kikai wa naniga yue ni warera puroretariāto ni tottenomi utsukushiika? ”[ Why Does Machine Art Beautiful Only to Proletariat Art?]. |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ Nineteen Thirties Japan: Fascism? ” Bulletin of Concerned Asian Scholars 14.2( April- June 1982): 20- 34. |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ Sensō- ga towa nanika ”[ What Is Sensō- ga?]. |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ Shin kotenshugi tte nani? ”[ What is Neo- Classicism?]. |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ Shin kotenshugi tte nani? ”[ What is Neo- Classicism?]. |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ Universal Fascism? |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ What Is a Nation and Who Belongs? |
| work_xmkjis5dtjcqribkw7omt3eqtu | “ ‘ The Aesthetic Ideology ’ as Ideology; Or, What Does It Mean to Aestheticize Politics? ” Cultural Critique 21( Spring, 1992): 41- 61. |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | ''So what''s storytelling, are you just a good bullshitter? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | ( please underline) play sports( which ones?) |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | 26.1s there any thing else you would like to say? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | A couple of exercises he disparaged, saying,"If you ca n''t sell it, what good is it?" |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Adult education in correctional settings: Symbol or substance? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | And what are the effects of art practice on( these) long term prisoners, particularly with regard to their attittudes and perceptions of time? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Are there any skills you have acquired in prison that you will use for leisure time, when you are released? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Are there times, for example, times of day, seasons, during certain activities, when time seems to pass more slowly? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | As an exercise it formed one of the most profound examples of empathy: What do we mean when we throw questions at willing participants? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | By whose approval, whose authorization, then, do I presume to render the accounts of these men''s lives? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Do these attitudes change over time; for example, as prisoners approach the end of their sentence? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Do you have any other thoughts or insights about time you would like to share? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Do you like to draw? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Each can be treated as discrete but related categories; for example, how do prisoners define their long- term sentences? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Ever suspicious of his ironic intent, I asked,"Do you really think so?" |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Had somebody overheard the remark I had made to Susan, in confidence, in the presumed safety of the hobbyshop office, about Colin? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Has working on a hobby or an art activity had any impact on this( these) change(s)? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Have you noticed any harmful or negative effects from doing hobbycrafts or art? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Have you noticed any positive, beneficial effects from doing hobbycrafts or art? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Having experienced one loss, was he avoiding the possibility of others? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | He asked, if it was so obvious, why did I jump on him when he made the remark? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | He clarified his question: what did I hope to do with my art education degree? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | He grinned and said,"Do n''t you wish you could throw me out?" |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | He had been volleying the usual barbs at me, such as"How did you ever get to be a teacher? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | His expression was one of alarm as he said,"Really?" |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | How did you learn it? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | How many hours a week would you say you watch TV? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | How many hours per week would you say you spend on your hobby? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | How many of the transgressions that inmates have perpetrated have stemmed from a fundamental mistrust of, and resentment toward, the powered classes? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | If so, I wondered, why had Alicia promised it to me on my first day there? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | If so, could this be evidence of a breakdown of their own internal( polychronic?) |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | If so, did that compel him to deny me further access into his interior world? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | If so, what are they? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | If the word''goof has so much power, how grave was my oversight? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | If yes, what was it? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | In general, how does the time you spend in prison compare with time on the outside? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | In general, how quickly does time pass for you, in here? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | In general, what would you say is more important, mastering a skill or technique, or expressing yourself? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | In their mother''s words,"Every day God sends here Robby thinks is a party.... he''s thinking, Where''s it at today?... Where''s the fun?" |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Might the practice of art in prison enhance their sense of time, not only its quantity, but the quality of time as well? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Might this moment of levity, at Neil''s expense, inspired an ongoing vendetta to persecute me? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Moments later, Jabhar challenged me: Would I say that art was in the eye of the beholder? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | More quickly? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Neil picked up the narrative:"I''ll bet your brother used to beat up on you a lot, did n''t he?" |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Neil taunted me,"Passing the buck too, are you?" |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Once, a relatively innocuous conversation with Neil finished with his declaring,"Basically, I''m a good guy, are n''t I?" |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | One evening Rick arrived later than usual, and, seeing what the class was doing, said"Oh, we''re doing dot paintings, are we? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Or did they have more important places to be? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Or if you go for the hook when guys 102 needle you? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Recreation in prisons- a panacea? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Related to this is a secondary issue: to what extent does an immersion in art affect the renegotiation of prisoners''identity? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | So how could Sufism be older than Mohammed? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | The second dimension of my enquiry is: do these individuals''perceptions of time change as a result of an immersion in art, and if so, how? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | To one of Neil''s repeated questions,"Why am I so impatient? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Was his own religious fervour( for Islam) reflected in his choice of this noble king of the beasts? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Week 10(?) |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Week 5(? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Were inmates held in segregation still denied all personal items, including T.V.s? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What I have discovered, then, is not what I sought: one might wonder, how much of what one seeks is ever truly found in ethnographic research? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What advice can you give me, or any art teacher who wants to set up a course in prison? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What are some words or expressions you would use to describe time? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What are the limits of enquiry, and who gets to determine them? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What are they? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What changes have you noticed in yourself during your time spent in prison? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What could or would you have done to improve the result of your art project? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What did adult inmates know? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What did they not know, and how could I help them overcome their resistance to new information? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What did they want to learn? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What do you hope to do when you are released? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What do you like to do in your spare time? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What emotions and attitudes do they bring to them? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What happened? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What materials are restricted? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What other pastimes did you enjoy before your prison sentence, that is, on the''outside''? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What purpose did my efforts to impart a new vocabulary serve these men? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What role, what function could I have assumed in order to learn from them, as a researcher? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What sorts of images do you like to make( draw, sculpt, paint, etc.)? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What things do you like to draw? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What was it? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | What would you say is your best, or favorite, hobby? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Where are you at in your sentence( near the beginning, somewhere in the middle, or close to the end)? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Where do you get your ideas, or images from, to do your hobby? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Which programs do you watch most often? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Whose Voice? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Why are you so impatient?" |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Wideman asks,"how could one world reside so placidly next to the other?" |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | Would the attendance peter out before the program ran its course? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | do you like to use? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | is art for? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | orientations? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | soapstone or wood carving, clay modelling, cardboard construction)? |
| work_m3gj3nmpcbdq3nq4xlvpdwlgeu | suggesting the low regard in which he( and other inmates?) |
| work_52zqxwdayrfclchz2qt3qdtd6m | 1 STARHAWK, “ Spells and Counterspells: Why Act Now? ”, 2001, p.1. |
| work_52zqxwdayrfclchz2qt3qdtd6m | 138 C. Subverting the tropes of our inhabiting What is the concrete unfolding of these metaphysical speculations? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 145 Eric VOEGELIN, “ The Moving Soul ”, in What is History? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 148 James RHODES, “ What is the Metaxy? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 180 Conclusion What worlds are coming with the flood of the world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 189 Politics in the end- time How late is it? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 192 James RHODES, “ What is the Metaxy? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 222 Bruno LATOUR, Où atterrir? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 231 these monsters tell us between an old world and the new? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 232 Bruno LATOUR, Où atterrir? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 244 Essays and articles: “ The Moving Soul ”, in What is History? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 266 Bruno LATOUR, Où atterrir? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 323 Bruno LATOUR, “ Does the Body Politic Need a New Body? ”, Yusko Ward- Phillips lecture, Univer- sity of Notre Dame, 3rd of November 2016. |
| work_52zqxwdayrfclchz2qt3qdtd6m | 335 Bruno LATOUR, Où atterrir? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 385 What is this « becoming- revolutionary », distinct and irreducible to past, present or future revolutions? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 73 Bruno LATOUR, « Comment s’orienter? |
| work_52zqxwdayrfclchz2qt3qdtd6m | 88 Escaping the World If Gnosticism conceives knowledge as the way to achieve salvation, wherein exactly lies this salvation? |
| work_52zqxwdayrfclchz2qt3qdtd6m | And what is immanence immanent to? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Are not these two ideas of open becoming and Gaian creolization both about openness? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Bruno LATOUR, Où atterrir? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Bruno LATOUR, “ Does the Body Politic Need a New Body? ”, Yusko Ward- Phillips lecture, University of Notre Dame, 3rd of November 2016. |
| work_52zqxwdayrfclchz2qt3qdtd6m | But how can we have the least knowledge of something that is withdrawn from the outset? |
| work_52zqxwdayrfclchz2qt3qdtd6m | But then again, what overflows in the world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | But what exactly is wrong in the immanentization, the becoming- im- manent of something transcendent such as the Christian eschaton? |
| work_52zqxwdayrfclchz2qt3qdtd6m | But what stands between us and the world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | But where may we meet the world and reconcile with it? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Conclusion What does Gnosticism eclipse, and what does it reveal? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Could certain images and narratives impoverish our relationship to the world, thus hindering us from dwelling as well and fully as we may aspire to? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Could it be the ethical imperative that would directly flow from this reconciliation, that of a radical responsibility binding us to the world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Did he not find in the presocratic concept of phusis a force that gives all the while withdrawing? |
| work_52zqxwdayrfclchz2qt3qdtd6m | For an eschatology of the present What type of eschatology do contemporary politics incarnate? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Gilles DELEUZE and Felix GUATTARI, What is Philosophy? |
| work_52zqxwdayrfclchz2qt3qdtd6m | HOW TO DWELL? |
| work_52zqxwdayrfclchz2qt3qdtd6m | HOW TO DWELL? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How are they embodied in our inhabiting? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How can we dwell amidst this disruption, and engage political actions rooted in the present event, within the time that remains? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How can we even give it a name? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How can we learn to encoun- ter all the beings which modern dualism had reduced and cohabit with them? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How could these reflections upon the cosmological and ontological possibly bear any political implications? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How do our ideas materialize into the world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How do we inhabit the earth, and how should we inhabit it? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How does it differ from the similarly vast spheres of culture, spirituality or even ideology? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How does such a loss relate to the metaxic tension brought to light by Voegelin? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How legitimate is the category of Gnosticism? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How may alternative meta- phors of our inhabiting inspire an alternative perception of worldly being? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How might the hermeneutics of Gnosticism provide an answer? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How might we begin to resolve an issue that fails to be acknowledged? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How so? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How to act ethically from within an entanglement that overflows us? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How to act with the urgency required? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How to articulate both movements? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How to cohabit with those inhabiting this same, common world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How to do politics in an ending world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How to dwell in this chaos? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How to dwell peacefully in a world into which, as we learn from the Abrahamic tales that infuse our modern western cos- mology, we have fallen? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How to engage with what surrounds us? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How to inhabit this unruly world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How to not despise the present, and how to resist the urge to break with it in order to escape a vitiated world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How to preserve the precarious open- ness disclosed by our hermeneutics? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How to respond to them? |
| work_52zqxwdayrfclchz2qt3qdtd6m | How to “ create hope on the edge of the abyss”453? |
| work_52zqxwdayrfclchz2qt3qdtd6m | If the ecological mutation appears as one such liminal state of transition, then what does it end? |
| work_52zqxwdayrfclchz2qt3qdtd6m | In between what do we stand? |
| work_52zqxwdayrfclchz2qt3qdtd6m | In his most recent book, Où atterrir? |
| work_52zqxwdayrfclchz2qt3qdtd6m | In the Chtulucene, Gaia is not only asking: “ what and who do we inhabit? ” but also “ what and who inhabits us? ”. |
| work_52zqxwdayrfclchz2qt3qdtd6m | In the Chtulucene, Gaia is not only asking: “ what and who do we inhabit? ” but also “ what and who inhabits us? ”. |
| work_52zqxwdayrfclchz2qt3qdtd6m | Is not the global environmental degradation we are presently witnessing rather about irreversible loss? |
| work_52zqxwdayrfclchz2qt3qdtd6m | James RHODES, “ What is the Metaxy? |
| work_52zqxwdayrfclchz2qt3qdtd6m | LAY SUMMARY Why and how are stories crucial in order to properly engage with the present challenge of an ecological transition? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Martin Heidegger, What is called thinking? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Methodological approach Thinking beyond disciplinary structures Wherefrom and how do I proceed? |
| work_52zqxwdayrfclchz2qt3qdtd6m | More precisely, which thinking of the world enables us to, or prevent us from, inhabiting the world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Much of the ethical question arises from this interrogation – how am I to act when I am entangled? |
| work_52zqxwdayrfclchz2qt3qdtd6m | My research raises this question: how did we lose faith in the world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Now what does that term cover? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Now – how to act and what to do? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Or could it be the other way around? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Reciprocally, what does the contemporary context add to their diagnosis of Modern Gnosticism? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Récit écoféministe de l’anthropocène », Col- loque Comment penser l’Anthropocène?, 5‐6 novembre 2015. |
| work_52zqxwdayrfclchz2qt3qdtd6m | She wonders about the absence left by extinction: what is lost with the presence of extinct species? |
| work_52zqxwdayrfclchz2qt3qdtd6m | So how do we maintain such an awareness and move from our eschatology of the present to practical ethics informing a concrete inhabiting? |
| work_52zqxwdayrfclchz2qt3qdtd6m | The threshold we have crossed: what era have we plunged into? |
| work_52zqxwdayrfclchz2qt3qdtd6m | To what extent do the narratives we both inherit and perpetuate condition the way we inhabit this world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What are the implications of this claim? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What characterizes this cosmological crisis? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What conditions our perception of ecological abundance and bio- logical diversity? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What could a hermeneutics of the Apocalypse allow us to understand about the political landscape surrounding the ecological crisis? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What does the ecological crisis reveal when approached through the apocalyptical prism? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What does the perspective of Gnosticism illuminate about the contemporary context? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What does the perspective of Gnosticism, as endorsed by Jonas and Voegelin, teach us about the advent of the ecological crisis? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What does this hermeneu- tical circle disclose about our inhabiting? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What have we learnt from this hermeneutical journey in Gnosticism? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What if the object of study became in itself a hermeneutical tool? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What is summoned, what is brought to life and what remains unthought when we speak of “ the world ”? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What is the environmental apocalypse breaking down, and what is it bringing about? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What is the legitimacy of a philosophical inquiry in this issue yet so worldly, traditionally ranging from earth sciences to political ecol- ogy? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What is there more to the world than nature? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What is to be cared for, and by whom? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What is transcendence transcending? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What key tropes of our contemporary inhabiting does the hermeneutics of Gnosticism unveil? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What kind of ontology might allow us to dwell in the openness of the world and account for such a process of fecundation? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What kind of politics could assume the responsibility of entangled becomings – sus- taining the roots of their overflowing? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What makes the divinization of the world so blasphemous to the contemporary opponents of Gaia? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What might a renewed understanding of Gnosticism enlighten of our contemporary being in the world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What might be the contribution of alternative metaphors of worldly being like those presented in this chapter for a concrete, alternative inhabiting? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What motivates this political ambition? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What overflows in the world, and wherefrom? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What political potential bear metaphors of the open- ness, the Gaian créolité, the fold or the rooted overflowing? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What remains once frontiers of worldly being are tumbling down, and old ontological boundaries are proclaimed obsolete? |
| work_52zqxwdayrfclchz2qt3qdtd6m | What time shall our time engender, what world shall our world give birth to? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Whence the alienation from the world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Where should we dwell? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Which are the narratives that, conveying a cultural alienation from the outer world, are the heralds of a twofold crisis of the home and others? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Which land should we inhabit? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Which meaning does the trope of the Apocalypse convey for present politics? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Which philosophical, symbolic and metaphorical tools might support this recovery? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Which stories, which tales, which patterns of thought did we inherit from the evolving tissue of the world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Which tropes colonize our imaginary – upon which narratives do we lean as we think, co- create and become with the world? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Who are the poets? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Who is this world populated with tales, “ promiscuous mixtures of thinking and becoming- with”4? |
| work_52zqxwdayrfclchz2qt3qdtd6m | Who suffers? |
| work_52zqxwdayrfclchz2qt3qdtd6m | « What becomings pass through us today? |
| work_ochqinkvardj5hdjofhutpiomm | And at the same time, exactly at the same time, I do n''t give a damn? work_ochqinkvardj5hdjofhutpiomm But who gives it? |
| work_ochqinkvardj5hdjofhutpiomm | How could one dramatise stillness? |
| work_ochqinkvardj5hdjofhutpiomm | The question is clearly: How do we compare physical objects- how do we compare experiences? |
| work_ochqinkvardj5hdjofhutpiomm | What do you know about proportion?... work_ochqinkvardj5hdjofhutpiomm What''s Wrong with Somerville?" |
| work_ochqinkvardj5hdjofhutpiomm | Who are the English? |
| work_ochqinkvardj5hdjofhutpiomm | Who is the watching totem under the ceiling? |
| work_ochqinkvardj5hdjofhutpiomm | Why swellst thou then? |
| work_ochqinkvardj5hdjofhutpiomm | ''What''s Love Got to Do With It?'' |
| work_ochqinkvardj5hdjofhutpiomm | ( 228) Equally, what does Maud, well- versed only in feminism and psychoanalysis, make of LaMotte''s profoundly believed poem"Metamorphosis"? |
| work_ochqinkvardj5hdjofhutpiomm | 216 Part HI: The Language of Spiritual Experience Chapter 6: The Supernatural Why place an angel on a different basis from a stockbroker? |
| work_ochqinkvardj5hdjofhutpiomm | 91 Or is language indeed the problem? |
| work_ochqinkvardj5hdjofhutpiomm | A psychological, historical, symbolic, or mythological writer? |
| work_ochqinkvardj5hdjofhutpiomm | And to whom is it given?" |
| work_ochqinkvardj5hdjofhutpiomm | And what about those allegorical and symbolic names- Perry Diss, Jude Mason, Harald Alabaster? |
| work_ochqinkvardj5hdjofhutpiomm | And what does it mean for Byatt, who professes not to have religious faith? |
| work_ochqinkvardj5hdjofhutpiomm | And why has Byatt''s more recent fiction, for the most part, abandoned this exploration of the connection between visual knowledge and transcendence? |
| work_ochqinkvardj5hdjofhutpiomm | And why should n''t we still shudder? |
| work_ochqinkvardj5hdjofhutpiomm | And- an important question- why Hallam? |
| work_ochqinkvardj5hdjofhutpiomm | Anna''s own death is petty, grisly, and unrevelatory; at the last moment she wonders,"Where am I? |
| work_ochqinkvardj5hdjofhutpiomm | Are ghost stories written to frighten? |
| work_ochqinkvardj5hdjofhutpiomm | Are not two sparrows sold for a penny? |
| work_ochqinkvardj5hdjofhutpiomm | Are there other reliable ways for humans to attain and contain knowledge? |
| work_ochqinkvardj5hdjofhutpiomm | Are they about the deeper meanings within seen objects, or about the material qualities of light and the bare act of seeing- or both? |
| work_ochqinkvardj5hdjofhutpiomm | Blind Chance, or loving Providence?" |
| work_ochqinkvardj5hdjofhutpiomm | But am I an atheist for all that?" |
| work_ochqinkvardj5hdjofhutpiomm | But how? |
| work_ochqinkvardj5hdjofhutpiomm | But is Love the"suspect ideological construct"Maud perceives it to be? |
| work_ochqinkvardj5hdjofhutpiomm | But what does it truly mean to be in the presence of a dead individual who refuses to be absent? |
| work_ochqinkvardj5hdjofhutpiomm | But what happens when vision itself becomes the object of attention? |
| work_ochqinkvardj5hdjofhutpiomm | Byatt?" |
| work_ochqinkvardj5hdjofhutpiomm | Can inner visions be original, or are they only copies? |
| work_ochqinkvardj5hdjofhutpiomm | Can the attributes of painted or mentally visualized knowledge be successfully introduced into or fused with aspects of the verbal realm? |
| work_ochqinkvardj5hdjofhutpiomm | Clearly these are quite different things: why do I appear to use them almost interchangeably? |
| work_ochqinkvardj5hdjofhutpiomm | Critics have catalogued her, with reason, as a realist, a moralist, a postmodernist, a neo- Victorian- but which strand predominates? |
| work_ochqinkvardj5hdjofhutpiomm | D''you know?" |
| work_ochqinkvardj5hdjofhutpiomm | Do her ghost stories employ irony or satire, then? |
| work_ochqinkvardj5hdjofhutpiomm | Do his experiences diminish as he gets older? |
| work_ochqinkvardj5hdjofhutpiomm | Do n''t you understand, Daniel?" |
| work_ochqinkvardj5hdjofhutpiomm | Does Browning''s vivid and concrete language really redeem his characters, as she says? |
| work_ochqinkvardj5hdjofhutpiomm | Does Byatt truly believe in love at all? |
| work_ochqinkvardj5hdjofhutpiomm | Does a fuller awareness of music or painting or sculpture revitalize writing? |
| work_ochqinkvardj5hdjofhutpiomm | Does anyone feel any more that they are walking on air? |
| work_ochqinkvardj5hdjofhutpiomm | Does he learn to control them more stringently by further use of geometry, or does he dilute them with language? |
| work_ochqinkvardj5hdjofhutpiomm | Does it mean that the goal of transcendence has been rejected, or is concentration on the act of seeing capable of leading beyond, to a higher level? |
| work_ochqinkvardj5hdjofhutpiomm | Does the authority of the word unfairly empower certain categories of persons? |
| work_ochqinkvardj5hdjofhutpiomm | Does this absence of language, combined with lack of faith, kill her? |
| work_ochqinkvardj5hdjofhutpiomm | Does verbal language deserve its privileged position, or has it been used because it is conducive to systemization, even coercion? |
| work_ochqinkvardj5hdjofhutpiomm | Erdrich, writing in 1995 of the births of her own children, wondered: Why is no woman''s labor as famous as the death of Socrates? |
| work_ochqinkvardj5hdjofhutpiomm | Every three weeks or so-1 get an accusing letter from somebody, saying"How could you do that? |
| work_ochqinkvardj5hdjofhutpiomm | For herself, she says,"I baulk at the words,''religious,''''spiritual,''even''contemplative,''so what is left?" |
| work_ochqinkvardj5hdjofhutpiomm | For several pages, Alexander and the narrator wonder"How would one find the exact word for the colour of the plum- skins?" |
| work_ochqinkvardj5hdjofhutpiomm | Frederica says,"It''s a row of stones.... Can it mean anything to me without your talking?" |
| work_ochqinkvardj5hdjofhutpiomm | Given time, could Stephanie have moved beyond rhythm and worked the themes and metaphors of Wordsworth or other authors into her labour? |
| work_ochqinkvardj5hdjofhutpiomm | He thinks hopefully of a circle and of the colour black- might they have escaped absurdity? |
| work_ochqinkvardj5hdjofhutpiomm | Henri Matisse said,"You want to be a painter? |
| work_ochqinkvardj5hdjofhutpiomm | Henri Matisse, text notes for Jazz( 1947) Do we need words to think? |
| work_ochqinkvardj5hdjofhutpiomm | How can a pencil catch that? |
| work_ochqinkvardj5hdjofhutpiomm | How can one verify inner visions that are only available through introspection and evade empirical proof? |
| work_ochqinkvardj5hdjofhutpiomm | How could you put me through that? |
| work_ochqinkvardj5hdjofhutpiomm | How do we know we see each other?" |
| work_ochqinkvardj5hdjofhutpiomm | How does one define photographic memory, hallucination, dream? |
| work_ochqinkvardj5hdjofhutpiomm | I ca n''t get out by saying what do trees matter? |
| work_ochqinkvardj5hdjofhutpiomm | If death is the end, why does so much energy from this experience still remain? |
| work_ochqinkvardj5hdjofhutpiomm | If visionary attacks are brought on by autism, asthma, or migraine, should we ignore their spiritual impact? |
| work_ochqinkvardj5hdjofhutpiomm | In 1862, George Meredith asks, in Modern Love,"What are we first? |
| work_ochqinkvardj5hdjofhutpiomm | Is Ackroyd offering a slight corrective to the atheist Shakespeare? |
| work_ochqinkvardj5hdjofhutpiomm | Is Henry''s sense of being at one with the earth and the sun merely an accidental side effect of a physical condition and therefore to be discounted? |
| work_ochqinkvardj5hdjofhutpiomm | Is it odd to emphasize one or two scenes about a bird in a novel as huge and multifarious as Babel Tower? |
| work_ochqinkvardj5hdjofhutpiomm | Is its power authoritarian? |
| work_ochqinkvardj5hdjofhutpiomm | Is not short paine well borne, that brings long ease, And layes the soule to sleepe in quiet grave? |
| work_ochqinkvardj5hdjofhutpiomm | Is she a fabulist? |
| work_ochqinkvardj5hdjofhutpiomm | Is silence the only way to protect essence? |
| work_ochqinkvardj5hdjofhutpiomm | Is there a way paintings appeal to the spectator that is superior to speech or writing? |
| work_ochqinkvardj5hdjofhutpiomm | Matisse''s reflection on God in Jazz illuminates the faith of Van Gogh and Byatt as well:"Sije crois en Dieu? |
| work_ochqinkvardj5hdjofhutpiomm | Might pictures or music be a more egalitarian route to creativity or truth? |
| work_ochqinkvardj5hdjofhutpiomm | Once in the realm of the fictitious, what difference is there between an apparition and a mortgage? |
| work_ochqinkvardj5hdjofhutpiomm | Or a Poetic adumbration? |
| work_ochqinkvardj5hdjofhutpiomm | Or do they merely feel as they think they would feel if they were walking on air? |
| work_ochqinkvardj5hdjofhutpiomm | Or do they merely think they ought to feel as if they are walking on air? |
| work_ochqinkvardj5hdjofhutpiomm | Or does the"still"refer to immortality- a different life still goes on? |
| work_ochqinkvardj5hdjofhutpiomm | Review of Who Was Oswald Fish? |
| work_ochqinkvardj5hdjofhutpiomm | She writes: He said — I am the Truth and the Life- what of that, Sir? |
| work_ochqinkvardj5hdjofhutpiomm | The narrator asks,"Why does his song give, us such pleasure?" |
| work_ochqinkvardj5hdjofhutpiomm | The struggle is surely correct, but the assumption of absence? |
| work_ochqinkvardj5hdjofhutpiomm | The thrush is honoured in Babel Tower, and it is still lovely:"Why does his song give us such pleasure?" |
| work_ochqinkvardj5hdjofhutpiomm | Then the woman said,"Whom shall I bring up for you?" |
| work_ochqinkvardj5hdjofhutpiomm | There was her body, quiet, used, resting: there was her mind, free, clear, shining: there was the boy and his eyes, seeing what? |
| work_ochqinkvardj5hdjofhutpiomm | Was it all due to asthma? |
| work_ochqinkvardj5hdjofhutpiomm | Was n''t it? |
| work_ochqinkvardj5hdjofhutpiomm | Was that an approximate statement? |
| work_ochqinkvardj5hdjofhutpiomm | Well- was it? |
| work_ochqinkvardj5hdjofhutpiomm | What am I doing? |
| work_ochqinkvardj5hdjofhutpiomm | What aspects are working? |
| work_ochqinkvardj5hdjofhutpiomm | What do you know about anything?" |
| work_ochqinkvardj5hdjofhutpiomm | What good has ever come of that? |
| work_ochqinkvardj5hdjofhutpiomm | What have we become that we have forgotten the shock of our origins?" |
| work_ochqinkvardj5hdjofhutpiomm | What vocabulary can be used to describe them? |
| work_ochqinkvardj5hdjofhutpiomm | When do you cross the dividing line? |
| work_ochqinkvardj5hdjofhutpiomm | When the woman saw Samuel, she cried out with a loud voice; and the woman said to Saul,"Why have you deceived me? |
| work_ochqinkvardj5hdjofhutpiomm | Who Possesses It? |
| work_ochqinkvardj5hdjofhutpiomm | Why bother to render the transparency in solid paint or air on a bit of board? |
| work_ochqinkvardj5hdjofhutpiomm | Why d''you think I spend my time writing about your novels? |
| work_ochqinkvardj5hdjofhutpiomm | Why did you just suddenly do that in that chapter? |
| work_ochqinkvardj5hdjofhutpiomm | Why focus on Greek myths and ignore the Norse myths prevalent in Possession? |
| work_ochqinkvardj5hdjofhutpiomm | Why is Stephanie, like Cordelia, offered as a sacrifice? |
| work_ochqinkvardj5hdjofhutpiomm | Why need Byatt''s ghosts be so palpably real? |
| work_ochqinkvardj5hdjofhutpiomm | Why should a dog, a horse, a rat have life And thou no life at all? |
| work_ochqinkvardj5hdjofhutpiomm | Why then are you laying a snare for my life to bring about my death?" |
| work_ochqinkvardj5hdjofhutpiomm | Why use Charles Davy rather than Mallarme, for example? |
| work_ochqinkvardj5hdjofhutpiomm | Why?" |
| work_ochqinkvardj5hdjofhutpiomm | natural laws]? |
| work_ochqinkvardj5hdjofhutpiomm | our delight in the existence of another person?" |