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_6deeimjrfve7bpjcc77u45bode | Do you think your match is made in heaven? |
| work_6usyt4f6c5cmfa6tctfemo6bwy | ), “ Fragment, montage- démontage, collage- décollage, la défection de l’œuvre? ”, coll. |
| work_azsquoo4ybddhh7wob4bwhhqhy | Kadın İmgesi Nedir? |
| work_bmexjj4vujemdjpthmsprsijoy | How to introduce larger forces from one plane into another? |
| work_bqtjrjgjyrhfpe4y2deciwefwe | The invention of immersion ultramicroscopy in 1912—the birth of nanotechnology? |
| work_diomb2b5bbd2pdxmgmq53tz5zq | The Relationship Between Drawing Skill and Artistic Creativity: Do Age And Artistic Involvement Make A Difference? |
| work_ehgnuefj2vax5alozv2g62fsbi | Coulehan J. What ’s in your library? |
| work_eyurqkl6ozecxa6npxelcricxy | www.e-neurospine.org S13 Why Should We Perform Endoscopic Spine Surgery? |
| work_esn2t2exvzcyjjc3wwil4pmmqq | Yes, but what about humans? |
| work_fleg652s6jgwzcv6guvc4zznym | Is cervical stabilization for all cases of Chiari- I malformation an overkill? |
| work_fmly3h4b5zf7xh2ik6p6tcyzcq | “ Seder- Masochism: Why Is This Film Different from All Other Films? ” Animation World Network: 2018. |
| work_frs2bdylpfhg5mpm2xkpmwapjy | Does abstract art convey information? |
| work_fwpygjl5sjgubcwonytnssqlka | DeMets, Surrogate end points in clini- cal trials: Are we being misled? |
| work_4jhqdkodsjckxizg53wwrgacfe | Will these monuments now better maintained? |
| work_5t3fcd4q7rbdbalywgezqd3bqm | What is ekphrasis for?. |
| work_7l3qfqdo5ze2zlbrkyy723wyo4 | Biegl T: Glücklich singen – singend glücklich? |
| work_7l3qfqdo5ze2zlbrkyy723wyo4 | Migraine or epilepsy? |
| work_efwj4bfogvfmpmkvb46xfmczpa | How I do it? |
| work_efwj4bfogvfmpmkvb46xfmczpa | Is biportal technique/ en- doscopic spinal surgery satisfactory for lumbar spinal steno- sis patients? |
| work_jqkxghsxcvfrvniurk27t4wp4e | She is author of numerous publications, including Art brut: une avant- garde en moins? |
| work_atyd6nwgdjf6ja4fsan6pzkt2u | Levy Medicine 2018 View 2 excerpts, cites background Save Alert Research Feed Stressing diets? |
| work_k2mgugqiorgfdjzpg4ipsnmi3m | Question: Which image in each pair gives more essential information about the content for each given pair? |
| work_bdgouxk4a5fqve3cmyifkucwra | Picasso, matisse, or a fake? |
| work_bdgouxk4a5fqve3cmyifkucwra | What is the future ahead of us? |
| work_f2vnr4iplva3zihzjrrgavei4a | Remission versus response as the goal of therapy in ADHD: a new standard for the field? |
| work_f2vnr4iplva3zihzjrrgavei4a | 역사 속 유명인사 중에 ADHD가 있었을까? |
| work_kuaoa5c4sfctlhk7bmh43nbq6i | How many words are in the English language( 9)? |
| work_cejwynuejrck7ewoii7hr5u3fq | The main problems are not technical, but social: how should external user annotations be handled? |
| work_ei2yosg36jalpgn2ovojz2rg6y | Are the elevated levels of high- melting- point fatty acids in PG the direct cause of the damage and death of fab1 plants at 2 � C? |
| work_ei2yosg36jalpgn2ovojz2rg6y | pp900196 803.. 804 On the Inside Trichomes: The Source of Heavy Metal in Tobacco Smoke? |
| work_lse663omxjdw7h6woe6hmbdz3e | ( 2010) Practice Based Research in Art& Design, Why Not? |
| work_fkvz7epx5ja2ldt7i3izxt7bh4 | The main problems are not technical, but social: how should external user annotations be handled? |
| work_mfod347e5bbr5kx5qvnxg6j47i | Barbara Kiser The Fate of Food Amanda Little HarmoNy( 2019) As Earth ’s human population tips towards 8 billion, is our food system up to it? |
| work_mevee444jbcu5j3f4ubuafejsm | The question remains, how- ever, where does one locate ‘ ‘ the real ’ ’ in any text? |
| work_2uaef3obkzen3lul7dq2vcoumq | But after all, what are the objective criteria that led the critic to assign that work an uncertain status? |
| work_3z72acm7rfejdhsqoszi5krx5i | Perceptual events that are stored in episodic memory are encoded in terms of their perceptible( imaginal?) |
| work_46wmz2hmybd3bp23vpzkxqofpi | Goetzmann, W. “ How costly is the fall from fashion? |
| work_46wmz2hmybd3bp23vpzkxqofpi | “ Follow your heart? |
| work_hk57jvs5mjcx3e6ht26gqlpxlq | What is an ontology? |
| work_hk57jvs5mjcx3e6ht26gqlpxlq | Where to publish and find ontologies? |
| work_mkpr3g5edbalhh3vgk63lcrkc4 | In summary, the papers I could read are excellent examples of the ongoing technical evo- lution( revolution?) |
| work_mx3ruyzhjbfjdlmnht3u3gdurm | Warhol kendi sözleriyle bu tespiti onaylar “ Resimlerimi neden böyle yapıyorum? |
| work_ilaebg6jyzg6nkbnfyyb4aaspa | So where is this fourth dimension? |
| 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_jum53bzee5e4hg6h6rxwidrbvy | BABACAN, İ., 1997, “ Karel Appel ”, Eczacıbaşı Ansiklopedisi 1, YEM Yayın, İstanbul BARRET, T., 2015, Neden Bu Sanat? |
| work_lnr722a3cfea7kj5vb4ui3kjiq | Is it because we recognise a quality or motif about them that, even if we are not aware and can not name it, evokes these responses? |
| work_ktpw4hxc2bgeblqj5a6q5iihsi | What is interesting? |
| work_pg3id7st2baafambphu7s3ainy | Why Stylistic Approach Is an Appropriate Approach to Teach Poetry? |
| work_pgtewhhqxbdrfjm6zvibbvoy2e | Barbara Kiser The Fate of Food Amanda Little HarmoNy( 2019) As Earth ’s human population tips towards 8 billion, is our food system up to it? |
| work_prixtkgelrflrkkrwooubqxpzy | Will he meld abstraction with land- scapes and portraits whether collaged or not? |
| work_pkug7h2nyjdk5mlfhzrbmt4qyy | Dans sa communication intitulée Colloque « Gertrude Stein et les Arts » Transatlantica, 2| 2011 1 « Stein and the Arts: What is the Question? |
| work_2rqzebt6erhspbnlqq2qb7g62e | Qu- est- ce- que … le Cubisme? |
| work_2rqzebt6erhspbnlqq2qb7g62e | Yet are we sure about that? |
| work_gfkqjgisvzavfhm46wm4an4feq | Color Symbolism in Literature: What Do Colors Mean in Literature and Poetry? |
| work_gfkqjgisvzavfhm46wm4an4feq | Does Gender Influence Colour Choice in the Treatment of Visual Stress? |
| work_4zhhjnhvgzc7hil6njyeq6ma7y | Apuzzo MLJ, Liu CY: Honored guest presentation: Quid novi? |
| work_4zhhjnhvgzc7hil6njyeq6ma7y | A’Hearn MF: Whence comets? |
| work_4zhhjnhvgzc7hil6njyeq6ma7y | Given its form and content, would this have been cre- ated or accepted 100, 75, or even 50 years ago? |
| work_4zhhjnhvgzc7hil6njyeq6ma7y | What area of endeavor will follow molecular biology as a seminal innovative concept? |
| work_qqlqdxgsgbhepi3z6uhq33ra5y | When is artification?. |
| work_icywckx4abdipdz4f5t67x7ipu | Is the thinking that produced the general theory of relativity fundamentally distinct from that which created a painting like Guernica? ”( p. xxx). |
| work_icywckx4abdipdz4f5t67x7ipu | Or must we draw the contrary conclusion that there is no such thing as a “ one- size- fits- all ” creative process? |
| work_icywckx4abdipdz4f5t67x7ipu | These are framed as questions, including, “ Is the creative thought of an Albert Einstein comparable with that of a Pablo Picasso? |
| work_i7i4jsienzdctn4kuemqhvmccu | A history( of design? |
| work_i7i4jsienzdctn4kuemqhvmccu | of cinema? |
| work_7b6553qcubbwrotiug55rlunuq | Is it worth mentioning the relevance of chimeras in modern realities? |
| work_7b6553qcubbwrotiug55rlunuq | Meanwhile, let ’s ask a professional question: how far is, for example, Ernst Fuchs ’s “ mag- ical realism ” from the surrealistic basis? |
| work_7b6553qcubbwrotiug55rlunuq | Стоит ли упоминать об актуаль- ности химер в современных реалиях? |
| work_77b2fbbsl5abdno4o2bg2jzyiq | Ebből kiindulva felteszi a kérdést: vajon a vizuális metaforák valójában vizualitásba burkolózott nyelvi metaforák? |
| work_77b2fbbsl5abdno4o2bg2jzyiq | Peacocke, C.( 2001): Does Perception Have a Nonconceptual Content? |
| work_77b2fbbsl5abdno4o2bg2jzyiq | Talán … végtelenül szomorú évszak lesz belőle? |
| work_77b2fbbsl5abdno4o2bg2jzyiq | Ugyanez érvényes Alterman „ elgyötört/ vigasztalan ősz ” szóképére: az ősz átváltozik – de mivé? |
| work_a4abbpbgbffh7fq4yrnamnf2hm | A tango,says Larionov,"get it? |
| work_a4abbpbgbffh7fq4yrnamnf2hm | What''s that? work_a4abbpbgbffh7fq4yrnamnf2hm ?/Our guys have arrived. |
| work_a4abbpbgbffh7fq4yrnamnf2hm | Fi, fa, fu Vot!? |
| work_ajo2gm5whvdxbjdsbxcq4nwhdy | For instance, what might be the first access to semantic memory when a person identifies Pablo Pi- casso ’s ‘ ‘ Dora Maar seated ”? |
| work_ajo2gm5whvdxbjdsbxcq4nwhdy | Object categories and expertise: Is the basic level in the eye of the beholder? |
| work_ajo2gm5whvdxbjdsbxcq4nwhdy | Special features of art- objects What might be the entry point in the identification of visual art? |
| work_afvq3evub5di5amme7aycjh3je | But can an architect use the free sketch to express his ideas as a painter? |
| work_afvq3evub5di5amme7aycjh3je | Have you ever wondered how big your mirror image is? |
| work_afvq3evub5di5amme7aycjh3je | What is the difference between the drawing of an archi- tect and the drawing commonly understood as that of an artist or a painter? |
| work_afvq3evub5di5amme7aycjh3je | What is the perspective machine we use every day? |
| work_allww2nryncrbi5vriu4kn7upm | Do you have a photograph of your fiancée? |
| work_allww2nryncrbi5vriu4kn7upm | How could a bullet be lodged in the right ventricle of a living patient? |
| work_allww2nryncrbi5vriu4kn7upm | May I see it? |
| work_allww2nryncrbi5vriu4kn7upm | She''s kind of small, is n''t she? |
| work_bewbmanmg5exlod3rtc3ecmohq | But what does it mean that something is more beautiful than something else and how more beautiful is it? |
| work_bewbmanmg5exlod3rtc3ecmohq | But what does it mean that something is more beautiful than something else and how more beautiful is it? |
| work_bewbmanmg5exlod3rtc3ecmohq | Dimitriadis, P.; Koutsoyiannis, D.; Tzouka, K. Predictability in dice motion: How does it differ from hydro- meteorological processes? |
| work_pbpm5kpnune7rd3itf42ouibwe | ¿ Es esto cierto? |
| work_buvggge5uffi7o7mdbpk6oxbgu | So will optimal care pathways for the evaluation and treatment of ASD patients require in- put for both the patient and surgeon/ center provider? |
| work_buvggge5uffi7o7mdbpk6oxbgu | Why would ASD surgery be any different? |
| work_cdmwfeoywbentpsugpvzujatxe | The Drop of Water Why, then, do I work in a way which may bring me distress, cause me un- ease or wound me or my companions? |
| work_cdmwfeoywbentpsugpvzujatxe | What is the difference? |
| work_k6v4p7jllfg7bkvix366euunza | But after all, what are the objective criteria that led the critic to assign that work an uncertain status? |
| work_swygyom6zzgazoovwyxhv5r7ri | JR. Can art change the world? |
| work_2unzkseei5efxg3szt3h6asvl4 | 3Rojas Giménez, Alberto: “ Pintura nueva ” e “ ¿ Y en Chile? |
| work_2unzkseei5efxg3szt3h6asvl4 | Mmm... ¿ No será el huevo de Damocles? |
| work_2unzkseei5efxg3szt3h6asvl4 | Siento como si todo el tiempo colgara sobre mi cabeza la espada de Colón... El médico: – ¿ La espada de Colón? |
| work_2unzkseei5efxg3szt3h6asvl4 | ¿ Qué significaba esto, con algo más de exactitud? |
| work_txnapspsjne5ffda4xohgvfeqi | To Louis Parrot he had declared: “ Poems? |
| work_3qaqer4itbdtdl3ffs4mm3ixxe | A su hermana Ximena que cree a Wanda y a su madre “ en medio del mundo chic ”, le pregunta: “ El mundo chic ¿ dónde está? |
| work_3qaqer4itbdtdl3ffs4mm3ixxe | Esa coincidencia me parece digna de serle con- tada ¿ no encuentra? ”. |
| work_3qaqer4itbdtdl3ffs4mm3ixxe | ¿ A eso te refieres? ” Concluye: “ Cada día siento la mentira en todo esto ”( 56). |
| work_3qaqer4itbdtdl3ffs4mm3ixxe | ¿ Comprende ahora que prefiera evitar esas tardes perdidas en los salones de costura? |
| work_qomcok57tna2zgwxrkorfku7ru | 3) Miller, S.( 2007), Fashion as Art; is Fashion Art?, Fashion Theory, 11(1). |
| work_qomcok57tna2zgwxrkorfku7ru | Darfur Still Deaf? |
| work_i6322ydparc2bn4u637yhun6qi | BIOETIKA LATERALIZACIJE: OD EVOLUCIJE DO RJEŠENJA? |
| work_gfjqb3y3mjcana5tam6yntxtpi | IMportance of an Irregular Z Line: Is Barrett ’s in the Eye of the Beholder? |
| work_npxvevzt5rdwdkxyqgrzaxxsym | 1) so that we can appreciate all of her facets and beauty as a whole? |
| work_npxvevzt5rdwdkxyqgrzaxxsym | That is, how can we develop a more accurate understanding of human genetic diseases by taking a cubist approach? |
| work_qstpugqrvzgaxdmw6pvyaqym6m | Did the Abstract Expressionist Hide his Name amid the Swirls and Torrents of a Legendary 1943 Mural? ” en Smithsonian Magazine. |
| work_dzmsk45m5jceng2tmjddueulkm | A R T Í C U L O E S P E C I A L CREAR O COPIAR... ¿ CUÁL ES LA DIFERENCIA? |
| work_dzmsk45m5jceng2tmjddueulkm | RevMedNoviembre 2004 121 ARTÍCULO ESPECIAL Rev Méd Chile 2009; 137: 121- 126 Crear o copiar … ¿ Cuál es la diferencia? |
| work_dzmsk45m5jceng2tmjddueulkm | Which is the difference? |
| work_eh7e33pcbzcfbljxotmv25qb4q | Are these also applicable to performance art, installation art and video art? |
| work_eh7e33pcbzcfbljxotmv25qb4q | Can the analogy be explained from the way great minds work, both in the natural sciences and in the arts? |
| work_eh7e33pcbzcfbljxotmv25qb4q | Or between the visual arts and other natural sciences? |
| work_eh7e33pcbzcfbljxotmv25qb4q | What, if anything, is left to be said on the “ physics and art ” front? |
| work_rc6lhlcx45gzfmy267uc5kngsq | In what ways did the intermingling of Western and Ukrainian culture take place in those years? |
| work_rc6lhlcx45gzfmy267uc5kngsq | W jaki sposób przeplatały się kultura zachodnia i ukraińska w owych latach? |
| work_6zmwsbf2ofgqzj4o3nh3gp6vce | A typical query URL looks like: content.guardianapis.com/search? |
| work_6zmwsbf2ofgqzj4o3nh3gp6vce | Carnegie Mellon University, on 06 Apr 2021 at 01:40:57, 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_k7cxusnoyza5bi77o6ilko4zz4 | Art as therapy: An effective way of promoting positive mental health? |
| work_k7cxusnoyza5bi77o6ilko4zz4 | Does art improve mood? |
| work_k7cxusnoyza5bi77o6ilko4zz4 | Every interview initiated with the question as what painting means to you? |
| work_k7cxusnoyza5bi77o6ilko4zz4 | METHOD Research question Can art creation be used as a therapeutic tool for improving emotional wellness of incarcerated women? |
| work_rqcn5dxc4jdmbj2wgqc7hrc2t4 | ¿ Cuánto tardó en explicarse en las aulas uni- versitarias españolas el evolucionismo? |
| work_rqcn5dxc4jdmbj2wgqc7hrc2t4 | ¿ Cuánto tiempo ha tardado en llegar a la escuela primaria? |
| work_wctnc7ot2bdu7hl3fux2wp7jw4 | Their anachronistic attire, feathered hats and the swords they carried – are n’t these a fitting allusion to war itself being outdated and futile? |
| work_wwsszpocyfgjbhggml6i67pt4y | 1 Félix Santos: “ ¿ A veces el coraje no tiene recompensa? ”, El País, 22 de febrero de 2019. |
| 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_tukiz4v4jva35j3rdly37alpnm | Šemelík, Martin Přibík, Radek Proč je v noci tma? |
| work_tunrihlei5fexe5hczy6dyr7ki | Is beau- ty in the perceiver''s processing experience?, ” Per- sonality and Social Psychology Review 8, No. |
| work_tyj4mpmb4zbntikhl5eeffesii | Will these monuments now better maintained? |
| work_33dhrzsubndb5eojbmpio7ad4u | Ale czy wzrost zainteresowania dla sztuki tradycyjnej u sangwiników to odstymulowanie czy dostymulowanie się? |
| work_33dhrzsubndb5eojbmpio7ad4u | Czy sztuka tradycyjna podwyższa, czy może obniża aktywację układu nerwowego? |
| work_33dhrzsubndb5eojbmpio7ad4u | Does Music Induce Emotion? |
| work_33dhrzsubndb5eojbmpio7ad4u | i wreszcie: jeśli podwyższa, to dlaczego ten efekt nie występuje w warunku kontrolnym? |
| work_hcuom5ensrah3hmytloncvd6ua | What all- too- human need is fulfilled by the compelling force of Nietzsche as cultural origin? |
| work_hcuom5ensrah3hmytloncvd6ua | What of Willis ’s legacy, which Buchanan handles in two thousand words? |
| work_vel3hk57vbc5xcaw76v6vw6ty4 | Goel A. Occipitocervicalfixation: is it necessary? |
| work_vel3hk57vbc5xcaw76v6vw6ty4 | Is atlantoaxial instability the cause of Chiari malfor- mation? |
| work_vmwzwwe3pnhetddg7hlp7325ra | Frogs taste nice when there are few mice: do dietary shifts in barn owls result from rapid farming intensi- fication? |
| work_vmwzwwe3pnhetddg7hlp7325ra | Habitat use by armadillos in agroecosystems of central Argentina: does plot identity matter? |
| work_7qkrrpxgdfevncbo2wkxsowiau | “ Can We Teach Patriotism in Schools? ” Educational Horizons, Bahar: 146- 150. |
| work_7qkrrpxgdfevncbo2wkxsowiau | “ Why Do People Sacrifice for Their Nations? ” Political Psychology, Haziran: 217- 235. |
| work_ajmbjncxtjef3nro377lbzpggy | How do Finessing networks converse the cognitive evaluation of the emotionally distressing situation of having a preemie? |
| work_ajmbjncxtjef3nro377lbzpggy | How do Twitter hashtags about preemies forge ambient online networks of hope and support? |
| work_ajmbjncxtjef3nro377lbzpggy | How do hashtaged couplings of Interpersonal attitudes and Ideations instantiate an ambient bond of affiliation among the preemi families? |
| work_ajmbjncxtjef3nro377lbzpggy | How do preemie hashtags discharge participants from the position of sufferers and recharge them as supporters? |
| work_ajmbjncxtjef3nro377lbzpggy | What are the encoded metaphoric repertoire resulted from the coupling instantiations? |
| work_w7hcambwjrhhfoj7rphjtajpu4 | Did Picasso and De Chirico really suffer from migraine auras? |
| work_w7hcambwjrhhfoj7rphjtajpu4 | Did Picasso and De Chirico really suffer from migraine auras? |
| work_z6m6ionjdfev3d5xnaezqnhkee | Gervais C, Languille M- A, Réguer S, Gillet M, Pelletier S, Garnier C, Vicenzi EP, Bertrand L( 2013) Why does Prussian blue fade? |
| work_ofns3rivfjfi3d3drcmemqisga | Spine surgery in the ambulatory surgery center setting: value- based advance- ment or safety liability? |
| work_ofns3rivfjfi3d3drcmemqisga | THE LEAST INVASIVE OF ALL CURRENT SPINAL SURGICAL TECHNIQUES? |
| work_ofns3rivfjfi3d3drcmemqisga | The successful evolution of endoscopic spine sur- gery: coincidence or human spirit? |
| work_ofns3rivfjfi3d3drcmemqisga | Where is the value in ambulatory versus inpatient surgery? |
| work_soqwedagm5hrtmlfcuhonaxdqe | And, finally, why is a doctor ’s role at the deathbed so profoundly circumscribed that few would expect her to offer comfort and support? |
| work_soqwedagm5hrtmlfcuhonaxdqe | Why is palliative care only now and still begrudgingly accepted as part of standard medical care? |
| work_soqwedagm5hrtmlfcuhonaxdqe | Why then do we still know so little about the experience of dying? |
| work_sklmn5i3qvh3re3dgagmjmedfy | This renewed interest in Buckminster Fuller begs the question, could the Dymaxion be a viable proposition now, eight decades after it conception? |
| work_sklmn5i3qvh3re3dgagmjmedfy | be a viable proposition now? |
| work_lf4f5p6uijdwpkz2rhdosgb4ce | BULGULAR VE YORUM Mustafa TUNÇALP Kimdir? |
| work_lf4f5p6uijdwpkz2rhdosgb4ce | Bu sanatçıların eserleri arasında kullanılan ek malzeme açısından nasıl bir fark vardır? |
| work_lf4f5p6uijdwpkz2rhdosgb4ce | Bu sanatçıların eserlerinde renk açı- sından nasıl bir fark vardır? |
| work_lf4f5p6uijdwpkz2rhdosgb4ce | Mustafa TUNÇALP ve Tufan DAĞISTANLI eserleri arasında form konu- sunda nasıl bir farklılık vardır? |
| work_lf4f5p6uijdwpkz2rhdosgb4ce | Tufan DAĞISTANLI Kimdir? |
| work_t6x5u35c4zdtbeh3qba54nm57m | Ciudad( i, París8?). |
| work_t6x5u35c4zdtbeh3qba54nm57m | \ i~ o h o< l o t? |
| work_t6x5u35c4zdtbeh3qba54nm57m | inude b~ j the c r i t i c s, are f u n d n t? |
| work_q5i3igzm25hcbkfpunthck2xyy | A blind MAKING IMAGES TALK: PICASSO ’S MINOTAUROMACHY26 │ ANA MARíA LEYRA SORIANO Minotaur seeing the stars? |
| work_q5i3igzm25hcbkfpunthck2xyy | He tells us that he claims “ the right to dream ”, but what does exercising “ the right to dream ” mean to us? |
| work_q5i3igzm25hcbkfpunthck2xyy | What, then, do we mean in speaking of domesticating time and space? |
| work_q5i3igzm25hcbkfpunthck2xyy | Who is this character, half- human, half- beast, who evokes his lair, his house, his labyrinths in the images of Picasso? |
| work_xi3fiq7w6rbnnhr7znkzuslw7u | What did the bronze eye- like prism tell us? |
| work_xi3fiq7w6rbnnhr7znkzuslw7u | Why did Picasso paint his lover Dora in such a tortured style? |
| work_vb45xvux2fdd3haco5h2nwwxci | Does the idea of the process we suggest transfer between cultures? |
| work_vb45xvux2fdd3haco5h2nwwxci | Is it capable of a more universal use? |
| work_vb45xvux2fdd3haco5h2nwwxci | Leadership learning through lived experience: A process of apprenticeship? |
| work_npijvzrmsfg5th53aywfxjr6ti | Que ses parents furent ennoblis par la reine Elizabeth II? |
| work_npijvzrmsfg5th53aywfxjr6ti | Qu’il a parcouru les continents afin d’entretenir vivante la mémoire artistique de ses parents? |
| work_npijvzrmsfg5th53aywfxjr6ti | Qu’il est l’auteur de plusieurs livres, best sellers, parus à la prestigieuse maison d’édition Thames& Hudson? |
| work_npijvzrmsfg5th53aywfxjr6ti | Qu’à l’âge des interrogations, il avait comme partenaire de jeu le grand Picasso, qui lui a offert quelques- uns de ses ouvrages? |
| work_nqlksuqcwjfedlttcvqw7cagve | 11 Supposing, then, that the ‘ non- consequentialist ’ label is reasonable, what about ‘ self- transcendence ’? |
| work_nqlksuqcwjfedlttcvqw7cagve | What are those? |
| work_nqlksuqcwjfedlttcvqw7cagve | What is 17 causally responsible for a large degree of the course of a representative person ’s life? |
| work_nqlksuqcwjfedlttcvqw7cagve | What property might unify this classic triad? |
| work_nqlksuqcwjfedlttcvqw7cagve | What, if anything, do these( along with other intuitive sources of meaning in life) have in common? |
| work_bq4wh2vkuza6jlxtghx5b45sry | (<) 1957’de miydi? |
| work_bq4wh2vkuza6jlxtghx5b45sry | Amacım, aslında; ‚ İkinci Yeni şiiriyle resim sanatı arasında bir etkileşim olmuş mu? |
| work_bq4wh2vkuza6jlxtghx5b45sry | Bir etkileşim varsa,-en azından şiir açısından bir etkilenme söz konusuysa- bunun somut örnekleri neler? |
| work_bq4wh2vkuza6jlxtghx5b45sry | Karıştırırdık albümleri( ne albümler ama): Chagall ne yapmış? |
| work_bq4wh2vkuza6jlxtghx5b45sry | Yüksel Arslan? |
| work_wk6ezdjaefg47fgxly5556km4q | ), Velhice ou terceira idade?, Rio de Janeiro, Fundação Getú- lio Vargas, pp. |
| work_wk6ezdjaefg47fgxly5556km4q | HEILBORN, M. L. 1994 “ De que gênero estamos falando? ”, Sexualidade, Gênero e Sociedade, Rio de Ja- neiro, vol. |
| work_wk6ezdjaefg47fgxly5556km4q | O que é ser jovem? |
| work_me5bvbyqkve6dpmffyoj5hq3gy | Do n’t we all understand that they are “ just movies ”? |
| work_me5bvbyqkve6dpmffyoj5hq3gy | I do n’t know what ideology is but is it so important that brothers have to point guns at each other? |
| work_me5bvbyqkve6dpmffyoj5hq3gy | Where ’s the honor in starving to death? |
| work_me5bvbyqkve6dpmffyoj5hq3gy | Why did the descendants of general Bae Seol feel the need to charge the producers of Roaring Currents for defamation? |
| work_me5bvbyqkve6dpmffyoj5hq3gy | Why is it a big deal, for example, that Christian Bale is playing Moses? |
| work_wpeiqwd7yfdsrlmube7ice6ub4 | Or, if you like, what things are important to you? |
| work_wpeiqwd7yfdsrlmube7ice6ub4 | Or, in more operational terms, what are the goals that give meaning to your life and are worth starting despite the difficulties? |
| work_zqz5e5cbdbb6zcwd6zptc7aaum | HP030 Rouge de Chine 16 Dry film 0.91 0.59 xx Ricinoleic acid; anthraquinone? |
| work_2np4qtdcozbe7dfwcl5ifmderi | How are we to know which of the goods of today are the cultural heritage of tomorrow? |
| work_2np4qtdcozbe7dfwcl5ifmderi | In 1940, 50 or 60? |
| work_2np4qtdcozbe7dfwcl5ifmderi | When does a Matisse in Italy become a National Treasure? |
| work_2np4qtdcozbe7dfwcl5ifmderi | Why not pledge for an interchange of cultural property on the basis of loans? |
| work_65fzfakr5bdbxg6g7pi5zpvnfu | 3: Breaking the hold of continental Europe? |
| work_65fzfakr5bdbxg6g7pi5zpvnfu | Interviewer Classics like what? |
| work_65fzfakr5bdbxg6g7pi5zpvnfu | ‘ Are All Britons Reluctant Europeans? |
| work_65fzfakr5bdbxg6g7pi5zpvnfu | ‘ Britishness or Englishness? |
| work_65fzfakr5bdbxg6g7pi5zpvnfu | ‘ Distinction in America? |
| work_65fzfakr5bdbxg6g7pi5zpvnfu | ‘ Towards a European Identity? |
| 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_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_xqbf4ec6gzgxjperxfth4zz7gi | Is there a significant difference between the control group aesthetic judgement pre- test and post- test scores? |
| work_xqbf4ec6gzgxjperxfth4zz7gi | Is there a significant difference between the experimental group aesthetic judgement pre- test and post- test scores? |
| work_xqbf4ec6gzgxjperxfth4zz7gi | Is there a significant difference between the post- test scores of the experimental and control groups? |
| work_vodcbm7gn5brlbi53xrlu6awja | ( Will she fade on the white leaves Of his album of better days?) |
| work_vodcbm7gn5brlbi53xrlu6awja | In the final couplet of the poem, Vilmorin asks: Pâlira- t- elle aux feuilles blanches De son album des temps meilleurs? |
| work_7hwd3gqirzbu5n2pvk7maimsve | A New Avant- Garde? |
| work_7hwd3gqirzbu5n2pvk7maimsve | Can the dialectic break bricks? |
| work_7hwd3gqirzbu5n2pvk7maimsve | Conclusion: The Next Avant- Garde? |
| work_7hwd3gqirzbu5n2pvk7maimsve | DOI: 10.1080/08935696.2011.605286 A New Avant- Garde? |
| work_7hwd3gqirzbu5n2pvk7maimsve | How, then, is art propositional? |
| work_7hwd3gqirzbu5n2pvk7maimsve | What is at issue between epistemic and traditional accounts of truth? |
| work_z2a7yo6a4nbyrgkk4h7j4aq5w4 | SUBIRATS, Joan( 2011) “ ¿ No nos representan? ”, El País, Madrid, 26- 6- 2011, http://elpais.com/diario/06/26/catalunya/1309050442_8502 15.html. |
| work_t4al4kwsgnfthgjbtvrr7a3guq | ( 2007) Is there a correlation between extroversion personality characteristics of medical students and awareness of works of art? |
| work_t4al4kwsgnfthgjbtvrr7a3guq | Do individuals ’ personality types differentiate according to their art preferences? |
| work_t4al4kwsgnfthgjbtvrr7a3guq | Is there a relation between personality types of individuals and their art preferences? |
| work_t4al4kwsgnfthgjbtvrr7a3guq | Is there any relationship between the personality and art preferences? |
| work_t4al4kwsgnfthgjbtvrr7a3guq | Who art thou? |
| work_qva4px3zbvfelc4ojp7euslttm | Another early AR Art piece involving interdisciplinary collaborations is Can You See Me Now? |
| work_qva4px3zbvfelc4ojp7euslttm | Available online: https://www.youtube.com/watch? |
| work_qva4px3zbvfelc4ojp7euslttm | Can You See Me Now? |
| work_qva4px3zbvfelc4ojp7euslttm | Can you see me now? |
| work_qva4px3zbvfelc4ojp7euslttm | Therefore, a question arises: are these interesting collaborations still needed? |
| work_yf7rhvygurgdnl7dqj64375qze | How consciously did he depict the fear of the irresistible force of Bolshevism? |
| work_yf7rhvygurgdnl7dqj64375qze | How do you get to Plyushkin ’s from here? |
| work_yf7rhvygurgdnl7dqj64375qze | Indeed, what do a traveler and clouds have in common? |
| work_yf7rhvygurgdnl7dqj64375qze | Or was he full of ambivalent feelings of admiration for national power and unconscious fear of this force? |
| work_yysmmqftrfcl5irddrjvdhcqxy | Estetik birer obje oldukları için mi yoksa kendi cinsel gücünü ve iktidarını yansıtmak için mi? |
| work_yysmmqftrfcl5irddrjvdhcqxy | Peki, Picasso neden hayat kadınlarını resminde kullanmıştır? |
| work_zazrv4zhefcq3g772konheryvi | ( Que sais- je? |
| work_zazrv4zhefcq3g772konheryvi | Confinement is not a new measure? |
| work_zazrv4zhefcq3g772konheryvi | How is an epidemic stopped? |
| work_pow3yod6ebhmnnrg3nvmf6k2xe | ( Зашто Радић бира баш вокалноинструментални жанр – омиљени жанр соцреализма?) |
| work_pow3yod6ebhmnnrg3nvmf6k2xe | Који су, дакле, конкретни видови у којима се испољава Радићев модернизам? |
| work_mhks7theu5ejbjtf7ybjmrdwmy | 46 indicated ‘ yes ’, with one who indicated ‘ no ’ Enjoyed the safari? |
| work_mhks7theu5ejbjtf7ybjmrdwmy | 50%: ‘ no ’; 9%: ‘ sometimes ’; 40%: ‘ yes ’ Participated in art exhibitions before? |
| work_mhks7theu5ejbjtf7ybjmrdwmy | 72%: ‘ no ’; 20%: ‘ yes ’; 9%: ‘ yes ’, at school Learnt something new? |
| work_mhks7theu5ejbjtf7ybjmrdwmy | Literature view What is art? |
| work_mhks7theu5ejbjtf7ybjmrdwmy | Visited galleries before? |
| work_mhks7theu5ejbjtf7ybjmrdwmy | Who makes the decision: The parent or the child? |
| work_iakafyecwje6lludod7d4pmfz4 | Are our preferences so variable? |
| work_iakafyecwje6lludod7d4pmfz4 | But is the increase in sanguines ’ preference for traditional art an attempt to moderate the level of stimulation? |
| work_iakafyecwje6lludod7d4pmfz4 | Could these preferences change under the influence of fear? |
| work_iakafyecwje6lludod7d4pmfz4 | Does Music Induce Emotion? |
| work_iakafyecwje6lludod7d4pmfz4 | Does traditional art cause an increase or decrease of activation? |
| work_iakafyecwje6lludod7d4pmfz4 | Finally, is it possible that biology determines what we like in a particular context or situation? |
| work_iakafyecwje6lludod7d4pmfz4 | If an increase, why does this effect not occur in the no fear condition? |
| work_iakafyecwje6lludod7d4pmfz4 | Is it possible that preferences for modern or abstract painting are related to their temperament? |
| work_6srpggk7v5ctjhtlystxgu6xey | But first, who was Barsky and what was the JAFRC? |
| work_6srpggk7v5ctjhtlystxgu6xey | See Deery, “ ‘ A Divided Soul ’? ” 177- 204. |
| work_6srpggk7v5ctjhtlystxgu6xey | See also undated[ fall, 1954?] |
| work_6srpggk7v5ctjhtlystxgu6xey | Why did HUAC target the JAFRC? |
| work_6srpggk7v5ctjhtlystxgu6xey | [ 114] So what were these “ present demands ”? |
| work_6srpggk7v5ctjhtlystxgu6xey | [ 145] For revealing portraits of both, see John E. Haynes, Red Scare or Red Menace? |
| work_6srpggk7v5ctjhtlystxgu6xey | [ 35] What were these activities? |
| work_6srpggk7v5ctjhtlystxgu6xey | [ 47] For example, Henry Steele Commager, “ Who is Loyal to America? ”, Harper ’s Magazine, 9 September 1947. |
| work_srrxgknqoja6xf62kidcnkgmlq | ( Orijinal Adı, Et Quid Amabo Nisi Quod Enigma Est? |
| work_srrxgknqoja6xf62kidcnkgmlq | Anladınız mı beni? |
| work_srrxgknqoja6xf62kidcnkgmlq | Bu sözcüğün nasıl bir muamma içerdiğini anladınız mı? |
| work_srrxgknqoja6xf62kidcnkgmlq | Chirico, Oto portre, Muammayı Değilse Neyi Seveyim? |
| work_srrxgknqoja6xf62kidcnkgmlq | Nereden gelmektedir ve nereye gitmektedir? |
| work_srrxgknqoja6xf62kidcnkgmlq | Ve her şeyin anlamı nedir? |
| work_w6wgq25c2vdqvecc5ltnd2oy6y | ( RQ1) and What interest and desire is there to get to know diverse artistic practices? |
| work_w6wgq25c2vdqvecc5ltnd2oy6y | ( RQ1) • How do the pupils understand the content and the communication of artworks or how they connect the latter with everyday life? |
| work_w6wgq25c2vdqvecc5ltnd2oy6y | ( RQ2) • What interest and desire is there to get to know diverse artistic practices? |
| work_w6wgq25c2vdqvecc5ltnd2oy6y | The research questions we asked are: • What attitude do the pupils have toward contemporary art? |
| work_w6wgq25c2vdqvecc5ltnd2oy6y | What attitude do the pupils have toward contemporary art? |
| work_w6wgq25c2vdqvecc5ltnd2oy6y | » Prepovedane teme « v sodobni umetnostni vzgoji? |
| work_p7f4lsofgvcu3jt6zqpnn3pf2y | Dicen así: ¿ Cómo hilvanar tercetos fugitivos? |
| work_p7f4lsofgvcu3jt6zqpnn3pf2y | La beLLeza: anotaciones paRa... 291 ¿ Dónde está lo importante y lo superfluo? |
| work_p7f4lsofgvcu3jt6zqpnn3pf2y | Pero ¿ qué fueron los Cursos de Cultura Católica? |
| work_p7f4lsofgvcu3jt6zqpnn3pf2y | ¿ Por qué? |
| work_p7f4lsofgvcu3jt6zqpnn3pf2y | ¿ Qué es la buena vida? |
| work_p7f4lsofgvcu3jt6zqpnn3pf2y | ¿ Qué quiso trans- mitir Picasso con ese cuadro? |
| work_p7f4lsofgvcu3jt6zqpnn3pf2y | ¿ Y cómo aprisionar en el papel la brisa que conmueve los follajes y resiste la traza del pincel? |
| work_p7f4lsofgvcu3jt6zqpnn3pf2y | ¿ Y qué es la “ vida buena ”? |
| work_wkrmox26ezflvcuurc7zx37l5q | Avete mai sentito la frase “ Variazioni nel tema … ” tanto usata nelle opere di Beethoven, Mozart o Bach? |
| work_wkrmox26ezflvcuurc7zx37l5q | Come ci riesce? |
| work_wkrmox26ezflvcuurc7zx37l5q | Cosa ha di diverso da un cambiamento di paradigma, sociologicamente parlando? |
| work_wkrmox26ezflvcuurc7zx37l5q | Cosa intende? |
| work_wkrmox26ezflvcuurc7zx37l5q | Riguardandoli con il terzo occhio, quello sociologico apertoci da Nisbet, vi ritorna in mente per caso un certo Karl Marx? |
| work_qcqqdk6ctnge5mukldipq4ujpy | Does the scientific evidence support the recovery model? |
| work_wzdtbyuk75cnvaacbixfx5tb2y | What is Modern Painting? |
| work_wzdtbyuk75cnvaacbixfx5tb2y | What is distinctive of the outputs of such interactions, and why should we consider those outputs desirable? |
| work_wzdtbyuk75cnvaacbixfx5tb2y | Who can tell what the absolute space intuition is? |
| work_mpl4z7trijbkrc7o63pvaq5edy | Os outros alunos prontamente já começaram a se pronunciar com frases do tipo “ ah, escrever? |
| work_xpybsq6fgfg7vp2cnypcan2zw4 | Mathematics has been part of the art, but can it be used in evaluating the art? |
| work_xpybsq6fgfg7vp2cnypcan2zw4 | Mathematics has been part of the art, but can it be used in evaluating the art? |
| work_xpybsq6fgfg7vp2cnypcan2zw4 | Mathematics has been part of the art, but can it be used in evaluating the art? |
| work_xpybsq6fgfg7vp2cnypcan2zw4 | So, the answer to the question “ was the restoration of Last Supper successful? ” seems to be positive. |
| work_xpybsq6fgfg7vp2cnypcan2zw4 | Thus, a philosophical issue arises from the above analysis: does the inherent uncertainty in arts suggest some similarity with physical phenomena? |
| work_xpybsq6fgfg7vp2cnypcan2zw4 | Thus, a philosophical issue arises from the above analysis: does the inherent uncertainty in arts suggest some similarity with physical phenomena? |
| work_ro7sjoel4bcqzglrjqoud66jnu | For instance, who is the author of such an art object? |
| work_ro7sjoel4bcqzglrjqoud66jnu | How does Western methods account for the artists who kept adding pictorial elements? |
| work_ro7sjoel4bcqzglrjqoud66jnu | Is it relief painting? |
| work_ro7sjoel4bcqzglrjqoud66jnu | Is it the artist who produced the initial carving or moulding? |
| work_ro7sjoel4bcqzglrjqoud66jnu | What will be the age of the work so reconfigured? |
| work_skej3jc4uzbyhc4wvptg4rayju | A las 5(?) |
| work_skej3jc4uzbyhc4wvptg4rayju | At 5[?] |
| work_skej3jc4uzbyhc4wvptg4rayju | Si le dan a V.5 melones y se come 4 ¿ Cuánto le quedaran? |
| work_skej3jc4uzbyhc4wvptg4rayju | Teacher: ‘ If you are given 5 melons and you eat 4, how many will you be left with? ’ Pupil: ‘ One. ’ T: ‘ Think carefully. |
| work_skej3jc4uzbyhc4wvptg4rayju | What will you be left with? ’ P: ‘ Indigestion ’]. |
| work_2f3mobevijdorp5vk6lreipuie | ( 2015) Picasso at the bombsite: whither resilient place? |
| work_2f3mobevijdorp5vk6lreipuie | 1 Why should this be? |
| work_2f3mobevijdorp5vk6lreipuie | And which temporalities does resilience discourse embody and silence? |
| work_2f3mobevijdorp5vk6lreipuie | So what do ‘ bouncing back ’ and resilience mean, if they are not concerned with the recovery of urban sites? |
| work_2f3mobevijdorp5vk6lreipuie | So where is ‘ place ’ in resilience? |
| work_2f3mobevijdorp5vk6lreipuie | Where and when is resilience not deployed? |
| work_2f3mobevijdorp5vk6lreipuie | Why is this silence important? |
| work_2f3mobevijdorp5vk6lreipuie | Why, then, does n’t resilience recognise this retroactive place- making? |
| work_psbukd5xjbbmhje4pnb3tbsbwi | O que esse trabalho com as imagens proporcionaram às aulas de f́ısica? |
| work_psbukd5xjbbmhje4pnb3tbsbwi | Por que tratar de um tema desenvol- vido há cem anos como a teoria da relatividade restrita? |
| work_psbukd5xjbbmhje4pnb3tbsbwi | à exploração do tema? |
| work_psbukd5xjbbmhje4pnb3tbsbwi | • Outras obras do pintor escolhido seguiam o mesmo padrão de representação? |
| work_psbukd5xjbbmhje4pnb3tbsbwi | • Outros pintores da época seguiam o mesmo ca- minho de representação? |
| work_psbukd5xjbbmhje4pnb3tbsbwi | • Quais eram as teorias cient́ıficas mais importan- tes da época para explicar os movimentos celestes e os terrestres? |
| work_6rn6kpxr7rexpjaebjvzy3srjq | And what about the looking glass? |
| work_6rn6kpxr7rexpjaebjvzy3srjq | Does a perfect symmetrical image exist at all? |
| work_6rn6kpxr7rexpjaebjvzy3srjq | For a scientist, the subject of study should be sought where symmetry is distorted; what is there to study in a “ perfect ” object? |
| work_6rn6kpxr7rexpjaebjvzy3srjq | What are we to believe about the perfection of our world ’s symmetry? |
| work_6rn6kpxr7rexpjaebjvzy3srjq | What happened? |
| work_6rn6kpxr7rexpjaebjvzy3srjq | Which is your real image? |
| work_6rn6kpxr7rexpjaebjvzy3srjq | Which of the two represents your appearance more perfectly? |
| work_6rn6kpxr7rexpjaebjvzy3srjq | Would the image be more symmetrical if one drew the picture again, changing the right figure only so that it lifts the hand closest to us? |
| work_7nyvjiogy5a6xp2jp2zc7snwdm | Etkinliğin öğrencilerin kolaj tekniği ile ilgili farkındalıklarına katkısı ne olmuştur? |
| work_7nyvjiogy5a6xp2jp2zc7snwdm | Etkinliğin, modern resim ile ilgili öğrencilerin farkındalık düzeylerine katkısı ne olmuştur? |
| work_7nyvjiogy5a6xp2jp2zc7snwdm | Etkinliğin, öğrencilerin modern resimden yararlanan çalışmalar üretmelerine etkisi ne olmuştur? |
| work_7nyvjiogy5a6xp2jp2zc7snwdm | Hisset- tirmiyorsa “ ya bu ne? ” diyebiliyordum. |
| work_7nyvjiogy5a6xp2jp2zc7snwdm | Neden? ” ve aynı tarihte “ Programın modern sanata yönelik eleştirel bakışınıza ne gibi bir etkisi olmuştur? ” soruları sorulmuştur. |
| work_7nyvjiogy5a6xp2jp2zc7snwdm | Neden? ” ve aynı tarihte “ Programın modern sanata yönelik eleştirel bakışınıza ne gibi bir etkisi olmuştur? ” soruları sorulmuştur. |
| work_onmcr3t7nba7hcsprrje7rc3n4 | 1)... en un tema... ¿ Hay algún rasgo creativo que esté a la base de las pruebas de creatividad? |
| work_onmcr3t7nba7hcsprrje7rc3n4 | Aproximaciones a la creatividad ¿ Es posible identificar las fuentes de la creatividad humana? |
| work_onmcr3t7nba7hcsprrje7rc3n4 | Inteligencia y creatividad ¿ El estudio de la creatividad necesariamente incluye el estudio de la inteligencia? |
| work_onmcr3t7nba7hcsprrje7rc3n4 | o ¿ Puede considerarse a la creatividad como un"dar en el blanco"en un momento determinado? |
| work_onmcr3t7nba7hcsprrje7rc3n4 | ¿ Es esta genéticamente"programada"o es una mezcla favorable de habilidades innatas y condiciones ambientales? |
| work_onmcr3t7nba7hcsprrje7rc3n4 | ¿ Es la novedad un criterio esencial? |
| work_onmcr3t7nba7hcsprrje7rc3n4 | ¿ Puede ser la creatividad medida como un ítem psicométrico? |
| work_onmcr3t7nba7hcsprrje7rc3n4 | ¿ Son los productos creativos independientes del juicio externo? |
| work_fgc4rlimwbgkjfpgclz4mfhl5m | ;How will this tragedy end?". |
| work_fgc4rlimwbgkjfpgclz4mfhl5m | ;Is there really no hope for the child?" |
| work_fgc4rlimwbgkjfpgclz4mfhl5m | ;Where is he now? |
| work_fgc4rlimwbgkjfpgclz4mfhl5m | All this, with the distortions accompany- ing the near absence of perspective, prompt in one such urgent questions as"Did the man warn her? |
| work_fgc4rlimwbgkjfpgclz4mfhl5m | D o w n lo a d e d fro m http://sti.bmj.com/ Morton What prompted this first excursion into Cubism? |
| work_fgc4rlimwbgkjfpgclz4mfhl5m | Mhoary Catterall Macq sky''s Colposcopy? |
| work_fgc4rlimwbgkjfpgclz4mfhl5m | Part 4 react? |
| work_fgc4rlimwbgkjfpgclz4mfhl5m | Thepharmacist is asked by his friend"How''s business? |
| work_fgc4rlimwbgkjfpgclz4mfhl5m | Was he perhaps afraid of something more sinister? |
| work_fgc4rlimwbgkjfpgclz4mfhl5m | Why then conclude with a 1972 production? |
| work_fgc4rlimwbgkjfpgclz4mfhl5m | Will he match the young mother''s anguish and insight? |
| work_pzk4qcmwfjfq7muzhddjjgwqay | Can artists and intellectuals play a role in this process? |
| work_pzk4qcmwfjfq7muzhddjjgwqay | Could it be the war has been visually defined by the Abu Ghraib images or to the general malaise and collapse of support for the war? |
| work_pzk4qcmwfjfq7muzhddjjgwqay | How come? |
| work_pzk4qcmwfjfq7muzhddjjgwqay | What do Pictures Mean? |
| work_pzk4qcmwfjfq7muzhddjjgwqay | Where Does Art Come From? |
| work_pzk4qcmwfjfq7muzhddjjgwqay | Why? |
| work_dpukmp5hp5fgzcjtodasq7fjxm | ( Do you know Berlin?) |
| work_dpukmp5hp5fgzcjtodasq7fjxm | 24 For an example see, Osborn, Kennen Sie Berlin? |
| work_dpukmp5hp5fgzcjtodasq7fjxm | 5 geschieht? |
| work_dpukmp5hp5fgzcjtodasq7fjxm | Kennen Sie Berlin? |
| work_dpukmp5hp5fgzcjtodasq7fjxm | What happens? |
| work_dpukmp5hp5fgzcjtodasq7fjxm | Will they reject or will they concede? |
| work_dpukmp5hp5fgzcjtodasq7fjxm | Wird man ablehnen, oder gibt man nach? |
| work_dpukmp5hp5fgzcjtodasq7fjxm | [...] Was machen die Sozis? |
| work_dpukmp5hp5fgzcjtodasq7fjxm | [...] What are the Social Democrats up to? |
| work_dpukmp5hp5fgzcjtodasq7fjxm | • User may use extracts from the document in line with the concept of ‘ fair dealing ’ under the Copyright, Designs and Patents Act 1988(?) |
| work_nytbtr3rtjbnxlzwcrzj7mzcse | Well, what is there to be done about that? |
| work_nytbtr3rtjbnxlzwcrzj7mzcse | What is, then, the use of preaching liberty to Spain? |
| work_xzjcutuotnerdklf4h3cmbhrau | Pero, ¿ qué entender por imaginación, por imaginario?, ¿ en qué aspectos podríamos distinguir el imaginario político griego del moderno? |
| work_xzjcutuotnerdklf4h3cmbhrau | Pero, ¿ qué entender por imaginación, por imaginario?, ¿ en qué aspectos podríamos distinguir el imaginario político griego del moderno? |
| work_xzjcutuotnerdklf4h3cmbhrau | Pero, ¿ qué significa autonomía en la esfera política? |
| work_nzmfhpmfrra37htfobo2omtznm | But what are the forms and spatial patterns of the world during a period of continuous change? |
| work_nzmfhpmfrra37htfobo2omtznm | But what are the forms and spatial patterns of the world during the state of continuous change? |
| work_nzmfhpmfrra37htfobo2omtznm | But what are the forms and spatial patterns of the world during this state of continuous change? |
| work_nzmfhpmfrra37htfobo2omtznm | But what happens in the periods of change, in extreme social, cultural and spatial conditions? |
| work_nzmfhpmfrra37htfobo2omtznm | Could a certain depth structure be recognized in the contemporary dynamic of social and spatial transformation? |
| work_nzmfhpmfrra37htfobo2omtznm | Could a certain depth structure be recognized in the contemporary dynamic of social and spatial transformation? |
| work_nzmfhpmfrra37htfobo2omtznm | Could a certain depth structure be recognized in the contemporary dynamic of social and spatial transformation? |
| work_nzmfhpmfrra37htfobo2omtznm | How can we today perceive these elementary formal organizations? |
| work_nzmfhpmfrra37htfobo2omtznm | How can we today recognize the lines and frames as the main organizational form and use them in architectonic projects? |
| work_nzmfhpmfrra37htfobo2omtznm | How will these basic spatial schemes express themselves as the exclusive results of changed conditions? |
| work_nzmfhpmfrra37htfobo2omtznm | Who erected them and why? |
| work_m55vwg7z4zhsnkp4e3socuiut4 | Circuitos de alta eficacia ¿ Qué sustrato hacemos de lo que vivimos? |
| work_m55vwg7z4zhsnkp4e3socuiut4 | Los versos de Machado( 1913) decían “ Cuando recordar no pueda ¿ dónde mi recuerdo irá? |
| work_m55vwg7z4zhsnkp4e3socuiut4 | The episodic buffer: a new component of working memory? |
| work_m55vwg7z4zhsnkp4e3socuiut4 | ¿ Cómo funciona el cerebro de un adolescente?. |
| work_m55vwg7z4zhsnkp4e3socuiut4 | ¿ Cómo vamos a entender la vida como el acto creativo que es, sino nos ayudan a entender que todo está en continuo cambio y evolución? |
| work_m55vwg7z4zhsnkp4e3socuiut4 | ¿ Gestionamos de igual manera nuestras equivocaciones? |
| work_m55vwg7z4zhsnkp4e3socuiut4 | ¿ Pero qué pasa con quienes tienen otra ma- nera de aprender o se sienten llamados por un desarrollo diferente de los contenidos? |
| work_m55vwg7z4zhsnkp4e3socuiut4 | ¿ Qué de lo que percibimos es significativo para poder ser almacenado en la memoria? |
| work_m55vwg7z4zhsnkp4e3socuiut4 | ¿ Sucede acaso lo mismo en la educa- ción? |
| work_lmvwnf4ysvdznaywqou6yhu47m | / Not enough years left ”? |
| work_lmvwnf4ysvdznaywqou6yhu47m | How could I have looked him in the face? ” “ I looked at my face in the mirror and saw Open Admissions. ” The first line is from Walden( 1854). |
| work_lmvwnf4ysvdznaywqou6yhu47m | I was 15 when it woke me, and I felt a chill and — and what?—an imaginative stretch? |
| work_lmvwnf4ysvdznaywqou6yhu47m | The MFA is indeed terminal and raises the question: is American poetry in the same terminal cesspool? |
| work_lmvwnf4ysvdznaywqou6yhu47m | The result? |
| work_lmvwnf4ysvdznaywqou6yhu47m | The snake appears even in “ Akhmatova ’s Fountain House ” in which the poet descries a boa constrictor( in a photo?) |
| work_lmvwnf4ysvdznaywqou6yhu47m | The title? |
| work_ft5wuzvif5brrpx6vltficy2qm | ATRIAL FIBRILLATION Treatment Options DEEP VEIN THROMBOSIS Symptoms& Dangers of DVT SCHIZOPHRENIA How Common Is It? |
| work_ft5wuzvif5brrpx6vltficy2qm | Relapsing MS Options Enlarged Prostate Facts Finance Plastic Surgery Bent Finger Causes Living With Psoriasis? |
| work_ft5wuzvif5brrpx6vltficy2qm | SEXUAL HEALTH What''s Killing Your Sex Drive? |
| work_ft5wuzvif5brrpx6vltficy2qm | Treat Bent Fingers Discover hATTR Symptoms Tired of Dandruff? |
| work_ft5wuzvif5brrpx6vltficy2qm | Treat HR+, HER2- MBC Rethink MS Treatment AFib- Related Strokes Risk of a Future DVT/ PE Is My Penis Normal? |
| work_ft5wuzvif5brrpx6vltficy2qm | Why Obesity May Worsen COVID-19 Outcomes Top Stories Life After Your COVID Vaccination: What to Do Why Do Some COVID Tests Hurt So Much? |
| work_ft5wuzvif5brrpx6vltficy2qm | Will Drop in Common Viral Infections Lead to Masks Forever? |
| work_vf2d3tobpza27pvprrqa6cvzwy | Gözlerim, Gözlerim nerde? |
| work_vf2d3tobpza27pvprrqa6cvzwy | Oysa sevgimiz yerde; kara sevda sen uç ey ” Sen usul, ben yavaĢ, kime yaraĢır bu sessizlik? |
| work_vf2d3tobpza27pvprrqa6cvzwy | Sevda ve arzu biçiminde yansıtır: “ Yoksa onlar mı iĢte seninle seviĢme biçiminde? |
| work_vf2d3tobpza27pvprrqa6cvzwy | onlar mı bu sürüylen? ”( Ey, Yerçekimli Karanfil, s.94) Gözlerin yırtıcı kuĢları, yine insanın bilinçaltı derinliğini yüklenir. |
| work_vf2d3tobpza27pvprrqa6cvzwy | ġiĢenin de bir anlamı oluyor böylece Kim konuĢuyor? |
| work_vf2d3tobpza27pvprrqa6cvzwy | “ Bu sanki niye durduğumuz mu? |
| work_vf2d3tobpza27pvprrqa6cvzwy | “ Kim bilir neyi saldığımız bu da; yalnızlığımız gel Yırtıcı kuĢları mı gözlerimizin? |
| work_zgp3uxbaungevjyucwh7pbduoy | Facilitating Student Engagement in Art History Surveys Next Post CAA Wrap Up: What Have You Done for Art History Lately? |
| work_zgp3uxbaungevjyucwh7pbduoy | How do the request vs submitted works of art break down by gender? |
| work_zgp3uxbaungevjyucwh7pbduoy | How does the number of women compare with the number of men? |
| work_zgp3uxbaungevjyucwh7pbduoy | How many women artists participated in the Armory Show? |
| work_zgp3uxbaungevjyucwh7pbduoy | Required fields are marked* Previous Post Why Participation? |
| work_zgp3uxbaungevjyucwh7pbduoy | What percentage of works of art were requested vs submitted by the artist? |
| work_zgp3uxbaungevjyucwh7pbduoy | What was the role of gender in sale prices? |
| work_zgp3uxbaungevjyucwh7pbduoy | What were the dominant media in the show? |
| work_zgp3uxbaungevjyucwh7pbduoy | Who sold their art for the most/ least money? |
| work_3a6yujs4djeibplbkwlxln3b7y | A Philosophical Journey, 4( 2017): Sublimazione 5 Data di pubblicazione: 15.12.2017 ospitano i quaderni di poesie dell’adolescenza? |
| work_3a6yujs4djeibplbkwlxln3b7y | Che era la loro anima polverizzata, insieme al tuorlo d’uovo e ai minerali sminuzzati, ciò che spalmavano in modo denso sulle viscere della terra? |
| work_3a6yujs4djeibplbkwlxln3b7y | Come non cogliere che era del suo stesso colore che facevano uso gli uomini del Paleolitico per dipingere le pareti delle loro grotte? |
| work_3a6yujs4djeibplbkwlxln3b7y | Come non vedere in questa macchia il vero pigmento, la materia prima della pittura? |
| work_3a6yujs4djeibplbkwlxln3b7y | Di che cosa ci vergogniamo? |
| work_3a6yujs4djeibplbkwlxln3b7y | Non c’è in questa neutralizzazione un modo per intendere quanto Freud affermava con il termine equivoco di desessualizzazione? |
| work_3a6yujs4djeibplbkwlxln3b7y | Qual è il modo che lo stesso Freud indica come tentativo di risposta al trauma? |
| work_3a6yujs4djeibplbkwlxln3b7y | Quale animale? |
| work_3a6yujs4djeibplbkwlxln3b7y | Quanti pittori non si separano dai propri quadri? |
| work_3a6yujs4djeibplbkwlxln3b7y | Quanti scrittori tengono nel cassetto il proprio romanzo? |
| work_3a6yujs4djeibplbkwlxln3b7y | Quanti si mettono a ballare in casa davanti allo specchio in modo scemo e scatenato, ma in una discoteca rimangono rigidi come un manico di scopa? |
| work_3a6yujs4djeibplbkwlxln3b7y | Si chiede l’autore: « Che cosa ‘ depongono ’ i verbi medi o deponenti? |
| work_x3ok32zpifb37gmefeafg53xai | A Grassroots Proposal to Accelerate Brain Science Discovery Introduction What Would Change If We Capitalize on This Opportunity? |
| work_x3ok32zpifb37gmefeafg53xai | How Might We Achieve It? |
| work_x3ok32zpifb37gmefeafg53xai | How Might We Achieve It? |
| work_x3ok32zpifb37gmefeafg53xai | How can we maximally accelerate our collective ability to extract meaning from such data? |
| work_x3ok32zpifb37gmefeafg53xai | What Are the Design Criteria? |
| work_x3ok32zpifb37gmefeafg53xai | What Are the Design Criteria? |
| work_x3ok32zpifb37gmefeafg53xai | What Are the Primary Goals? |
| work_x3ok32zpifb37gmefeafg53xai | What Are the Primary Goals? |
| work_x3ok32zpifb37gmefeafg53xai | What Would Change If We Capitalize on This Opportunity? |
| work_x3ok32zpifb37gmefeafg53xai | What ’s the Big Idea? |
| work_x3ok32zpifb37gmefeafg53xai | What ’s the Big Idea? |
| work_oqs444cepja5leqqoxhf5zhmoa | 12 How do the subversive dynamics operate? |
| work_oqs444cepja5leqqoxhf5zhmoa | Do the stories they tell get them the money they need? |
| work_oqs444cepja5leqqoxhf5zhmoa | Does money matter? |
| work_oqs444cepja5leqqoxhf5zhmoa | Entrepreneurship in the Informal Economy: Why Does it Matter? |
| work_oqs444cepja5leqqoxhf5zhmoa | Fools rush in? |
| work_oqs444cepja5leqqoxhf5zhmoa | It depends in particular on the type of system targeted: is it a supra- system like a State? |
| work_oqs444cepja5leqqoxhf5zhmoa | L''artiste: immunité ou responsabilité? |
| work_oqs444cepja5leqqoxhf5zhmoa | La dérive Situationniste: le plus court chemin pour apprendre à entreprendre? |
| work_oqs444cepja5leqqoxhf5zhmoa | Or a more specific system such as a particular organization( company, university, …)? |
| work_oqs444cepja5leqqoxhf5zhmoa | Schumpeter''s Legacy? |
| work_oqs444cepja5leqqoxhf5zhmoa | The response of old technology incumbents to technological competition- Does the sailing ship effect exist? |
| work_oqs444cepja5leqqoxhf5zhmoa | What''s Wrong with Contemporary Art? |
| work_mbrastzd4raatneejkkyh7oini | And how do deviant artists gain recogni- tion and make a lasting impact? |
| work_mbrastzd4raatneejkkyh7oini | Can counter- stereotypes boost flexible thinking? |
| work_mbrastzd4raatneejkkyh7oini | Can science account for taste? |
| work_mbrastzd4raatneejkkyh7oini | Deviance or uniqueness, harmony or conformity? |
| work_mbrastzd4raatneejkkyh7oini | Do we give power to the right people? |
| work_mbrastzd4raatneejkkyh7oini | How Deviance Shapes Artistic Impact How does deviance from prevailing artistic norms shape an artist ’s impact? |
| work_mbrastzd4raatneejkkyh7oini | Processing fluency and aesthetic pleasure: Is beauty in the perceiver ’s processing experience? |
| work_mbrastzd4raatneejkkyh7oini | This raises the question, is willful deviance valued even if it is for ignoble or immoral rea- sons? |
| work_mbrastzd4raatneejkkyh7oini | What determines whether artists make an impact? |
| work_mbrastzd4raatneejkkyh7oini | What is interesting? |
| work_mbrastzd4raatneejkkyh7oini | When is the unfamiliar the uncanny? |
| work_mbrastzd4raatneejkkyh7oini | Who ’s afraid of red, yellow, and blue? |
| work_mbrastzd4raatneejkkyh7oini | Why, then, do visual artworks often deviate from the prevailing artistic norms of their era? |
| work_mbrastzd4raatneejkkyh7oini | does this artist feel free to do what s/ he wants in his/ her relations with others? ” and the reverse- scored “. |
| work_f4jqsxjau5gsniiwzvp24vv5ue | But what was hanging in the al- cove, in this most carefully designed Japan- ese setting, when I visited the Kahitsukan myself? |
| work_f4jqsxjau5gsniiwzvp24vv5ue | Do they meet on the bridge where opposites emerge and dis- solve? |
| work_f4jqsxjau5gsniiwzvp24vv5ue | How could Klee, a non- Buddhist, make » Buddhist « art? |
| work_f4jqsxjau5gsniiwzvp24vv5ue | How did Klee learn to harmonize so beautifully? |
| work_f4jqsxjau5gsniiwzvp24vv5ue | Is that not how a non- Buddhist artist made » Buddhist « art? |
| work_f4jqsxjau5gsniiwzvp24vv5ue | It ’s wonderful. « Takichiro, now unsure what to think of the obi he had designed, asks, » Chieko, does this obi have harmony?[... |
| work_f4jqsxjau5gsniiwzvp24vv5ue | Okuda 2007 Osamu Okuda, » Warum mögen Japaner Paul Klee? «, in Japan und der Westen. |
| work_f4jqsxjau5gsniiwzvp24vv5ue | What should be in a tokonoma? |
| work_f4jqsxjau5gsniiwzvp24vv5ue | Who ’s Klee? |
| work_f4jqsxjau5gsniiwzvp24vv5ue | ] of the heart? « Her response: » Harmony?[...] |
| work_f4jqsxjau5gsniiwzvp24vv5ue | ] of the heart? « Her response: » Harmony?[...] |
| work_zjihesfr2bfh3l3bkvsnqiciuq | But just how friendly is it really? |
| work_zjihesfr2bfh3l3bkvsnqiciuq | How do counterfeiters get away with their forgeries? |
| work_zjihesfr2bfh3l3bkvsnqiciuq | Skyscrapers hc/$ 16.95/ £ 10.99 978- 1- 61689- 270- 8 Who Built That? |
| work_ex4ptkv24na4jcda55c37horue | But where will the scientists of tomorrow come from? |
| work_ex4ptkv24na4jcda55c37horue | But why should a small academic society like ours with limited re- sources tackle a problem so big? |
| work_ex4ptkv24na4jcda55c37horue | Can we always recognize it when we see it, or agree upon it? |
| work_ex4ptkv24na4jcda55c37horue | Consider the following: What is our Society all about? |
| work_ex4ptkv24na4jcda55c37horue | Does creativity in industry resemble creativ- ity in biomedical research? |
| work_ex4ptkv24na4jcda55c37horue | Does this creative process march to a different drummer? |
| work_ex4ptkv24na4jcda55c37horue | How about highly cited in- vestigators in the physical sciences? |
| work_ex4ptkv24na4jcda55c37horue | Is it a genuinely creative work, or is it just plain bull? |
| work_ex4ptkv24na4jcda55c37horue | Is it having a positive impact on teachers and perhaps on the career choices of students? |
| work_ex4ptkv24na4jcda55c37horue | Is it stimulating a hands- on experimental approach to high school science education? |
| work_ex4ptkv24na4jcda55c37horue | Now, what is this imaginative skill and innovative spirit that we call creativity? |
| work_ex4ptkv24na4jcda55c37horue | Science education: finery and fads or fundamental change? |
| work_ex4ptkv24na4jcda55c37horue | Science: the end of the frontier? |
| work_ex4ptkv24na4jcda55c37horue | So what can we do to help? |
| work_ex4ptkv24na4jcda55c37horue | Was this pure serendipity? |
| work_ex4ptkv24na4jcda55c37horue | What are the benefits to the ASCI? |
| work_ex4ptkv24na4jcda55c37horue | What do individuals re- gard as important who themselves have made important, inno- vative, and lasting scientific contributions? |
| work_ws6tnlupwfdfxlxpjpypsgpc5i | La pregunta es ¿ Cuál fue la motivación para emprender ese difícil trabajo? |
| work_ws6tnlupwfdfxlxpjpypsgpc5i | Scherchen le dijo “ ¿ Qué hace usted aquí? |
| work_ws6tnlupwfdfxlxpjpypsgpc5i | Schneider: “ ¿ Usted tomó conciencia de eso espontáneamente? ”. |
| work_ws6tnlupwfdfxlxpjpypsgpc5i | Schneider: “ ¿ Y cómo era la cosa con Mauricio Kagel? ”. |
| work_ws6tnlupwfdfxlxpjpypsgpc5i | ¿ Cuál fue la motivación? ”. |
| work_ws6tnlupwfdfxlxpjpypsgpc5i | ¿ Cómo se estructuraban los días en concreto? |
| work_ws6tnlupwfdfxlxpjpypsgpc5i | ¿ Cómo se sitúa allí Allende- Blin, donde comienzan sus obras tardías, si es que existen? |
| work_ws6tnlupwfdfxlxpjpypsgpc5i | ¿ Qué influencia tuvo eso en el desarrollo? |
| work_ws6tnlupwfdfxlxpjpypsgpc5i | ¿ Y qué dice esa expresión finalmente? |
| work_ws6tnlupwfdfxlxpjpypsgpc5i | Él vivió esto como un duro contraste, ¿ me imagino que usted también? ”. |
| work_ws6tnlupwfdfxlxpjpypsgpc5i | “ ¿ Cómo llegó a este título musical y programático? ”, le preguntó a Juan. |
| work_atq7e2le75evrg5gshtpk5k2ay | - … C’est- à- dire que …( Rakotoson 1996: 39)- A ticket or a book of tickets? |
| work_atq7e2le75evrg5gshtpk5k2ay | - …- Combien de zones? |
| work_atq7e2le75evrg5gshtpk5k2ay | - …- How many zones? |
| work_atq7e2le75evrg5gshtpk5k2ay | Oui, et alors? ’( Rakotoson 1996: 38) ‘ A peasant girl! |
| work_twiu7rmrnbh75e7vgqg4fmfdua | Are these diverging consequences of global development mutually exclusive? |
| work_twiu7rmrnbh75e7vgqg4fmfdua | But what does “ peace ” mean on a continent torn by so many conflicts and ruptures? |
| work_twiu7rmrnbh75e7vgqg4fmfdua | Can a Eu ropean sense of identity be reconciled with the yearning for a strong local or regional identity or feeling of belonging? |
| work_twiu7rmrnbh75e7vgqg4fmfdua | Do we need it? |
| work_twiu7rmrnbh75e7vgqg4fmfdua | How can it enhance the political power of culture and cultural heritage in Europe? |
| work_twiu7rmrnbh75e7vgqg4fmfdua | How can the European Year of Cultural Heritage contribute to this? |
| work_twiu7rmrnbh75e7vgqg4fmfdua | How can this be achieved together with others and thus create a sense of community? |
| work_twiu7rmrnbh75e7vgqg4fmfdua | How do people develop a f eeling that the cultural heritage belongs to them and is theirs, and how do I f oster this? |
| work_twiu7rmrnbh75e7vgqg4fmfdua | How does it relate to other cultural identities? |
| work_twiu7rmrnbh75e7vgqg4fmfdua | What are we doing in Germany to develop this sense of ownership and to foster this exchange on cultural heritage? |
| work_twiu7rmrnbh75e7vgqg4fmfdua | What does common cultural identity mean in a society, what determines it and how does it change? |
| work_twiu7rmrnbh75e7vgqg4fmfdua | What kind of bridges are conceivable? |
| work_twiu7rmrnbh75e7vgqg4fmfdua | What memories and remembering do we need for Europe''s future? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Afinal, por que filmar a saída dos operários de uma fábrica e a chegada de um trem numa estação? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Afirmação frágil, afinal não seriam os filmes documentários também frutos de uma seleção, como são os ficcionais? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | E, talvez mais ousadamente, mesmo os curtos registros da realidade dos Lumière, não refletiriam uma escolha? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | No que estará pensando? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Não seria essa escolha já fruto das influências sociais, políticas e ideológicas de sua época? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | O Mistério de Picasso: documentário ou ficção? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Ou nus femininos? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Ou o ateliê de um artista? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Ou somente o touro? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Ou uma cena circense? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Poderiam eles preservar a ―pureza do tratamento do real‖, como afirmou Vladimir Carvalho( 2003), como os primeiros filmes? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Por que fica tão insatisfeito com suas telas, se nos parecem tão comoventes, interessantes e sedutoras? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Quais são suas preocupações e aflições? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Quantas pessoas ficariam emocionadas ao contemplarem essas telas? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Quanto desse dinheiro Soleni Biscouto Fressato- 70- Picasso poderia ter revertido para obras assistenciais? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Quantos colecionadores pagariam pequenas fortunas para tê- las em suas casas ou galerias? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Quantos museus, em diversos países do mundo, ficariam honrados em mantê- las em seus acervos? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | Será que, terminado o filme, conseguimos descobrir o que o move Picasso a pintar uma cena de tourada? |
| work_ifos2pkg2ngqdk7jnymk2xuvra | É- nos dito no início do filme que iremos ―conhecer o mecanismo secreto que guia o criador‖, será? |
| work_ndpuahayjffehcbvy6ozv37wvy | Although we agree about the importance of art, it is difficult to find answers for such questions of ‘ what is art? |
| work_ndpuahayjffehcbvy6ozv37wvy | Bir çalışmanın sanat eseri olduğunu üreten kişi olarak, bizzat sanatçının kendisi mi söyler? |
| work_ndpuahayjffehcbvy6ozv37wvy | Gerçek sanatçı kimdir, tabii eğer sanatın ticari gerçekliğinden başka gerçeklik diye bir şey varsa? |
| work_ndpuahayjffehcbvy6ozv37wvy | Peki bir eserin özgün olup olmadığını saptamak kolaymı? |
| work_ndpuahayjffehcbvy6ozv37wvy | SANAT EĞİTİMİ GEREKLİ MİDİR? |
| work_ndpuahayjffehcbvy6ozv37wvy | SANAT NEDİR? |
| work_ndpuahayjffehcbvy6ozv37wvy | SANAT, SANAT İÇİN Mİ, TOPLUM İÇİN MİDİR? |
| work_ndpuahayjffehcbvy6ozv37wvy | SANATÇI KİMDİR? |
| work_ndpuahayjffehcbvy6ozv37wvy | Sanat Nedir? |
| work_ndpuahayjffehcbvy6ozv37wvy | Sanatın önemi konusunda hemfikir olsak da sanat nedir? |
| work_ndpuahayjffehcbvy6ozv37wvy | nasıl anlaşılır? |
| work_ndpuahayjffehcbvy6ozv37wvy | veya neye hizmet eder? |
| work_4wm36y6rcnhuzaczthak4gmcmu | 1315 A symbol — but of what? |
| work_4wm36y6rcnhuzaczthak4gmcmu | 1317 A symbol — but of what? |
| work_4wm36y6rcnhuzaczthak4gmcmu | 1319 A symbol — but of what? |
| work_4wm36y6rcnhuzaczthak4gmcmu | A symbol — but of what? |
| work_4wm36y6rcnhuzaczthak4gmcmu | But we need not even ask such questions about the Salon hilt: why a human? |
| work_4wm36y6rcnhuzaczthak4gmcmu | But why make the anthropomorphism of these dagger hilts explicit by adding human facial features? |
| work_4wm36y6rcnhuzaczthak4gmcmu | But why was this dagger ’s hilt shaped like a man and decorated with human features? |
| work_4wm36y6rcnhuzaczthak4gmcmu | In turn, a reassessment which looks beyond 1313 A symbol — but of what? |
| work_4wm36y6rcnhuzaczthak4gmcmu | It is a symbol, but what does it mean? |
| work_4wm36y6rcnhuzaczthak4gmcmu | The quintessential bovine head on the fire- dog is a symbol, but of what?. |
| work_4wm36y6rcnhuzaczthak4gmcmu | What was the purpose of such a hilt shape? |
| work_4wm36y6rcnhuzaczthak4gmcmu | Why are his arms and legs outstretched? |
| work_4wm36y6rcnhuzaczthak4gmcmu | Why did the designers of this object choose this motif? |
| work_4wm36y6rcnhuzaczthak4gmcmu | Why must it be a symbol? |
| 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_vgggzbjynzeppb5ziuxpcjgwwq | A guide to increased creativity in research: inspiration or perspiration? |
| work_vgggzbjynzeppb5ziuxpcjgwwq | Agent- Based Models – Because They ’re Worth It?, Agent- based models of geographical systems. |
| work_vgggzbjynzeppb5ziuxpcjgwwq | Can modelling enable us to understand the rôle of humans in landscape evolution? |
| work_vgggzbjynzeppb5ziuxpcjgwwq | Do simple models lead to generality in ecology? |
| work_vgggzbjynzeppb5ziuxpcjgwwq | Does empirical embeddedness matter? |
| work_vgggzbjynzeppb5ziuxpcjgwwq | How to define and quantify the level of complicatedness? |
| work_vgggzbjynzeppb5ziuxpcjgwwq | If so, how to build an ABM with an appropriate level of complicatedness? |
| work_vgggzbjynzeppb5ziuxpcjgwwq | Is there an appropriate or optimal level of complicatedness? |
| work_vgggzbjynzeppb5ziuxpcjgwwq | Simple Models, Complex Models, Useful Models: Can We Tell Them from the Flap of a Butterfly ’s Wings? |
| work_vgggzbjynzeppb5ziuxpcjgwwq | Simple or complicated agent- based models? |
| work_vgggzbjynzeppb5ziuxpcjgwwq | Ten years of individual- based modelling in ecology: what have we learned and what could we learn in the future? |
| work_vgggzbjynzeppb5ziuxpcjgwwq | What Are Models for?, In: Cossentino, M., Kaisers, M., Tuyls, K., Weiss, G. |
| work_vgggzbjynzeppb5ziuxpcjgwwq | What are the criteria for choosing simple vs. complicated models? |
| work_vgggzbjynzeppb5ziuxpcjgwwq | What are the trade- offs between the two? |
| work_vgggzbjynzeppb5ziuxpcjgwwq | What, then, is the “ appropriate ” level of complicatedness for ABMs? |
| work_vgggzbjynzeppb5ziuxpcjgwwq | Why Model? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | And what vision of human freedom, in general, is live theater transmitting as a form? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | And: the freedom that can be located by the question: why did he choose to paint this painting at all? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | Extra credit: What kind of world do you think you ’re living in? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | For what were they cheering? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | Glowing about what? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | Is it a celebration of human freedom or a mourning of cosmic constraint? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | It ’s not going to end that terrible way, is it? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | The viewer looks for freedom within the work and finds it in only four places: what colors did Newman use? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | Thought experiment: which would you rather see? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | What had happened? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | What is the live theater of Ma- met? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | What is the shape and size of the canvas? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | What is the worldview of such theater? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | What kind of world are we living in? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | What kind of world are we living in? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | What to make of the pleasure such a momentary rupture affords? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | Where did he put the ‘ ‘ zip ’ ’? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | Why can no resolution to the question ever be arrived at? |
| work_n5xdku3i3zhkdlw23cm5n7nu4y | Why was my father so happy? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | Dominance interactions in young adult paper wasp( Polistes dominulus) foundresses: A playlike behavior? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | E- mail: gburghar@utk.edu Fun and play in invertebrates Sarah Zylinski Where should we look for playful invertebrates? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | If play is so widespread in the animal kingdom, how and why did this happen? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | OK, but are they having fun? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | OK, but are they having fun? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | So do cephalopods play What are they playing at? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | So do cephalopods play? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | So where should we look? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | What about fun and play in other invertebrates? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | What about fun and play in other invertebrates? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | What about play in reptiles? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | What are they playing at? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | What evidence is there then that cephalopods play, and more importantly, do they have fun doing it? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | Where can I find out more about play? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | Where can I find out more? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | Where can I find out more? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | Why did I enjoy it? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | Why do n’t we see more invertebrates playing? |
| work_vc4xr63hcrbzdmtaua4ein2g2q | Why do n’t we see more invertebrates playing? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | 2. Who collects art? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | 4. Who does the investing? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | A few extraordinary strokes on a canvas or a famous artist ’s signature? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | And again, what to buy? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | Collecting or investing? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | Finally, what to buy? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | He states: But what is the role of auctions in this apparent bubble? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | How to undertake the purchase? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | How were Pablo Picasso ’s pieces legitimated and how were George Braque ’s? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | In other words, what needs does it meet? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | Is international exposure key to succeed? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | Is it possible to measure these risks or are there other more profitable markets, other optional markets? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | Many times the artist and his piece have the same degree of importance, which is why some questions arise such as: which is the piece? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | Quality, technology, age, experience, innovation, better promotion or fashion, location or formats used? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | Science Journal of Business and Management 2019; 7(6): 140- 149 149 References[ 1] Sherman A and Morrissey C. What Is Art Good for? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | That is to say, why would a painting by Pablo Picasso be worth 104 million Euros and another by the same author worth 60 million? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | The artist or his art piece? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | What does art- collecting mean? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | What does investing in art mean? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | What is the buyer acquiring? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | What is the underlying asset? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | What kinds of risks are assumed when acquiring a piece of art? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | What made the difference? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | What to buy? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | When it concerns a piece of visual art, there are some questions such as the following: which is the purpose of acquiring a specific piece? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | When to sell or disinvest( liquidate the investment)? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | Which type of asset to invest in? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | Who does this? |
| work_j5cjhr6jqvfyhpyr5ozh76wq4a | Why is the market not willing to pay such figures for a Braque, whereas it does for a Picasso? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | But what about ‘ ‘ the Red Countess Olga von Hagen ’ ’? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | But what revolutions was one afraid of? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | But why would the Dutch authorities confuse a Berlin communist with the world ’s most famous physicist? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | De Sitter lost his patience: ‘ ‘ What are you really, ’ ’ he asked Pannekoek, ‘ ‘ a communist or an astronomer ’ ’? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | Did Carl Einstein also have any Dadaist credentials? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | Did Weyland perhaps choose the location and format of his evening on purpose, as tacit ref- erence to Carl ’s appearance? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | Did only Dutch officials confuse Albert and Carl Einstein? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | Knegtmans, ed., Stille wijkplaatsen? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | Or were there other times and places where they could be or in fact were mixed up? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | The Internationalist Perspective Einstein and the Politics of Dutch Appointment Practices What Went Wrong in The Hague? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | Troubles in Berlin What Dr. Einstein? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | Was there a communist Einstein in Berlin or elsewhere who actually fit this description? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | Were there other occasions in which the two Einsteins were confused? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | What Dr. Einstein? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | What Went Wrong in The Hague? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | What motivated this peculiarly Dutch position? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | What role did Carl Einstein play in the communist movement? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | Why Einstein? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | Why are you not acting in line with my orders? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | Why the delay? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | Why was there such an unexpected and long delay? |
| work_6a5zhocbxzfk7nv7e6iop27vb4 | Why? |
| work_ybexhetugnf7rixjgb6z3dqmpq | 2- Sanat sizde ne tür duygu ve düşünce oluşturmakta ve sanat denilince sizde ne tür bir algı olmaktadır? |
| work_ybexhetugnf7rixjgb6z3dqmpq | 3- Gazete okuma alışkanlığınız nedir? |
| work_ybexhetugnf7rixjgb6z3dqmpq | 4- İnternete ne sıklıkla girersiniz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | 5- Yaklaşık kaç saat günlük internete giriyorsunuz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | 6- İnternette genelde hangi tür sitelere giriyorsunuz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | 7- Günlük kaç saat televizyon izliyorsunuz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | 8- Televizyonda genelde hangi programları izliyorsunuz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | Estetik nedir? |
| work_ybexhetugnf7rixjgb6z3dqmpq | Gazete okuma alışkanlığınız nedir? |
| work_ybexhetugnf7rixjgb6z3dqmpq | Gazete okuma alışkanlığınız nedir? |
| work_ybexhetugnf7rixjgb6z3dqmpq | Günlük kaç saat televizyon izliyorsunuz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | Günlük kaç saat televizyon izliyorsunuz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | H öğrencisi: Sanat ne algı oluşturuyor? |
| work_ybexhetugnf7rixjgb6z3dqmpq | Sanat nedir? |
| work_ybexhetugnf7rixjgb6z3dqmpq | Sanat sizde ne tür duygu ve düşünce oluşturmakta ve sanat denilince sizde ne tür bir algı olmaktadır? |
| work_ybexhetugnf7rixjgb6z3dqmpq | Sanat sizde ne tür duygu ve düşünce oluşturmakta ve sanat denilince sizde ne tür bir algı olmaktadır? |
| work_ybexhetugnf7rixjgb6z3dqmpq | Televizyonda genelde hangi programları izliyorsunuz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | Televizyonda genelde hangi programları izliyorsunuz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | Yaklaşık kaç saat günlük internete giriyorsunuz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | Yaklaşık kaç saat günlük internete giriyorsunuz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | Öğrencilerin “ estetik sizde ne algı oluşturmaktadır? ” sorusuna verdikleri yanıtlar; A öğrencisi: Yanıt vermemiştir. |
| work_ybexhetugnf7rixjgb6z3dqmpq | İnternete ne sıklıkla girersiniz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | İnternete ne sıklıkla girersiniz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | İnternette genelde hangi tür sitelere giriyorsunuz? |
| work_ybexhetugnf7rixjgb6z3dqmpq | İnternette genelde hangi tür sitelere giriyorsunuz? |
| work_fadihbuombhxtjvbld72dh6szm | 1 What is a visual object? |
| work_fadihbuombhxtjvbld72dh6szm | 262 B Pinna 3 Boundary, color, shading, and lighting contours 3.1 Where are shape, color, and depth mostly located? |
| work_fadihbuombhxtjvbld72dh6szm | 4.1 How do visual artists use figural attributes to create objects and scenes? |
| work_fadihbuombhxtjvbld72dh6szm | 4.2 How are objects organized in shapes, shades, colors, and lighting during visual and pictorial reproduction development? |
| work_fadihbuombhxtjvbld72dh6szm | 4.2 How are objects organized in shapes, shades, colors, and lighting during visual and pictorial reproduction development? |
| work_fadihbuombhxtjvbld72dh6szm | 4.2.1 How do children use figural attributes to create objects? |
| work_fadihbuombhxtjvbld72dh6szm | Does their formation take time to develop? |
| work_fadihbuombhxtjvbld72dh6szm | Does their formation take time to develop? |
| work_fadihbuombhxtjvbld72dh6szm | Does their formation take time to develop? |
| work_fadihbuombhxtjvbld72dh6szm | How are boundaries, colors, shading, and lighting, so deeply and sharply represented, perceived and painted at different ages? |
| work_fadihbuombhxtjvbld72dh6szm | How are boundary, color, shade, and lighting attributes of the two conditions represented at different ages? |
| work_fadihbuombhxtjvbld72dh6szm | How do these colors interfere with the whole shape formation of the woman at different ages? |
| work_fadihbuombhxtjvbld72dh6szm | How do they contribute to determining and defining a visual object, and how do they differ? |
| work_fadihbuombhxtjvbld72dh6szm | How do they contribute to determining and defining a visual object, and how do they differ? |
| work_fadihbuombhxtjvbld72dh6szm | How do they contribute to determining and defining a visual object, and how do they differ? |
| work_fadihbuombhxtjvbld72dh6szm | How do they contribute to determining and defining a visual object, and how do they differ? |
| work_fadihbuombhxtjvbld72dh6szm | How do they contribute to determining and defining a visual object, and how do they differ? |
| work_fadihbuombhxtjvbld72dh6szm | How do visual artists use them to create objects and scenes? |
| work_fadihbuombhxtjvbld72dh6szm | How do visual artists use them to create objects and scenes? |
| work_fadihbuombhxtjvbld72dh6szm | How do visual artists use them to create objects and scenes? |
| work_fadihbuombhxtjvbld72dh6szm | In other words, how do colors inhibit or oppose the primary role of boundary formation? |
| work_fadihbuombhxtjvbld72dh6szm | Is the way artists use them related to the way we perceive them? |
| work_fadihbuombhxtjvbld72dh6szm | Is the way artists use them related to the way we perceive them? |
| work_fadihbuombhxtjvbld72dh6szm | Is the way artists use them related to the way we perceive them? |
| work_fadihbuombhxtjvbld72dh6szm | More specifically, how do colors get organized in figural attributes during the development of visual object representation? |
| work_fadihbuombhxtjvbld72dh6szm | The main questions we asked in this work are the following: Where are representations of shape, color, depth, and lighting mostly located? |
| work_fadihbuombhxtjvbld72dh6szm | The main questions we asked in this work are: Where are representations of shape, color, depth, and lighting mostly located? |
| work_fadihbuombhxtjvbld72dh6szm | The question is: how do children organize and represent these figural attributes during the visual and pictorial development? |
| work_fadihbuombhxtjvbld72dh6szm | The questions are the following: Does this photo show the same object attributes as the artwork conditions? |
| work_fadihbuombhxtjvbld72dh6szm | Therefore, the question is: How do children of different ages paint the amodal completion of color and the boundary, color, and shadow organization? |
| work_fadihbuombhxtjvbld72dh6szm | What is the whole amodal color that completes behind shading and lighting? |
| work_7c2ri3cecverld743zahbx5obe | /N Kf^^B iiwaurwoA tonguc, i/he snu> w* V ougt re**, I luwi hRvtt?%STiv: woo w*#c a\_^?^O I I[ WM HT:/"\ TTI harnt mot twjk?w67n? work_7c2ri3cecverld743zahbx5obe You mean this hunk o''junk?" |
| work_7c2ri3cecverld743zahbx5obe | #-? |
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| work_7c2ri3cecverld743zahbx5obe | ( P0PE7E1?^?^stertrT^^^Sv^?^"- v> ii?*?*! |
| work_7c2ri3cecverld743zahbx5obe | ( The Simpsons&? |
| work_7c2ri3cecverld743zahbx5obe | ( The Simpsons&? |
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| work_7c2ri3cecverld743zahbx5obe | > I WH INK 1 TD^B?MCrtOF^?S WKlTAJtWT( 1''OUT I? BUST 1''?-r?-*-''\f WH? |
| work_7c2ri3cecverld743zahbx5obe | > I WH INK 1 TD^B?MCrtOF^?S WKlTAJtWT( 1''OUT I? BUST 1''?-r?-*-''\f WH? |
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| work_7c2ri3cecverld743zahbx5obe | ? 6T0 6WC I I 8C NICE- OON T> fh X IH OTOLR VJOftObl[>?* U.. |
| work_7c2ri3cecverld743zahbx5obe | ? 7 A*jssJ i- i< ̂rfi^s\ r^rt, U*JGI| hwwww''V^i> I i^''/jH"II^-*? |
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| work_7c2ri3cecverld743zahbx5obe | ? fcjOW M? |
| work_7c2ri3cecverld743zahbx5obe | ? fcjOW M? |
| work_7c2ri3cecverld743zahbx5obe | ? iP^-? |
| work_7c2ri3cecverld743zahbx5obe | ? iP^-? |
| work_7c2ri3cecverld743zahbx5obe | ?\ HflH? |
| work_7c2ri3cecverld743zahbx5obe | ?\ HflH? |
| work_7c2ri3cecverld743zahbx5obe | All this makes even Bart a little nervous; he asks his dad,"Are you sure this is art and not vandalism?" |
| work_7c2ri3cecverld743zahbx5obe | An artist?" |
| work_7c2ri3cecverld743zahbx5obe | DOUJH, MISSUS 0%HOOTCHiY/~|B|^HB Inn? un sujctTv J I** w* owns to set moo I i^vu. |
| work_7c2ri3cecverld743zahbx5obe | Elzie Segar, Thimble Theatre, 1930(? |
| work_7c2ri3cecverld743zahbx5obe | His wife, Marge, agrees:"You? |
| work_7c2ri3cecverld743zahbx5obe | I I"M l\\^HPI? |
| work_7c2ri3cecverld743zahbx5obe | If immaturity is a source of both big trouble and great creativity, do we give up creativity in order to eliminate immaturity? |
| work_7c2ri3cecverld743zahbx5obe | Ji/ Vl/ jj^HB*** cWB If? V I I.^V T"R""''*** ̂ r?^^^H^C% I I''Y ̂^^^BFi jH&Sl I lift j^^ A Mil I''iTPMai''E I Hi-V f* T^^H^k X\f\?^^M FT:! |
| work_7c2ri3cecverld743zahbx5obe | Ji/ Vl/ jj^HB*** cWB If? V I I.^V T"R""''*** ̂ r?^^^H^C% I I''Y ̂^^^BFi jH&Sl I lift j^^ A Mil I''iTPMai''E I Hi-V f* T^^H^k X\f\?^^M FT:! |
| work_7c2ri3cecverld743zahbx5obe | Ji/ Vl/ jj^HB*** cWB If? V I I.^V T"R""''*** ̂ r?^^^H^C% I I''Y ̂^^^BFi jH&Sl I lift j^^ A Mil I''iTPMai''E I Hi-V f* T^^H^k X\f\?^^M FT:! |
| work_7c2ri3cecverld743zahbx5obe | Leonardo da Vinci''s drawing of human proportions punches him; Picasso''s three musicians shoot him with machine guns; a Salvador Dal? |
| work_7c2ri3cecverld743zahbx5obe | See Els Hoek,"Mondrian in Disneyland,"Art in America 77( February 1989): 137- 43, 181. e S I? 1 Akbar and Jeff. |
| work_7c2ri3cecverld743zahbx5obe | See, for example, Yasco Horsman,"Will Comics Ever Grow Up?" |
| work_7c2ri3cecverld743zahbx5obe | These words express bluntly what Homer''s question("Why does art hate me?") |
| work_7c2ri3cecverld743zahbx5obe | To offer another example, at this same opening we find Homer?the outsider? |
| work_7c2ri3cecverld743zahbx5obe | Upon waking, he asks Marge,"Why does art hate me? |
| work_7c2ri3cecverld743zahbx5obe | V fv? |
| work_7c2ri3cecverld743zahbx5obe | V* et u> w, ̂ JhS"3*******",?^1;!''" |
| work_7c2ri3cecverld743zahbx5obe | Where does this leave us? |
| work_7c2ri3cecverld743zahbx5obe | Who is an artist?'' |
| work_7c2ri3cecverld743zahbx5obe | Who is this art dealer? |
| work_7c2ri3cecverld743zahbx5obe | _ Thimble Theatre_^^ IPCPLfE.IF?O0U*MTMt)/ VJLT&? |
| work_7c2ri3cecverld743zahbx5obe | f/\?? |
| work_7c2ri3cecverld743zahbx5obe | f/\?? |
| work_7c2ri3cecverld743zahbx5obe | he shouts,"What''s he doing in a museum? |
| work_7c2ri3cecverld743zahbx5obe | jJS) I* I''ll''^***s''iW?Hl]Ji I"FSS IpJ? Tl r?. |
| work_7c2ri3cecverld743zahbx5obe | jJS) I* I''ll''^***s''iW?Hl]Ji I"FSS IpJ? Tl r?. |
| work_7c2ri3cecverld743zahbx5obe | love? |
| work_7c2ri3cecverld743zahbx5obe | too moch I f? c# v gcmti?*i**4. |
| work_7c2ri3cecverld743zahbx5obe | y f1^ vHH i V2v?'' |