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_275lqpwsmffyjcjxeejrti4o2e | Peut- on discuter d’une génération symboliste dans la sculpture roumaine? |
| work_3lym6twa6rbvljmaj4cibpa3h4 | What exactly is the great change that has taken place here? |
| work_aaej5rkaobf5bozvyiwvz7xhvy | Why are similar trends seen in the three panels? |
| work_bfxehehyr5gm7ft7kk7kuy3hdy | What does that mean? |
| work_cjgprk5t6vevrmknjcvmxnhuy4 | But what? |
| work_5y5xlu2k2vcqnojleydd6aicb4 | It is also the reply many will give to the question why now, why this unwelcome silence from a voice that still had so much to say? |
| work_6deeimjrfve7bpjcc77u45bode | Do you think your match is made in heaven? |
| work_atfe4r6swvda3ord24qhecdmvu | Daniel Ferrer, “ Le Matériel et le Virtuel: Du Paradigme Indiciaire à la Logique des Mondes Possibles, ” in Pourquoi la Critique Génétique? |
| work_6usyt4f6c5cmfa6tctfemo6bwy | ), “ Fragment, montage- démontage, collage- décollage, la défection de l’œuvre? ”, coll. |
| work_bmexjj4vujemdjpthmsprsijoy | How to introduce larger forces from one plane into another? |
| work_b4nloffu35h6ln2oqmuqxgubpy | How would such an analogy refract into the design process? |
| work_cktbuccfhndwlm3imnhbwcxaxy | 4 N U C L E A R S P E C T R A: A D U S T Y T O R U S S I G N AT U R E? |
| work_2r7krepbu5dfbo62iz6g2csqfe | 584 Crisanta Oana Moldovan/ Procedia- Social and Behavioral Sciences 92( 2013) 582 – 587 But is it possible? |
| work_2i25ljjs3bb4xg7bkujugnrqhi | 4, “ Voulez- vous jouer à la vie? ”, p. 31- 41. |
| work_2i25ljjs3bb4xg7bkujugnrqhi | Photographies de mode ou images simultanées? |
| work_2sa7xuq3angurk6nwkbp7bysu4 | What do you learn from that? |
| work_4qh2yj2crffy5cmn7ad6fpmlby | But what happens when, unlike a French garden, the garden is outcropped and the landscape is left to sway and stir as it may? |
| work_eyttdmp5hba2dgjgj6ay2x5pna | 김재웅 역, 『( 어떻게 이해할 까?) |
| work_f5wdwlg6n5gankff3pdo7gztvq | Keywords: galaxies: distances and redshifts — galaxies: luminosity functions — galaxies: mass function — galaxies: statistics 1 Why Go Deep? |
| work_fayvipl3anchbipevihencnxgy | Ravin JG, Hartman JJ& Fried RI, Mark Rothko''s paintings, suicide notes?, Ohio State Med J. |
| work_bnpxoymfibfzjjl3lmushns4gu | Before turning to what we know of Russolo ’s music, what of the music that has not survived? |
| work_frymu6uqqbg2lhypatlm3bqxee | The new UNESCO Convention on Cultural Diversity: a counterbalance to the WTO? |
| work_6k437otfhneuxpmvzismff5i7a | Since we can try to break with the hand gesture habit in- herited from drawing and painting, why not to try other gestures? |
| work_6k437otfhneuxpmvzismff5i7a | This raised the major question: what could be con- sidered art? |
| work_fcegkxyjc5afdgmzoo5j2pjo7y | Why this blind spot? |
| work_6r74ib7c7vanhb2rk6kpzuewla | MIRKO KUJAČIĆ, FISHERMEN, 35 X 58, OIL PAINTING, NOT DATED( CIRCA 1930? |
| work_6r74ib7c7vanhb2rk6kpzuewla | Mirko Kujačić, “ Fishermen ”, 35 x 58, oil painting, not dated( circa 1930? |
| work_46wmz2hmybd3bp23vpzkxqofpi | Goetzmann, W. “ How costly is the fall from fashion? |
| work_46wmz2hmybd3bp23vpzkxqofpi | “ Follow your heart? |
| work_3zxu3jp4trfzxfp52z3ukyipnu | Does Kandinsky relate to the rise of quantum mechanics? |
| work_3zxu3jp4trfzxfp52z3ukyipnu | How does cubism relate to the Principia Mathematics? |
| work_3zxu3jp4trfzxfp52z3ukyipnu | What does CCzanne have in common with non- Euclidean geometry? |
| work_htdueaqayrg43kbaall6p7vz3a | Peer relations and later personal adjustment: are low- accepted children at risk? |
| work_hukclk6fvvh2lerjpzybtsxnry | Lomas D. Remedy or poison? |
| work_aaneeu7j45gitmphlfnsvdvexi | Does Kandinsky relate to the rise of quantum mechanics? |
| work_aaneeu7j45gitmphlfnsvdvexi | How does cubism relate to the Principia Mathematics? |
| work_aaneeu7j45gitmphlfnsvdvexi | What does CCzanne have in common with non- Euclidean geometry? |
| work_brcdjjw7mzga5ha57lkr7kz5qy | I just spoke to persons on the street and said, ‘ Do you mind if I take this picture? ’ And they did n’t care. |
| work_brcdjjw7mzga5ha57lkr7kz5qy | What is the organizing principle behind the publication of these various books of Welty photographs? |
| work_brcdjjw7mzga5ha57lkr7kz5qy | What were the criteria for choosing these particular images? |
| work_cjalbmpehjec3k35fxyffpvnee | :+41- 61- 228- 4085 † Presented at the International and Interdisciplinary Conference IMMAGINI? |
| work_cjalbmpehjec3k35fxyffpvnee | What makes us recognize a shoe and what do we need to relinquish the expectation of seeing an arrangement that only consists of shoes? |
| work_cjalbmpehjec3k35fxyffpvnee | Y Boehm, G.; der Bilder, D.W. Was ist ein Bild? |
| work_6pwnqwplefcxndpvaxg7uenqiy | Does Kandinsky relate to the rise of quantum mechanics? |
| work_6pwnqwplefcxndpvaxg7uenqiy | How does cubism relate to the Principia Mathematics? |
| work_6pwnqwplefcxndpvaxg7uenqiy | What does CCzanne have in common with non- Euclidean geometry? |
| work_64lcqb56r5gbnpg4ckbsp4viiu | Similarly how 1 important 1 are composers such as Ravel, Milhaud, Hindemith, Dallapiccola, Britten and so on? |
| work_geqtmszy6nhkdfeupzkzylbkse | • How do time- invariant and time- variant characteristics affect the returns from paintings? |
| work_j7xw63zhkfhnlj5zfplc5frrha | AlgorithmS AS grAPhic ScoreS What is an algorithm if not the con- ceptual embodiment of instrumental rationality within real machines? |
| work_dbllj5j3lvguri2ppeiimlqc4e | Primitive and Italian? |
| work_dbllj5j3lvguri2ppeiimlqc4e | See also, De Chirico to Ardengo Soffici, 30 December 1914(? |
| work_2rqzebt6erhspbnlqq2qb7g62e | Qu- est- ce- que … le Cubisme? |
| work_2rqzebt6erhspbnlqq2qb7g62e | Yet are we sure about that? |
| work_3mfnjd754bbahlbp2z75dzhk7y | Are they fit for purpose? |
| work_3mfnjd754bbahlbp2z75dzhk7y | But what does user testing of RMP Summaries show? |
| work_3mfnjd754bbahlbp2z75dzhk7y | So, how can we best describe numerically the chance of benefit, and where can we source that information? |
| work_3mfnjd754bbahlbp2z75dzhk7y | What words would they understand to describe the process? |
| work_dxkzz4xdynea3f34sgkki76oxi | However, are there really structural differences between high art and low art? |
| work_dxkzz4xdynea3f34sgkki76oxi | Is the distinction between high culture and low culture is revealed? |
| work_dxkzz4xdynea3f34sgkki76oxi | Why does pragmatism seek to empirically assess the truth? |
| work_k2mgugqiorgfdjzpg4ipsnmi3m | Question: Which image in each pair gives more essential information about the content for each given pair? |
| work_avjmuievxbddblbh33u6nyuoba | 6 Georges Roque,"¿ Qué onda? |
| work_avjmuievxbddblbh33u6nyuoba | Contents Introduction Barradas and Vibrationism Torres- García, a Vibrationist painter? |
| work_avjmuievxbddblbh33u6nyuoba | Torres- García, a Vibrationist painter? |
| 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_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_bdzssr3atffmhdv43idtbbsspe | 12:38:17 112 RÉGIS LADOUS ou orner la liturgie? |
| work_bdzssr3atffmhdv43idtbbsspe | 12:38:21 LA CRUCIFIXION TRANSPORTÉE 123 b. Quel rapport au politique? |
| work_bdzssr3atffmhdv43idtbbsspe | S’agit- il d’une résurrection? |
| work_bdzssr3atffmhdv43idtbbsspe | S’agit- il pour autant d’une œuvre sécularisée? |
| work_ksuc5aiwajhmtkfhosxgv6gggi | Lou Taylor, “ Doing the Laundry? |
| work_6m6rbfyfj5ar3cxdi4zgt2fvq4 | 1214 Editor ’s Column[ P M L A what we “ actually ” witness? |
| work_6m6rbfyfj5ar3cxdi4zgt2fvq4 | How do these forms of response deter- mine the use to which images are put? |
| 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_6axtikt5drfkfpoi7fwruaj3lm | Ahlak ve estetik yargıların kaynağı ve geçerliliği nedir? |
| work_6axtikt5drfkfpoi7fwruaj3lm | Stella bununla ne yapmak istiyordu? |
| work_6axtikt5drfkfpoi7fwruaj3lm | Tractacus’ta sorduğu soru şudur: dilin var oluşunu sağlayan şey, dilin olanağı nedir? |
| work_ilaebg6jyzg6nkbnfyyb4aaspa | So where is this fourth dimension? |
| work_h7eu2qu6yzgjbepz4u3kv3zzlu | 31 Papagno C. Progressive impairment of constructional abilities: a visuospatial sketchpad deficit? |
| work_h7eu2qu6yzgjbepz4u3kv3zzlu | On this blue, there are some light sources confined to the right half of the painting( sun, moon?) |
| work_lo7hht4w7jappdaax77gx6dlyy | ABSTRACTS Delayed Discovery or Willful Forgetting? |
| work_2wy23a6rmvawfd6nozdlua63um | Tradition or modernity? |
| work_dgezxywigrebnk5qkvtp3uu3ju | Or does it? |
| work_dgezxywigrebnk5qkvtp3uu3ju | Whence this subversive power? |
| work_jimi5lzd4zfenfusmkq3vzgr5q | What does the experience we call ‘ cinema ’ turn into when it is facilitated through a smartphone? |
| work_4fyt37tolbd4ljubsi2ik553tm | Do cameras also process information nontrivially? |
| work_4fyt37tolbd4ljubsi2ik553tm | Does this make the eye a tool, or the camera an organ — and is the distinction meaningful? |
| work_4fyt37tolbd4ljubsi2ik553tm | Rosetta Stone? |
| work_4fyt37tolbd4ljubsi2ik553tm | What new kinds of art become possible when we begin to play with technology analogous not only to the eye, but also to the brain? |
| work_h5abgqoeuzcabcwj4yg7oidoie | How does the mass of the warm and hot gas vary from region to region? |
| work_h5abgqoeuzcabcwj4yg7oidoie | How does this star formation affect the surrounding molecular gas? |
| work_h5abgqoeuzcabcwj4yg7oidoie | How is it heated and what is the dis- tribution of the gas temperatures? |
| work_dnvtcbcjjbbbplarhep3eg6wye | Bishop C( 2013) Radical Museology or, What ’s ‘ Contemporary ’ in Museums of Contemporary Art? |
| work_dnvtcbcjjbbbplarhep3eg6wye | Esche C( 2011) Making art global: A good place or a no place? |
| work_dnvtcbcjjbbbplarhep3eg6wye | Latour B( 2002) What is iconoclash? |
| work_dnvtcbcjjbbbplarhep3eg6wye | Or is there a world beyond the image wars? |
| work_4c7fwu7xc5eollxmmdo5pfb5om | ( 2009), ¿ Olvidar a Rodin? |
| work_4c7fwu7xc5eollxmmdo5pfb5om | ( 2009), ¿ Olvidar a Rodin? …, op. |
| work_4c7fwu7xc5eollxmmdo5pfb5om | C. Chevillot( 2009), « El pro- blema era Rodin », a Chevillot, ¿ Olvidar a Rodin? …, op. |
| work_4ukxjyw4c5bzva5rp6pujd4vue | GigaScience( 2015) 4:38 9 http://www.ncbi.nlm.nih.gov/Traces/assembly/assmbrowser.cgi? |
| work_4ukxjyw4c5bzva5rp6pujd4vue | How many species on Earth? |
| work_4ukxjyw4c5bzva5rp6pujd4vue | Which clustering algorithm is better for predicting protein complexes? |
| work_mevee444jbcu5j3f4ubuafejsm | The question remains, how- ever, where does one locate ‘ ‘ the real ’ ’ in any text? |
| work_hqldezt47zh77osmtolncbctrm | Why YMSet Shows Best Performance? |
| work_hqldezt47zh77osmtolncbctrm | Why YMSet Shows Best Performance? |
| work_ka5oj2wolrfdrkblmcwgsh67eq | Natalia Goncharova Northumbria Research Link Citation: Chaplin, Tracey, Clark, Robin and Singer, Brian( 2014) Early 20th C Russian painting? |
| work_ka5oj2wolrfdrkblmcwgsh67eq | http://nrl.northumbria.ac.uk/policies.html Early 20th C Russian Painting? |
| work_i7i4jsienzdctn4kuemqhvmccu | A history( of design? |
| work_i7i4jsienzdctn4kuemqhvmccu | of cinema? |
| work_kg4veu57rffyrbimseo7llgdga | But what do the images of “ false ” photographs on architecture and its representation tell us? |
| work_mhzge6dyz5fh3g2y4hipfbgkfu | How then is one to situate Céline ’s exact position between the avant- garde and the “ return to order ” of 1930s realism? |
| work_c6zvkubskfefhg5allbia5rzma | Afraid? |
| work_c6zvkubskfefhg5allbia5rzma | Of what? |
| work_c6zvkubskfefhg5allbia5rzma | [ …] Whereas our fathers asked, “ How did the individual harmonize with his world? |
| work_cecd5xfg4ne5tcwasixvyvd4d4 | Brancusi n’a- t- il pas repris ces thèmes principaux pour les retravailler pendant des années dans de longues séries? |
| work_cecd5xfg4ne5tcwasixvyvd4d4 | L’ébauche du 115 portrait du sculpteur sur le dos de cette toile serait- elle un pur hasard? |
| work_cecd5xfg4ne5tcwasixvyvd4d4 | Où allons- nous? |
| work_cecd5xfg4ne5tcwasixvyvd4d4 | Que sommes- nous? |
| 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_mj22nbcserbizcvqj7ag5kml5q | Qu''est- ce qu''une nation? |
| work_mkpr3g5edbalhh3vgk63lcrkc4 | In summary, the papers I could read are excellent examples of the ongoing technical evo- lution( revolution?) |
| work_ktpw4hxc2bgeblqj5a6q5iihsi | What is interesting? |
| work_54uuqx2a6bgztdciommetdxqqe | And what, if anything, has this got to do with histori- ography in which, until relatively recently, personal memory has only played a bit part? |
| work_54uuqx2a6bgztdciommetdxqqe | In what would this success consist, and what would be its benefit? |
| work_54uuqx2a6bgztdciommetdxqqe | What would it mean to have – what kind of sentences would follow on from having – some distance from one ’s own past? |
| work_iolbob2zmfdj3ftjwxa5kemj5m | Passos do all these details to put readers in the picture: “ What flag? ’ ‘ The silk American flag. ’ ‘ No dear it ’s all put away. |
| work_iolbob2zmfdj3ftjwxa5kemj5m | ‘ What ’s that in her hand? ’ ‘ That ’s a light, dear … Liberty enlightening the world … And there ’s Governors Island the other side. |
| work_irxqjo24nvhghas6khh4ngowya | Does Kandinsky relate to the rise of quantum mechanics? |
| work_irxqjo24nvhghas6khh4ngowya | How does cubism relate to the Principia Mathematics? |
| work_irxqjo24nvhghas6khh4ngowya | What does CCzanne have in common with non- Euclidean geometry? |
| work_mvamwbm4rja6tddlmkvjblatpi | Mere Illustration? |
| work_kwfl4iul45cozal3vf7ftnf4ie | It has to be shortened, but only a little bit! ” “ Just a little bit, I tell you! ” Or: “ Do you want the red to stand out more? |
| work_kwfl4iul45cozal3vf7ftnf4ie | Where? |
| 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_73kj5zqdvfdrdpkps2tku4cpuq | But Haacke himself has works in the Generali Foundation collection, and who can blame him? |
| work_73kj5zqdvfdrdpkps2tku4cpuq | But when art meets mathematics, why does the result resemble nothing so much as high- tech advertising? |
| work_73kj5zqdvfdrdpkps2tku4cpuq | Who was the first to realize Grothendieck was in need of rehabilitation? |
| work_asbknngcxjfy5jzcqih3aqbcaa | Can the arts and humanities contribute significantly to brain studies? |
| work_asbknngcxjfy5jzcqih3aqbcaa | Can the arts and humanities contribute significantly to the study of the brain? |
| work_l5uts7gievbsbgpzfbnb2tjdca | and( 2) when should this information be updated? |
| work_athmodoz4fgdjlsyxoitiilfri | Bunun yanında çeşitli sorunlara da ışık tutarlar: birbirimizle nasıl iletişim kurarız? |
| work_athmodoz4fgdjlsyxoitiilfri | Nasıl hareket ederiz? |
| work_athmodoz4fgdjlsyxoitiilfri | Nasıl yaşarız? |
| 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_n6rnsy7aeje5zf72phcbr7w6be | ( p. 69) When we speak of the odor of vanilla or strawberry as sweet are we speaking in metaphor rather than reporting an actual olfactory sensation? |
| work_cfgvouqxtfebdkul25qusp5tcq | ADAM, Leonhard, ‗Has Australian Aboriginal Art a Future? ‘, Angry Penguins, 1944, 42- 50. |
| work_cfgvouqxtfebdkul25qusp5tcq | BURKE, Joseph, ‗What is Art Training Worth? ‘, Australian Artist, 1: 3, Autumn 1948, 18- 21. |
| work_cfgvouqxtfebdkul25qusp5tcq | BUTLER, Rex, ed, What is appropriation? |
| work_cfgvouqxtfebdkul25qusp5tcq | PHILP, Angela, ‗Life and art? |
| work_cfgvouqxtfebdkul25qusp5tcq | [ 1970s?]. |
| work_cfgvouqxtfebdkul25qusp5tcq | with numerous engravings and diagrams, Melbourne, Sydney, Adelaide: Cole''s Useful Books, n.d.[ late 19th century?] |
| work_4vu2pkxg4zdhdicvfirfy6tzzi | By putting key passages from The Logic of Sensation, The Fold: Leibniz and the Baroque and What is Philosophy? |
| work_4vu2pkxg4zdhdicvfirfy6tzzi | Composition In What is Philosophy? |
| work_4vu2pkxg4zdhdicvfirfy6tzzi | Deleuze, Gilles and Guattari, Félix( 1994) What is Philosophy?, trans. |
| work_4vu2pkxg4zdhdicvfirfy6tzzi | However, by taking the Leibnizian subtext in Deleuze and Guattari‟s account of art as the composition of blocs of sensation in What is Philosophy? |
| work_552srvuh5zf3laddryh56ai5wy | Yerleştirme: Heykelin Dönüşümü mü?. |
| work_dhgy45sganeclajnmjbluxv6ka | As nonsignifying? |
| work_dhgy45sganeclajnmjbluxv6ka | Cut off from their goal? |
| work_dhgy45sganeclajnmjbluxv6ka | Derrida cuts off his reading with a series of disturbing questions:"How could productions of art appear to us as finalities with- out end? |
| work_dhgy45sganeclajnmjbluxv6ka | So, what do we learn from the disciples? |
| work_dhgy45sganeclajnmjbluxv6ka | What, then, happens on its outer limits? |
| 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_nfslpsv45zbtdceyjke5v4tglq | Of course, the degree of good feeling again surges past the Uncanny Valley but such point is difficult to achieve using robotics(?). |
| work_nfslpsv45zbtdceyjke5v4tglq | Who, then, will make images in the digital age? |
| work_lvidswjm6vhujafovp465pajka | 14 References Banerjee, A. and Munshi, K.( 2004), ‘ How Efficiently is Capital Allocated? |
| work_lvidswjm6vhujafovp465pajka | What should be done? |
| work_lvidswjm6vhujafovp465pajka | Why does it happen and how should one cure it? |
| work_ixnssjlu4nfsdp6jiy5upane54 | ( serie que sais- je? |
| work_ixnssjlu4nfsdp6jiy5upane54 | ( serie que sais- je?). |
| work_ixnssjlu4nfsdp6jiy5upane54 | Did I say that she felt deep and continuous love about me? |
| work_ixnssjlu4nfsdp6jiy5upane54 | How could I go over? |
| work_5x7lu2qzzvf3roisp5h5ut2hna | ( 1992),"Whom or what does the representative individual represent?" |
| work_5x7lu2qzzvf3roisp5h5ut2hna | More generally, what do we do if di¤erent theories make mutually inconsistent claims about the same phenomenon? |
| work_5x7lu2qzzvf3roisp5h5ut2hna | To take an example outside economics, should we welcome creationism as an alternative to evolution? |
| work_5x7lu2qzzvf3roisp5h5ut2hna | Why invest in more machines if the � rm already has an abundance of unused capacity? |
| work_5x7lu2qzzvf3roisp5h5ut2hna | [ 4] Davis, J.B.( 2007) � Why is economics not yet a pluralistic sci- ence? �, post- autistic economics review, issue no. |
| work_iufxynmjnjazhezoh7l52ux7se | Can we attract students into network sciences by appealing to the aesthetic beauty of networks? |
| work_iufxynmjnjazhezoh7l52ux7se | Then, the question is how to deconstruct an integer? |
| work_iufxynmjnjazhezoh7l52ux7se | [ 16] R. L. Taylor, “ Cubism — Abstract or Realist?, ” Philosophy and the Visual Arts, ” in Cubism — Abstract or Realist, pp. |
| work_iufxynmjnjazhezoh7l52ux7se | [ 17] D. A. Gall, “ Fragments of what? |
| work_l3nkc4wq4nb3npc2orptvqu5m4 | Does Kandinsky relate to the rise of quantum mechanics? |
| work_l3nkc4wq4nb3npc2orptvqu5m4 | How does cubism relate to the Principia Mathematics? |
| work_l3nkc4wq4nb3npc2orptvqu5m4 | What does CCzanne have in common with non- Euclidean geometry? |
| work_ftymkrhfirevdmdt6om36mndxy | 4 Jonathan Eburne and Rita Felski, “ What is an Avant- Garde? ” New Literary History 41.4( 2010). |
| work_ftymkrhfirevdmdt6om36mndxy | And even then, what about Gertrude Stein, arguably the most radical writer of the Dada period[ …]? |
| work_ftymkrhfirevdmdt6om36mndxy | “ What is an Avant- Garde? ” Special issue, New Literary History 41, no. |
| work_c54a6wz43ngabdd3bh7lzdbtni | And what is its relationship to earlier fictive artwork? |
| work_c54a6wz43ngabdd3bh7lzdbtni | So why is this sort of work appearing within the new media arts? |
| work_c54a6wz43ngabdd3bh7lzdbtni | Would the fall never come to an end? |
| work_c54a6wz43ngabdd3bh7lzdbtni | Yet I wondered, Who is Ros- alind Brodsky? |
| work_c54a6wz43ngabdd3bh7lzdbtni | “ I wonder how many miles I ’ve fallen by this time? ” she said aloud. |
| work_nznr2jjkdrhwdnjtvrdgivvur4 | How would their views differ if they regarded sculpture, not as an attempt to find an equivalent to painting, but as having its own aims? |
| work_nznr2jjkdrhwdnjtvrdgivvur4 | One must also ask, to what degree did practicalities play a role in this suppression? |
| work_qayquofmsrdhdgblyhfzo6snrq | Why did the revolutionary artist Zhang Ding like Picasso, Matisse and other western modern art masters? |
| 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_2rpmdje2bndddi4qda44y5pilu | After the Civil War, was the rising of the Klu Klux Klan of the rural south to lead protest from having equality for black America? |
| work_2rpmdje2bndddi4qda44y5pilu | Conclusion Why must man live in captivity? |
| work_2rpmdje2bndddi4qda44y5pilu | Is an act to practice freedom of speech without breaking the law? |
| work_2rpmdje2bndddi4qda44y5pilu | Was slavery an act of prudery or an act of repugnance? |
| work_2rpmdje2bndddi4qda44y5pilu | What does it mean to be black? |
| work_2rpmdje2bndddi4qda44y5pilu | Why do we live in isolation of so much distrust? |
| work_2rpmdje2bndddi4qda44y5pilu | Why is there so much poverty and violence in society? |
| work_2rpmdje2bndddi4qda44y5pilu | Why must we isolate ourselves with hatred predicated to violence? |
| work_3amqjsw36bhq7daxn623owdzji | Can we acquire true knowledge by way of literature? |
| work_3amqjsw36bhq7daxn623owdzji | Do we mean that the work be true to the world, or to the author? |
| work_3amqjsw36bhq7daxn623owdzji | Does that mean that every work matches only one single true inter- pretation? |
| work_3amqjsw36bhq7daxn623owdzji | Is the work of fiction plausible as a whole, do passages in it point to each other and ultimately bear fruit in light of the whole text, and so on? |
| work_3amqjsw36bhq7daxn623owdzji | Is there truth through fiction? |
| work_3amqjsw36bhq7daxn623owdzji | Knowledge about the world outside the work? |
| work_3amqjsw36bhq7daxn623owdzji | Lastly, should our view cover all works of literature? |
| work_3amqjsw36bhq7daxn623owdzji | Ought we not, rather, gather from the work the type of truth that it procures, and not from the world that it is said to be true about? |
| work_jicijouvzvddld5avarduspc3e | How does it function in stimulating artistic and scientific activity? |
| work_jicijouvzvddld5avarduspc3e | Once externalized, however, does the image transform? |
| work_jicijouvzvddld5avarduspc3e | What is the significance of such imagery? |
| work_jicijouvzvddld5avarduspc3e | Why the images, metaphors, pictures? |
| work_jicijouvzvddld5avarduspc3e | “ Why is the unconscious so loathe to speak to us? |
| work_jicpyjza2zd4bazvgx6lovkujm | Marshall, M. Francis Bacon: Ancient or Modern? |
| work_oc6bznrze5fw5a6h6bvgxqcvz4 | Rather than seeing this as a part of the process of enquiry he saw it as his own particular problem; was he an inadequate researcher? |
| work_oc6bznrze5fw5a6h6bvgxqcvz4 | Why articulate the mess? |
| work_jsgoqpfwozbxrbmfv5akzkyobm | How did Matiushin''s"impressionism"differ from Kul''bin''s? |
| work_jmdhaaa3d5eqjcgxz5slmafajm | But why ca n’t art be understood as a way to make use of a publicly owned property? |
| work_jmdhaaa3d5eqjcgxz5slmafajm | Could, eventually, artistic work re- signify underutilized urban space? |
| work_jmdhaaa3d5eqjcgxz5slmafajm | Is it a Crime? |
| work_jmdhaaa3d5eqjcgxz5slmafajm | Why? |
| work_jmdhaaa3d5eqjcgxz5slmafajm | Yet, what exactly do we mean by this? |
| work_nma6oispgvb2vl45jgnmlvzgoq | Bel ik u wakker, beste man? |
| work_nma6oispgvb2vl45jgnmlvzgoq | But Sanders ’s recent biography, Bel ik u wakker, beste man?, shows that, in fact, Moonen was a tragic figure. |
| work_nma6oispgvb2vl45jgnmlvzgoq | Still, in her biography it remains unclear who she actually was: a spy, a countess, or just a thief? |
| work_fpqir4w72babtph6fexvvwnpfa | 3/2013 www.avant.edu.pl/en 77 Simple Movements, Stylised Gestures What, then, were the specific movement qualities associated with Sacre? |
| work_fpqir4w72babtph6fexvvwnpfa | The Earliest Giselle? |
| work_fpqir4w72babtph6fexvvwnpfa | What is Art? |
| work_peetdbq6rjb7tmykaumq4y5ksu | The future of science … is Art? |
| work_igf7rogp3ffpheyezbclx4xy4a | And what is more exact than a machine- made material? |
| work_igf7rogp3ffpheyezbclx4xy4a | O i l on Canvas, 17? |
| 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_76k5ybqa2zd5ljx6jgahvhjk2q | Are algorithms important in art? |
| work_76k5ybqa2zd5ljx6jgahvhjk2q | But how can you measure the worth of a web search or an electronic file format? |
| work_76k5ybqa2zd5ljx6jgahvhjk2q | H É B E R T How have you interacted with researchers? |
| work_76k5ybqa2zd5ljx6jgahvhjk2q | How did you define the ‘ algorist ’ movement? |
| work_76k5ybqa2zd5ljx6jgahvhjk2q | How did your style develop? |
| work_76k5ybqa2zd5ljx6jgahvhjk2q | Which do you prefer? |
| work_76k5ybqa2zd5ljx6jgahvhjk2q | e- mail: dendron.15@gmail.com How did you become fascinated by algorithms? |
| work_gwk2grg5undz3ijznwezoh6o5a | After the Summer of the Hologram, What ’s Next? |
| work_gwk2grg5undz3ijznwezoh6o5a | How Is Holography Art? |
| work_gwk2grg5undz3ijznwezoh6o5a | Or will they flicker in and out, trendily, never surpassing kitsch? ”( Prickett 2012). |
| work_gwk2grg5undz3ijznwezoh6o5a | The pioneering holography artist, Margaret Benyon, quoted Ian Lancaster in her 1994 PhD thesis, How Is Holography Art? |
| work_gwk2grg5undz3ijznwezoh6o5a | Why Display? |
| work_pldofzfcwnfnbcoaq7lwyhzzci | entre la grille Paul Strand, frontalité et engagement Études photographiques, 13| juillet 2003 9 et la fenêtre? |
| 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_shp3zxdswzfaffv6bvet5g5xum | Critical thinking: repackaging or revolution? |
| work_kxefpnvbnfblfb6bj5udiwsd6e | 34 Chytil 1919; Vojtěch Birnbaum, ʽZápad nebo Východ?ʼ( West or East?). |
| work_hcwnsav7pnfsxexfztstqxj76q | Is this King ’s eye behind the camera, seeking the modernism she had discussed with the Steins in Paris, and also taught? |
| work_t2omzu37qbhorfinel7pxnc73i | (?). |
| work_t2htj46bineddewmhk73pqm6wi | What might we mean by a moment in this context? |
| work_tceqre6zufbqtbs622wyplrr6a | Doersch, C., Singh, S., Gupta, A., Sivic, J., Efros, A.A.: What makes paris look like paris? |
| work_kffgnh4sznggdoppkolzmd2xma | Where do I work? |
| work_kffgnh4sznggdoppkolzmd2xma | Where do I work? |
| work_kffgnh4sznggdoppkolzmd2xma | Where do I work? |
| work_kffgnh4sznggdoppkolzmd2xma | Where do I work? |
| work_kffgnh4sznggdoppkolzmd2xma | Where do I work? |
| work_p737pxj5vfgudexhoxuxmd6icq | Неужели мы обречены? |
| work_u7cbox4pvbfnxo77ooefowammq | What does its title mean? |
| work_qstpugqrvzgaxdmw6pvyaqym6m | Did the Abstract Expressionist Hide his Name amid the Swirls and Torrents of a Legendary 1943 Mural? ” en Smithsonian Magazine. |
| work_oenxgy65inhdhk6fmdnb4rwy2u | Are we still strangers? |
| work_oenxgy65inhdhk6fmdnb4rwy2u | Can we become friends? |
| work_oenxgy65inhdhk6fmdnb4rwy2u | Will we be lovers? |
| work_uhlbu33k3vbpdgfeoxlxpqdkmy | One Nation or One World? |
| work_o6q6hu52yre6tfwaylago54cs4 | Est- ce à dire que les[ p. 108] sérigraphies de Warhol participent de la diversité des usages affectant à l''époque les clichés de Moore? |
| work_o6q6hu52yre6tfwaylago54cs4 | He said what do you mean? |
| work_rusqv4ak7ndpzcdmwrid6bvn5q | How do we find weights for the pixels in the lower right corner? |
| work_rusqv4ak7ndpzcdmwrid6bvn5q | What should happen in the lower corners? |
| work_txnapspsjne5ffda4xohgvfeqi | To Louis Parrot he had declared: “ Poems? |
| work_ltbt4iekkzhvngtnqez57ylgfq | 69 Richard Meyer, ‘ Prehistoric Modern( 1937) ’ in What Was Contemporary Art?, Cambridge and London: The MIT Press, 2013, 115- 189. |
| work_u5wu6pq3tjc5xf2c7hyqfppyue | Can useful structures be grown rather than built? |
| work_s5d3k4wvwfhplelgm25n6hiqre | James, A( 2009) Academies of the apocalypse? |
| work_s5d3k4wvwfhplelgm25n6hiqre | London: Sage O’Neill, M.( 2008) Transnational Refugees: The Transformative Role of Art? |
| work_nclh5nxxxjfndman2um5qu4qka | If this is the case, though, are the images even necessary? |
| work_nclh5nxxxjfndman2um5qu4qka | Perhaps, but what about that formal aesthetic? |
| work_s4tcslocarhbbgqwbmhduvoljm | Do art specialists form pre- sale estimates? |
| work_s4tcslocarhbbgqwbmhduvoljm | Do art specialists form unbiased pre- sale estimates? |
| work_khvrfiqc4rai5fdugjkkwk73te | And what is with the café- crèmians and Blockbondians, did the number of their fatal visits to the café decrease? |
| work_khvrfiqc4rai5fdugjkkwk73te | What, then, are the basic mechanisms of the manufacture of stereotypes that are present in Kosor ’s international plays? |
| work_vpnv6znmcjaddmzzogqbm7trjy | ABSTRACTS Delayed Discovery or Willful Forgetting? |
| work_vold6e77lbdmzn6ego7usxebme | – What is space? ’ asked Christopher. |
| work_nqv5mxlcrffm5pzxgexpgk6mlq | Deux interrogations clôturaient l’argumentaire: «[ …] comment ces œuvres peuvent- elles être comprises et défendues de nos jours? |
| work_nqv5mxlcrffm5pzxgexpgk6mlq | [ …] Que vaut un diagnostic qui laisse tout en l’état et tient le corps souffrant pour défunt? |
| work_ue2m6yg5yjgqnfqktnrl5m7iua | But, in truth, is it the paper that is twisted or the verse? |
| work_ue2m6yg5yjgqnfqktnrl5m7iua | ‘ Apollinaire précurseur des cubistes? ’ La Place d’Apollinaire. |
| work_mvyqwq4y4beudminxgzis3uuxm | How seriously are we to take such a work of art? |
| work_mvyqwq4y4beudminxgzis3uuxm | Progress? |
| work_mvyqwq4y4beudminxgzis3uuxm | What shall I do? ”( 89). |
| work_mvyqwq4y4beudminxgzis3uuxm | What? |
| work_qif525nstzaa3lzea6awzhcuci | :+39- 010- 209- 5863 † Presented at the International and Interdisciplinary Conference IMMAGINI? |
| work_qif525nstzaa3lzea6awzhcuci | What, in fact, means numbering the pages? |
| work_vve73z7hojerlemj5ti3nd56zu | Is it possible that the inner spiral is not illuminated by the AGN, but simply appears to be illuminated due to projection effects? |
| work_thnn5gbdwfgt7aqwfjrvgmraae | W h e n we ask: w h at else is there? |
| work_inbvqx7uzffkbeztagygpjg7sa | How does one, might one, should one, look at images of the mutilated, diseased, disfigured or dead body? |
| work_inbvqx7uzffkbeztagygpjg7sa | To what extent are our responses to these states of embodiment universal – or culturally learnt and regulated within specific contexts of viewing? |
| work_b3pneemtbba5rks3qhctmfbcky | -??. |
| work_b3pneemtbba5rks3qhctmfbcky | -??. |
| work_b3pneemtbba5rks3qhctmfbcky | See the article by Jacqueline Cooke on page?? |
| work_b3pneemtbba5rks3qhctmfbcky | See the article by Jacqueline Cooke on page?? |
| work_b3pneemtbba5rks3qhctmfbcky | ‘ The conservation and documentation of video art, ’ in Modern art: who cares? |
| work_jhyrjr66abffdigevgn4sug5cm | Escher asks himself:"... this work belongs to the realm of mathematics, or to the realm of art?" |
| work_jhyrjr66abffdigevgn4sug5cm | ISSN 2415- 0371( Online) www.socialsciencepublication.com cognition or simple fictions? |
| work_jhyrjr66abffdigevgn4sug5cm | Moreover, how does the subject perceive and represent the reality( geometrical) in which he is immersed( and at the same time trying to understand)? |
| work_jhyrjr66abffdigevgn4sug5cm | Schattschneider( 2010) asks:"How( Escher) did it? |
| work_jhyrjr66abffdigevgn4sug5cm | V. From the perspective of the TL, Escher''s work interpellates: what is actually perceived? |
| work_jhyrjr66abffdigevgn4sug5cm | and the world it pretends to represent? |
| 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_n7c4pyrbmzgv7ebbe6326ab6i4 | 9 Christopher Wilk,"Introduction: What Was Modernism?,"in: Modernism 1914- 1939: Designing a New World, ed. |
| work_n7c4pyrbmzgv7ebbe6326ab6i4 | Why, then, even consider this work in a volume devoted to modernism? |
| work_tunrihlei5fexe5hczy6dyr7ki | Is beau- ty in the perceiver''s processing experience?, ” Per- sonality and Social Psychology Review 8, No. |
| work_waiqiodzkffobho5n3q3mh26oi | 6 Misguided mind? |
| work_bdogznwu5rhsxjrir3ls3tfv74 | ( 1–5) K Do you search on the Web for art- related information? |
| work_bdogznwu5rhsxjrir3ls3tfv74 | ( 1–5) O Would you read an English text for Information Acquirement? |
| work_bdogznwu5rhsxjrir3ls3tfv74 | ( 1–5) P Do you know any featured multimedia guide for modern art in Greek language? |
| work_bdogznwu5rhsxjrir3ls3tfv74 | ( 1–5) Q Would you be interested in a modern art guide in Greek language? |
| work_bdogznwu5rhsxjrir3ls3tfv74 | ( 1–5) R Should a modern art guide involve multimodal content( audio, video etc.)? |
| work_bdogznwu5rhsxjrir3ls3tfv74 | Badea, M.; Florea, C.; Florea, L.; Vertan, C. Can we teach computers to understand art? |
| work_ovtu6mqjpre4pfblxkqjynkedi | 87–114 the turbulent dominions of society, existence, and “ objectivity, ” on the other? |
| work_ovtu6mqjpre4pfblxkqjynkedi | What are those necessities of the medium? |
| work_wlqy7kfqmnejve7l2g2ws3i6mi | Contents A9 Editorial Board A11 Highlights of this issue Editorials 205 Interconnected or disconnected? |
| work_rzkgfz4kezcapoq6xv3r2tjqsu | How does one weigh different visual features to achieve a useful similarity measure? |
| work_rzkgfz4kezcapoq6xv3r2tjqsu | Immediate questions that arise include, but are not limited to: What visual features should be used to encode information in images of paintings? |
| work_rzkgfz4kezcapoq6xv3r2tjqsu | What type of art historical knowledge should be used to optimize such similarity measures? |
| work_rzkgfz4kezcapoq6xv3r2tjqsu | Whopaintedthis painting?, 2010. |
| 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_f7rrehowdndh7ns7o46vhho754 | And why was its period of popularity as a technique of painting so brief? |
| work_f7rrehowdndh7ns7o46vhho754 | But what happens when we view an object? |
| work_f7rrehowdndh7ns7o46vhho754 | Does it help to understand the mechanisms of a visual phenomenon to evaluate it in the context of an artwork? |
| work_f7rrehowdndh7ns7o46vhho754 | If cubism is nec- essarily pleasing, they ask, then why was it ridiculed when it first appeared? |
| work_f7rrehowdndh7ns7o46vhho754 | TECHNOSCIENCE ART: A BRIDGE BETWEEN NEUROESTHETICS AND ART HISTORY? |
| work_f7rrehowdndh7ns7o46vhho754 | TECHNOSCIENCE ART: A BRIDGE BETWEEN NEUROESTHETICS AND ART HISTORY? |
| work_f7rrehowdndh7ns7o46vhho754 | TECHNOSCIENCE ART: A BRIDGE BETWEEN NEUROESTHETICS AND ART HISTORY? |
| work_f7rrehowdndh7ns7o46vhho754 | TECHNOSCIENCE ART: A BRIDGE BETWEEN NEUROESTHETICS AND ART HISTORY? |
| work_f7rrehowdndh7ns7o46vhho754 | Technoscience Art: A Bridge Between Neuroesthetics and Art History? |
| work_f7rrehowdndh7ns7o46vhho754 | What Ailed Goya? |
| work_5idtrfxf2rf4tez2ghofu6fcxe | 31 See https://www.moma.org/collection/works/81524? |
| work_5idtrfxf2rf4tez2ghofu6fcxe | Est- il Cubiste? |
| work_5idtrfxf2rf4tez2ghofu6fcxe | Giovanni Casini was also quite critical in:"A Dealer''s''Dictatorship''? |
| work_5idtrfxf2rf4tez2ghofu6fcxe | The beginning of the end or infinite renewal? |
| work_5idtrfxf2rf4tez2ghofu6fcxe | The beginning of the end or infinite renewal? |
| work_5idtrfxf2rf4tez2ghofu6fcxe | The beginning of the end or infinite renewal? |
| work_5idtrfxf2rf4tez2ghofu6fcxe | What aesthetic possibilities and considerations define it insofar as its origin and later evolution are concerned? |
| work_mpeihe564banzpeqvtvfdgoi3u | And, what prob- lems can we approach fruitfully through the analysis of art style? |
| work_mpeihe564banzpeqvtvfdgoi3u | On this level, selection is defined by such questions as: What aspects of the model are retained? |
| work_mpeihe564banzpeqvtvfdgoi3u | The concern of this paper is two- fold: What kind of controls on interpreta- tion can we derive from the study of ethnographic materials? |
| work_mpeihe564banzpeqvtvfdgoi3u | The tremendous diversity within this frame of reference is a plain fact, but are we justified in referring to it as"a culture"? |
| work_mpeihe564banzpeqvtvfdgoi3u | What aspects are attenuated or ignored? |
| work_mpeihe564banzpeqvtvfdgoi3u | What aspects are stressed, by disproportion or color or other means? |
| work_sqxl66a36nb4pkqdloasjdq4au | Email:{ jpc| pmh}@cs.bath.ac.uk • How is salience to be defined so that it operates over a wide class of input images? |
| work_sqxl66a36nb4pkqdloasjdq4au | • How should salient features be selected from amongst many images, and how should the selected features be com- posed into a single image? |
| work_sqxl66a36nb4pkqdloasjdq4au | • How should the angular geometry common in Cubist art be reproduced? |
| work_sqxl66a36nb4pkqdloasjdq4au | • How should the final composition be rendered to produce a painted appearance? |
| work_6rhckfp6sfexzkr2kpwgs3kr2u | Are there other map- ping strategies? |
| work_6rhckfp6sfexzkr2kpwgs3kr2u | But, what does the notion of criticism exactly mean in the Critical Cartography? |
| work_6rhckfp6sfexzkr2kpwgs3kr2u | Nevertheless, how the discussions about liminal spaces could be useful to criticize borders? |
| work_6rhckfp6sfexzkr2kpwgs3kr2u | Under this perspective, some questions regarding maps could be proposed, such as: what criteria define a map as right or wrong? |
| work_6rhckfp6sfexzkr2kpwgs3kr2u | What authority has been assigned to these people to judge maps? |
| work_6rhckfp6sfexzkr2kpwgs3kr2u | What would these alternative mapping strategies review? |
| work_6rhckfp6sfexzkr2kpwgs3kr2u | Who classifies maps as good or bad? |
| work_mswborqyijgg7mkd64rrsugyhe | 101 MydiscussionofTillich andmorallaw isindebtedtoKimberlyR.Miller, How Doesthe LetterKill? |
| work_mswborqyijgg7mkd64rrsugyhe | 19 Saba Mahmood, Religious Reason and Secular Affect: An Incommensurable Divide?, 35 CRITICAL INQUIRY 836, 841( 2009). |
| work_tjca5n7vpba2zdlv7ffnxjq2hu | Zevi asked the reader, ‘ Is a highway beautiful without automobiles? |
| work_gcicgappfvb75jheh53tj62mru | ( 2007) ¿ Se están generando nuevas identidades? |
| work_gcicgappfvb75jheh53tj62mru | Can you be a tourist in the place where you live? |
| work_gcicgappfvb75jheh53tj62mru | Journal compilation © 2010 NSEAD/ Blackwell Publishing Ltd Ricard Huerta 73Why do we offer street letters as a persuasive and educational element? |
| work_gcicgappfvb75jheh53tj62mru | Ricard Huerta 77China, Israel, India or Saudi Arabia, where other alphabets are used? |
| work_gcicgappfvb75jheh53tj62mru | Untitled 72 I Like Cities; Do You Like Letters? |
| work_gcicgappfvb75jheh53tj62mru | What countries have the letter ‘ ñ ’ on their keyboards? |
| work_gcicgappfvb75jheh53tj62mru | What kind of rationale governs the alphabet? |
| work_gcicgappfvb75jheh53tj62mru | Why was it decided that letter shapes were to be displayed on the top left- hand corner of computer keys? |
| work_rc4axzqwangyhivj6lpzqv43fm | Conclusion Why must man live in captivity? |
| work_rc4axzqwangyhivj6lpzqv43fm | Why do we live in isolation of so much distrust? |
| work_rc4axzqwangyhivj6lpzqv43fm | Why is there so much poverty and violence in society? |
| work_rc4axzqwangyhivj6lpzqv43fm | Why must we isolate ourselves with hatred predicated to violence? |
| work_oqnv2x4bivb3pnzbxrqnhaoypi | 306767 1.. 16 Who art thou? |
| work_oqnv2x4bivb3pnzbxrqnhaoypi | Are our individual art preferences formed just from miscellaneous aesthetic experiences? |
| work_oqnv2x4bivb3pnzbxrqnhaoypi | Art judgment: A measure related to both personality and intelligence? |
| work_oqnv2x4bivb3pnzbxrqnhaoypi | Higher order factors of the big five predict conformity: Are there neuroses of health? |
| work_oqnv2x4bivb3pnzbxrqnhaoypi | What is the sensation seeker? |
| work_oqnv2x4bivb3pnzbxrqnhaoypi | Why do we like some forms of art 1 and not others? |
| work_v2n7upeg3fae7koh2uyf5m6jny | Does Kandinsky relate to the rise of quantum mechanics? |
| work_v2n7upeg3fae7koh2uyf5m6jny | How does cubism relate to the Principia Mathematics? |
| work_v2n7upeg3fae7koh2uyf5m6jny | What does CCzanne have in common with non- Euclidean geometry? |
| work_v45peyaoordcled4l4jurtx7yq | Does Kandinsky relate to the rise of quantum mechanics? |
| work_v45peyaoordcled4l4jurtx7yq | How does cubism relate to the Principia Mathematics? |
| work_v45peyaoordcled4l4jurtx7yq | What does CCzanne have in common with non- Euclidean geometry? |
| work_ov7u2cbifja7tpe27ac2lxpc2m | ( 1897), translated into Spanish in 1899 as ¿ En qué consiste la superioridad de los anglosajones? |
| work_ov7u2cbifja7tpe27ac2lxpc2m | Therefore, why would Moreno Villa react against interracial marriage with a Black woman? |
| work_ov7u2cbifja7tpe27ac2lxpc2m | ¿ Y para qué separar a los negros de los blancos si salta a la vista del más 16 miope quiénes son los blancos y quiénes son los negros? |
| work_rsujmxfmsneglgi2kbqsehq52y | The Styles of Art History: Entities or Processes? work_rsujmxfmsneglgi2kbqsehq52y 22 though about the Perceptual Style of art works which achieve a realistic36 rendition of some object or scene in the world? work_rsujmxfmsneglgi2kbqsehq52y How is it possible then to have endless varieties of pictorial representations of the same object/ concept? work_q7qj523livenpcgfhs4sgrtqdy Are the most salient attributes of the original model visibly contained in the flattened outcome? work_q7qj523livenpcgfhs4sgrtqdy Are transitions and occlusion boundaries clearly visible? work_q7qj523livenpcgfhs4sgrtqdy Is the depth order of scene elements correct? work_q7qj523livenpcgfhs4sgrtqdy Is the perceptibility of fine de- tails and coarse structures about the same, or is one of them impaired? work_q7qj523livenpcgfhs4sgrtqdy Is their appearance sharp, blurred, noisy or exaggerated? work_yka77d2przgyfjoo3t6ml44uoi What does the creative artist and traditional craftsman meet or disagree with? work_v3kwb5y3sfga3lood3zde5ssrm “ Can social bookmarking improve web search? |
| work_v3kwb5y3sfga3lood3zde5ssrm | “ Image Indexing: How Can I Find a Nice Pair of Italian Shoes?" |
| work_v3kwb5y3sfga3lood3zde5ssrm | “ Tree, funny, to_read, google: are tags supposed to achieve? |
| work_j6nf7rxturgmdobebl74fg5owi | Be they inter- active or not, it seems appropriate to ask about their value: • What do we take away from them? |
| work_j6nf7rxturgmdobebl74fg5owi | Do lists of techniques for the application of paint define the genre? |
| work_j6nf7rxturgmdobebl74fg5owi | For instance, is painting all about the use of paint? |
| work_j6nf7rxturgmdobebl74fg5owi | If the painting is not about the pragmatics of paint, what constitutes painting as a practice? |
| work_j6nf7rxturgmdobebl74fg5owi | Is a painting defined by the paint or its application? |
| work_j6nf7rxturgmdobebl74fg5owi | It is in this context that I have often asked myself, what defines sound installation practice? |
| work_j6nf7rxturgmdobebl74fg5owi | • How do they enrich our understanding of the world? |
| work_vxewh35zyjd3hl5cyo37enwota | Which additional proteins are responsible for the residual gamete adhesion observed in the gex2 mutants? |
| work_ximo5qkanvcwfas7owrh4k7jwe | URL( consulted 16 May 2008): http://mag.awn.com/index.php? |
| work_ximo5qkanvcwfas7owrh4k7jwe | URL( consulted 16 May 2008): http://mag.awn.com/index.php? |
| work_uz7bmlcbcvdodmxn7jcvszyifi | D i d it n o t all begin so f a r as W e s t e r n a r t is c o n c e r n e d with the ancient G r e e k s? |
| work_uz7bmlcbcvdodmxn7jcvszyifi | P R I N C I P L E S O F D Y N A M I C S Y M M E T R Y Who was Jay Hambidge? |
| work_uz7bmlcbcvdodmxn7jcvszyifi | W h y has the golden section a n d d y n a m i c s y m m e t r y been so limited t o w o r k o f t w o- d i m e n s i o n a l art? |
| work_uz7bmlcbcvdodmxn7jcvszyifi | What is the golden section or the divine proportion? |
| work_w2wbtovqo5calhhdmd6gtc3mbe | ( Besides, would n''t the inclusion of Ravel in the Cambridge Companion series itself suggest the conferral of a canonic status on the composer?) |
| work_w2wbtovqo5calhhdmd6gtc3mbe | Are entertaining works of less value than confrontational ones? |
| work_w2wbtovqo5calhhdmd6gtc3mbe | What can Ravel''s place in music history tell us about twentieth- century expectations of the"serious"composer? |
| 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_ehyjskpfvfb55kgeyohfg2jyoi | Breimer, J., Johnson, C., Harkness, S.,& Koehler, C.( 2012) What is STEM? |
| work_ehyjskpfvfb55kgeyohfg2jyoi | But why should we claim that methods and approaches from the arts offer possibilities for better learning in science? |
| work_ehyjskpfvfb55kgeyohfg2jyoi | Can music influence language and cognition? |
| work_ehyjskpfvfb55kgeyohfg2jyoi | Drama and learning science: an empty space? |
| work_ehyjskpfvfb55kgeyohfg2jyoi | Left brain, right brain, whole brain? |
| work_ehyjskpfvfb55kgeyohfg2jyoi | The questions we address are:& What might the arts provide that would make the sciences more complete? |
| work_ehyjskpfvfb55kgeyohfg2jyoi | What if? |
| work_ehyjskpfvfb55kgeyohfg2jyoi | What is STS teaching? |
| work_ehyjskpfvfb55kgeyohfg2jyoi | Yakman, G.( 2010).What is the point of STEAM? |
| work_wkzpkfnnbfg7dphhcwtpdfuzx4 | Login nowDon''t have an account? |
| work_xzrlto7bl5bbtgwirkje5ji5nq | But from whence comes our authority? |
| work_yc5zsrjufjffvjftx5paogmxwi | Che tipo di scenografo avrebbe mai potuto essere Le Corbusier? |
| work_yc5zsrjufjffvjftx5paogmxwi | What kind of scenographer could have been Le Corbusier? |
| work_ww4jtslpcneihjak3tv6oo4o2u | How is it possible, I wondered, to write a history that looks outside Europe? |
| work_ww4jtslpcneihjak3tv6oo4o2u | Why, then, did influential commentators adopt this way of thinking about tradition and innovation? |
| work_x4iyrvpwcjbsrdvge53awuucs4 | Does Kandinsky relate to the rise of quantum mechanics? |
| work_x4iyrvpwcjbsrdvge53awuucs4 | How does cubism relate to the Principia Mathematics? |
| work_x4iyrvpwcjbsrdvge53awuucs4 | What does CCzanne have in common with non- Euclidean geometry? |
| work_zb5djrgiy5awvpovfomikrxexi | Sanatçıyı bu kadar günümüzde pahalı yapan sanatsal değeri midir yoksa dili midir? |
| work_zb5djrgiy5awvpovfomikrxexi | Seri üretim nesnelerinin sanat olup olmadığı düşüncesi ve nesnenin konumu sanata dair sanatsal yargıları nasıl etkiler? |
| work_qwx4un2b2baplj574qn53ekvya | 1929 “ Did the New Playwrights Theatre Fail? ” New Masses( August 1929). |
| work_qwx4un2b2baplj574qn53ekvya | “ Is the Realistic Theatre Obsolete? ” Vanity Fair 24( May 1925): 64, 114. |
| work_tdjv2ehdqveybneb3nq62ovp4a | Can the electron be subdivided or not? |
| work_tdjv2ehdqveybneb3nq62ovp4a | How light is simple or composed? ’ And so on. |
| work_tdjv2ehdqveybneb3nq62ovp4a | One wonders: ‘ What is the proton? |
| 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_va45xrtnhffqro3twrqvz46j6y | ( 2) W hat is interpreting the body and how did it affect the body transformed? |
| work_va45xrtnhffqro3twrqvz46j6y | ( 3) What are the naked, nude, clothed and fashioned, and w hat are its characteristics, and what is the role of their relationship? |
| work_va45xrtnhffqro3twrqvz46j6y | For what reason is the relationship betw een fashion and art constantly debated and w hy is fashion the centre of attention in the field of creation? |
| work_va45xrtnhffqro3twrqvz46j6y | From this claim the follow ing questions arise:( 1) W hy did fashion becom e an object of art and how did this affect the idea of body space? |
| work_va45xrtnhffqro3twrqvz46j6y | Second Skin, Retrieved April 04, 2008, from http://209.85.173.104/search? |
| work_ruowt375fjdk5lxuyjfpgyeq5u | And who judges the judges?) |
| work_ruowt375fjdk5lxuyjfpgyeq5u | Clearly, play and creativity both include characteristics of divergent thinking, but how else might play and creativity be related? |
| work_ruowt375fjdk5lxuyjfpgyeq5u | Who judges and why? |
| work_wz6sll35mvgtbb5iyokfxzvhpe | How much krill is out there? |
| work_wqgszecarzbcdlmjcki3x6j2by | [ 15] Jakobson R. What is Poetry? |
| work_wqgszecarzbcdlmjcki3x6j2by | Кто говорит? |
| work_wqgszecarzbcdlmjcki3x6j2by | Мама? |
| work_qcqqdk6ctnge5mukldipq4ujpy | Does the scientific evidence support the recovery model? |
| work_s5g54ums2fapvhxif5zujfb2ji | 16 Green, ‘ “ Naked Problems ”? |
| work_s5g54ums2fapvhxif5zujfb2ji | Why should they be seen to be so crucial for this moment? |
| work_s5g54ums2fapvhxif5zujfb2ji | “ Sub- African Caricatures ”? |
| work_vudyqs7nbzgtvag7advkdykwmy | A set of techniques or ‘ politics by other means ’? |
| work_vudyqs7nbzgtvag7advkdykwmy | And the alleged ‘ bourgeois takeover ’ of the halls? |
| work_vudyqs7nbzgtvag7advkdykwmy | Indeed, what does ‘ cultural studies ’ now stand for in its ever widening invocation? |
| work_vudyqs7nbzgtvag7advkdykwmy | Tokenist or pluralist? |
| work_vudyqs7nbzgtvag7advkdykwmy | What does the cultural studies approach mean to two literary scholars of late Victorian popular culture? |
| 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_mwbch37fqvemhdviov4lmllmdu | Are other ho- rizons really opening for other objectives or is there the fear that the new chances for understanding the world are just new myths? |
| work_mwbch37fqvemhdviov4lmllmdu | ISSN 2533- 2899 23 2/ 2018 Towards which Representation? |
| work_mwbch37fqvemhdviov4lmllmdu | The question is of the utmost impor tance: in our hands, as teachers, do we perhaps hold an instrument of truth? |
| work_mwbch37fqvemhdviov4lmllmdu | Were we more merciless, more permissive, more superficial? |
| work_mwbch37fqvemhdviov4lmllmdu | Will we witness, or rather, actually par ticipate in its “ gui- ded ” genetic mutation? |
| work_fd6sessngnd2voa4qcvo46zcym | 7 But what sort of apprehension of the world was it replacing? |
| work_fd6sessngnd2voa4qcvo46zcym | How could Mackintosh get this doorway so wrong? |
| work_fd6sessngnd2voa4qcvo46zcym | Material The next question to ask is whether the Art School is a stone building or a timber building? |
| work_mf3666aghvdefosssc5hl2e4si | Combien ont été réalisées à l''aide de la grosse jumelle*? |
| work_mf3666aghvdefosssc5hl2e4si | Guy Michelet,"Quel sera l''aspect des avions que Lartigue photographiera dans quarante- cinq ans, en l''an 2000? |
| work_mf3666aghvdefosssc5hl2e4si | Michel Foucault,"What is an Author?" |
| work_mf3666aghvdefosssc5hl2e4si | Qui Lartigue avait- il directement influencé avant 1963? |
| work_mf3666aghvdefosssc5hl2e4si | ["Qu''est- ce qu''un auteur?" |
| work_mf3666aghvdefosssc5hl2e4si | image Jusqu''où la comparaison avec Cartier- Bresson amène- t- elle Lartigue? |
| work_p2uzattvrfgrbmx4ra6itiiluy | 2012.258 ce que cela veut dire, « non sues »? |
| work_p2uzattvrfgrbmx4ra6itiiluy | Cet espace est- il le lieu, le support et la médiation des simulacres signifiants premiers? |
| work_p2uzattvrfgrbmx4ra6itiiluy | En quoi s’interpose- t- il entre le peintre et son modèle, comme un médiateur s’interpose entre des forces en conflit? |
| work_p2uzattvrfgrbmx4ra6itiiluy | Est- ce le lieu de l’informe? |
| work_p2uzattvrfgrbmx4ra6itiiluy | Et pourquoi cette convexité? |
| work_p2uzattvrfgrbmx4ra6itiiluy | Mais de quelle nature est ce négatif et quel lien noue- t- il avec le positif dans l’événement et la création visuels? |
| work_p2uzattvrfgrbmx4ra6itiiluy | Quel est le statut de cette « atmosphère »? |
| work_p2uzattvrfgrbmx4ra6itiiluy | Qu’est- ce que l’informe tout d’abord? |
| work_sspuudu7kfcoxcrk4bnxspaora | Are you doing anything nice? |
| work_sspuudu7kfcoxcrk4bnxspaora | Did you receive his letters, together with the check and the programs? |
| work_sspuudu7kfcoxcrk4bnxspaora | Hotel de l’Europe Venice 17 August 1928 My dear and much beloved Maestro, How is your health? |
| work_sspuudu7kfcoxcrk4bnxspaora | If, by any chance, you have taken time off in Turin, would there be any chance for him to take class with you there? |
| work_sspuudu7kfcoxcrk4bnxspaora | When are you going to start again at La Scala? |
| work_t7qegeg34vcktoyrrztj2g2e24 | A cabaret? |
| work_t7qegeg34vcktoyrrztj2g2e24 | A café? |
| work_t7qegeg34vcktoyrrztj2g2e24 | A restaurant? |
| work_t7qegeg34vcktoyrrztj2g2e24 | A speakeasy? |
| work_t7qegeg34vcktoyrrztj2g2e24 | Let ’s linger a while with the drawings of three figures, three types, indeed three characters: What story do they tell? |
| work_t7qegeg34vcktoyrrztj2g2e24 | Where is she? |
| work_glf3yv3ftzerdnmqscsosxbhxa | Breimer, J., Johnson, C., Harkness, S.,& Koehler, C.( 2012) What is STEM? |
| work_glf3yv3ftzerdnmqscsosxbhxa | But why should we claim that methods and approaches from the arts offer possibilities for better learning in science? |
| work_glf3yv3ftzerdnmqscsosxbhxa | Can music influence language and cognition? |
| work_glf3yv3ftzerdnmqscsosxbhxa | Drama and learning science: an empty space? |
| work_glf3yv3ftzerdnmqscsosxbhxa | Left brain, right brain, whole brain? |
| work_glf3yv3ftzerdnmqscsosxbhxa | The questions we address are:& What might the arts provide that would make the sciences more complete? |
| work_glf3yv3ftzerdnmqscsosxbhxa | What if? |
| work_glf3yv3ftzerdnmqscsosxbhxa | What is STS teaching? |
| work_glf3yv3ftzerdnmqscsosxbhxa | Yakman, G.( 2010).What is the point of STEAM? |
| work_7tepdpob3nh2jch3vrij5th4n4 | But what is learned writing? |
| work_7tepdpob3nh2jch3vrij5th4n4 | Do disciplines end, or do they just adapt, ab- sorb, and mutate? |
| work_7tepdpob3nh2jch3vrij5th4n4 | How to balance disciplinary depth with interdisciplinary reach, rigor with imagina- tion? |
| work_7tepdpob3nh2jch3vrij5th4n4 | How to balance expertise with ingenuity? |
| work_7tepdpob3nh2jch3vrij5th4n4 | Is it restricted to the creation of schol- arly books, monographs, and journal essays disseminated as industrialized print artifacts? |
| work_7tepdpob3nh2jch3vrij5th4n4 | What are their ends, in the sense of boundaries but also in the sense of their ability to undergo knowledge transfers? |
| work_7tepdpob3nh2jch3vrij5th4n4 | What, if anything, comes ater or lies beyond disciplinarity: new disciplines? |
| work_7tepdpob3nh2jch3vrij5th4n4 | Where does such writing start, and where does it end? |
| work_7tepdpob3nh2jch3vrij5th4n4 | always- shiting interdis- ciplinary grounds? |
| work_7tepdpob3nh2jch3vrij5th4n4 | new disci- plinary containers? |
| work_xbfyijwjija2zfmwtem6nhmiyq | Gadamer Hans- Georg( 1999), “ Begriffene Malerei? ”,[ in:] idem, Gesammelte Werke. |
| work_xbfyijwjija2zfmwtem6nhmiyq | In other words: to what extent are Picasso ’s configurations of sleep and wake conceptuelles and at the same time not neutered of affectivity? |
| work_yxwcxfipa5avnplosjrprhzyri | ( And what else is a urinal besides a receptacle designed to capture the bodily fluid of a man?) |
| work_z3hyjgxwpvgezmfzlxx5a37mxy | Does Kandinsky relate to the rise of quantum mechanics? |
| work_z3hyjgxwpvgezmfzlxx5a37mxy | How does cubism relate to the Principia Mathematics? |
| work_z3hyjgxwpvgezmfzlxx5a37mxy | What does CCzanne have in common with non- Euclidean geometry? |
| work_zoct7dwcergshdm62adzq5pb2e | And yet, could you stuff my pipe? |
| work_zoct7dwcergshdm62adzq5pb2e | No, it''s just a representation, is it not? |
| work_zoct7dwcergshdm62adzq5pb2e | “ The famous pipe – how people reproached me for it? |
| 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_xrud3tueirdvbltvpdv73aua5i | 158- 68.? |
| work_xrud3tueirdvbltvpdv73aua5i | 1911- 12.? |
| work_xrud3tueirdvbltvpdv73aua5i | 1912- 13.? |
| work_xrud3tueirdvbltvpdv73aua5i | Digital image? |
| work_xrud3tueirdvbltvpdv73aua5i | Is there any- one who does not claim to be an heir of Paul Cezanne or Georges Seurat? |
| work_fztfhu2csfg3vjhnqjbwppqwmq | 408 Bioethical Inquiry( 2014) 11:405–411 who in power do we absolve by such phrasing? |
| work_fztfhu2csfg3vjhnqjbwppqwmq | Bioethical Inquiry( 2014) 11:405–411 409 http://www.margaretnoble.net/dorians_gray/ http://www.margaretnoble.net/dorians_gray/ what evokes empathy? |
| work_fztfhu2csfg3vjhnqjbwppqwmq | How can we understand someone else ’s pain or convey our own to others? |
| work_fztfhu2csfg3vjhnqjbwppqwmq | How did America ’s craziest governor get reelected? |
| work_fztfhu2csfg3vjhnqjbwppqwmq | How do we answer the ques- tions “ Why me? ” and “ Why now? ” when we are diag- nosed with disease? |
| work_fztfhu2csfg3vjhnqjbwppqwmq | How do we answer the ques- tions “ Why me? ” and “ Why now? ” when we are diag- nosed with disease? |
| work_fztfhu2csfg3vjhnqjbwppqwmq | How do we answer the ques- tions “ Why me? ” and “ Why now? ” when we are diag- nosed with disease? |
| work_fztfhu2csfg3vjhnqjbwppqwmq | How do we make sense of the nonsensical, whether the chaos of life- as- lived or the inscrutability of dying? |
| work_fztfhu2csfg3vjhnqjbwppqwmq | How do we paint what we know is there but can not see? |
| work_fztfhu2csfg3vjhnqjbwppqwmq | Is n’t it more honest and more revealing to say “ populations made vulnerable by … ”( Holloway 2014)? |
| work_fztfhu2csfg3vjhnqjbwppqwmq | What are the conse- quences of a digitally- created society in the psy- che of the global community? |
| work_fztfhu2csfg3vjhnqjbwppqwmq | Which of our personas do we believe in — our social media portraits or our reflections in the mirror? |
| work_kul62i4cnbda7hajledjvdbubi | Although Stanley Sue, in his foreword, considers the question, “ What is psychother- apy? ”, the context has changed. |
| work_kul62i4cnbda7hajledjvdbubi | How can it not contain itself[ How can there be any of itself that is not in itself? |
| work_kul62i4cnbda7hajledjvdbubi | If so, what is possible? |
| work_kul62i4cnbda7hajledjvdbubi | The question is, are we training technicians or professionals? |
| work_kul62i4cnbda7hajledjvdbubi | Thus the mind is not large enough to contain itself: but where can that part of it be which it does not contain? |
| work_kul62i4cnbda7hajledjvdbubi | What can save and rescue the things that are smashed? |
| work_kul62i4cnbda7hajledjvdbubi | What remains for a man to do, after all? |
| work_kul62i4cnbda7hajledjvdbubi | With the question as a starting- point and the mystery as a destination? |
| 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_zhxszqeu5bfwrjfbxstxknflbm | ‘ Whose History? ’( 1979) In Film as Film: Formal Experiment in Film: 1910- 1975, edited by Deke Dusinberre and A.L. |
| 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_xqfbpmoyknev5lxzjrs7ytrfp4 | s �\ � þj � � H\ � � � H Ö6x½+Ë � � � F � � §¹¢¤?/\ �"f õ � �<Æ, l � Õüt, 552 New Physics: Sae Mulli, Vol. |
| work_vehcvxkvhrgspjdgmkl2rzh2fe | And whom does she teach during this time? |
| work_vehcvxkvhrgspjdgmkl2rzh2fe | Balson? |
| work_vehcvxkvhrgspjdgmkl2rzh2fe | Crowley? |
| work_vehcvxkvhrgspjdgmkl2rzh2fe | Indeed, we must ask: was it van der Velden who opened Thompson ’s eyes to the expatriate possibility? |
| work_vehcvxkvhrgspjdgmkl2rzh2fe | Tuckson? |
| work_srieqfzrnjgrrmg6vwffxlf4re | The question remains: For whom is the book suitable? |
| work_srieqfzrnjgrrmg6vwffxlf4re | The spectrum of? Tthen turns out to be equal to the zero- set of ƒ, namely Z(I)=( y G T: f(y)= 0 for all ƒ G ƒ}. |
| work_qjkupq7xrneetdryv3htr6dnfm | ( 2) How do we go about knowing the world around us? |
| work_qjkupq7xrneetdryv3htr6dnfm | Or what is the nature of the world around us? |
| work_qjkupq7xrneetdryv3htr6dnfm | Sriraman, B( 2003a) Can mathematical discovery fill the existential void? |
| work_qjkupq7xrneetdryv3htr6dnfm | What became of our Eden, our world of innocence, piety and poetry; the testimony of the senses; the conviction of a poetic- religious faith? |
| work_qjkupq7xrneetdryv3htr6dnfm | Which will you choose then? |
| 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_4trtmqyxnrbtvhoonpopot3wjm | And if so how to start? |
| work_4trtmqyxnrbtvhoonpopot3wjm | Can you say something about the aesthetic values that we might bring to Systems painting? |
| work_4trtmqyxnrbtvhoonpopot3wjm | Is this happenstance or are we in control? |
| work_4trtmqyxnrbtvhoonpopot3wjm | So, if an artwork is a construction then what are the building blocks and how will it be put together? |
| work_4trtmqyxnrbtvhoonpopot3wjm | So, if human abstraction generates form then is all form conceptual? |
| work_4trtmqyxnrbtvhoonpopot3wjm | The question begins to answer itself does n’t it? |
| work_4trtmqyxnrbtvhoonpopot3wjm | This allows me to convey direction, growth and scale.8 Is one aim of systems art to eliminate all evidence of the personality of the artist? |
| work_4trtmqyxnrbtvhoonpopot3wjm | What do we need? |
| work_4trtmqyxnrbtvhoonpopot3wjm | What is conceptualism? |
| work_4trtmqyxnrbtvhoonpopot3wjm | Why is it important to develop or advance the historically charged process of ‘ paint on canvas ’? |
| work_vzr3nhivrregpakcbcqxm7p63a | Is money really that hard to manage? |
| work_vzr3nhivrregpakcbcqxm7p63a | So, what are some things that kids need to know about money? |
| work_vzr3nhivrregpakcbcqxm7p63a | That ’s something that has to change[ …] Insurance Cancer Cover Read More Does a Sudden Death in the Family Have to Lead to Financial Disaster? |
| work_wdevu2izsrahpaz3atnmln5q2u | Can we acquire true knowledge by way of literature? |
| work_wdevu2izsrahpaz3atnmln5q2u | Do we mean that the work be true to the world, or to the author? |
| work_wdevu2izsrahpaz3atnmln5q2u | Does that mean that every work matches only one single true inter- pretation? |
| work_wdevu2izsrahpaz3atnmln5q2u | Is the work of fiction plausible as a whole, do passages in it point to each other and ultimately bear fruit in light of the whole text, and so on? |
| work_wdevu2izsrahpaz3atnmln5q2u | Is there truth through fiction? |
| work_wdevu2izsrahpaz3atnmln5q2u | Knowledge about the world outside the work? |
| work_wdevu2izsrahpaz3atnmln5q2u | Lastly, should our view cover all works of literature? |
| work_wdevu2izsrahpaz3atnmln5q2u | Ought we not, rather, gather from the work the type of truth that it procures, and not from the world that it is said to be true about? |
| work_xk2tu7ny5fbadm2ssslrrmekj4 | Mais, en assimilant son esthétique, n’a- t- il pas contribué dans le même temps à humaniser la machine45? |
| work_xk2tu7ny5fbadm2ssslrrmekj4 | Que faire des photographies produisant un impact esthétique, mais qui n’ont pas été conçues dans ce but? |
| work_wmbo62nkfzcmzcrbc4brpkg2qe | Est- il possible d’aller au- delà de l’existence ? |
| work_wmbo62nkfzcmzcrbc4brpkg2qe | Est- il possible d’aller plus loin que Beckett ? |
| work_wmbo62nkfzcmzcrbc4brpkg2qe | Le testament sonore de Krapp rejoindrait- il celui de Wilson ? |
| work_wmbo62nkfzcmzcrbc4brpkg2qe | Ne serait pas une métaphore de la répétition de théâtre ? |
| work_wmbo62nkfzcmzcrbc4brpkg2qe | Qui salue à la fin de la représentation : Krapp, Beckett, ou Wilson ? |
| work_wmbo62nkfzcmzcrbc4brpkg2qe | Wilson ne se penche- t- il pas sur la bobine ronde lorsqu’il évoque l’être aimé ? |
| work_wmbo62nkfzcmzcrbc4brpkg2qe | « Qu’est- ce qui arrive ? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | Even broader questions might be: What is the relationship between body and a garment? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | Fundamental questions to ask may therefore be: What is the definition of dress? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | In other words, what are the basic ontological and logical problems in fashion design( art) as a fundamental science? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | Into what hierarchy should they be sorted? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | What are the formal features of the representations of a design process? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | What are the formal methods of representing and document- ing the reasons behind design decisions? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | What are the relationships between events and elements in a method and how do these relate to the whole process and its predict- ability? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | What are the relationships between proposition and form of design object? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | What constitutes valid reasoning in a design 48 Clemens Thornquist process? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | What is a logical vocabulary of sketching as a formal language? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | What is the condition of dress? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | What is the difference between garments categories? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | What is the identity of a garment? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | What is the relationship between body, dress, and space? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | What is the relationship between form and matter in dress? |
| work_2xw4b4og4zg2xc5tv6ywfgxgii | What is the universal way of a particular method? |
| work_adpnv3whprf27kdrotiizenltm | 32 Harré ’s essay, “ What Is the ‘ Zeitgeist ’? |
| work_adpnv3whprf27kdrotiizenltm | ? |
| work_adpnv3whprf27kdrotiizenltm | And in 1917 Picasso queried in one of his sketchbooks, “ Has anyone put a prism in front of X- ray light? ”( Richardson 1996, 158). |
| work_adpnv3whprf27kdrotiizenltm | Did Picasso resort to such language because the ether was no longer in common parlance as it had been? |
| work_adpnv3whprf27kdrotiizenltm | What can Picasso have been thinking or imagining about the nature of reality? |
| work_adpnv3whprf27kdrotiizenltm | Why should we forget in our creations the doubled power of our sight, capable of giving results analogous to the X- rays? ”( Boccioni 1973, 28). |
| work_adpnv3whprf27kdrotiizenltm | Why would Picasso and Braque so stubbornly deny the solidity and boundaries of forms, causing their sitters to dissolve into the surrounding space? |
| work_adpnv3whprf27kdrotiizenltm | “ Art and Science: Do They Need to be Yoked? ” In Art and Science, edited by Stephen R. Graubard, 1–16. |
| work_adpnv3whprf27kdrotiizenltm | “ Four- Dimensional Space or Space- Time? |
| 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_o25r44rb3rhktilqwzsr2gceiu | 231 « Ingannare l’occhio » o presentare lo sguardo? |
| work_o25r44rb3rhktilqwzsr2gceiu | Aliénation ou source de liberté? |
| work_o25r44rb3rhktilqwzsr2gceiu | Keywords: visual semiotics; art theory; Trompe- l’œil; Picasso; Cubism POLACCI, F. « Ingannare l’occhio » o presentare lo sguardo? |
| work_o25r44rb3rhktilqwzsr2gceiu | POLACCI, F. « Ingannare l’occhio » o presentare lo sguardo? |
| work_o25r44rb3rhktilqwzsr2gceiu | POLACCI, F. « Ingannare l’occhio » o presentare lo sguardo? |
| work_o25r44rb3rhktilqwzsr2gceiu | POLACCI, F. « Ingannare l’occhio » o presentare lo sguardo? |
| work_o25r44rb3rhktilqwzsr2gceiu | POLACCI, F. « Ingannare l’occhio » o presentare lo sguardo? |
| work_o25r44rb3rhktilqwzsr2gceiu | POLACCI, F. « Ingannare l’occhio » o presentare lo sguardo? |
| work_o25r44rb3rhktilqwzsr2gceiu | POLACCI, F. « Ingannare l’occhio » o presentare lo sguardo? |
| work_o25r44rb3rhktilqwzsr2gceiu | POLACCI, F. « Ingannare l’occhio » o presentare lo sguardo? |
| work_o25r44rb3rhktilqwzsr2gceiu | What about Cubism?. |
| work_fondlsr3pjecbmnhja66vl2dfe | ( 119) Is Shibusawa Eiichi the exception to the Appleby Rule, then? |
| work_fondlsr3pjecbmnhja66vl2dfe | ( 138) Adam Smith as reining in “ capitalism ”? |
| work_fondlsr3pjecbmnhja66vl2dfe | ( 220)2 But is “ Japan, Inc. ” capitalist in any real sense of the term? |
| work_fondlsr3pjecbmnhja66vl2dfe | And is the thing, “ capitalism, ” that Sagers argues needs reforming really capitalism at all? |
| work_fondlsr3pjecbmnhja66vl2dfe | Is the “ capitalism ” of which Sagers and Appleby write capitalism at all? |
| work_fondlsr3pjecbmnhja66vl2dfe | Is this the thing that Sagers thinks needs reforming? |
| work_fondlsr3pjecbmnhja66vl2dfe | So why the renewed interest in a long- deceased Japanese indus- trialist with a fondness for Spring- and- Autumn Period Chinese philosophy? |
| work_fondlsr3pjecbmnhja66vl2dfe | So, one is left wondering, if “ capitalism ” is a universal, then how is it modified by Confucianism? |
| work_fondlsr3pjecbmnhja66vl2dfe | What about elsewhere? |
| work_z3mseq72qrgn5i66j244arq3wq | - Are we are giving to them or they are giving to us( nimiizhaanaanig or nimiizhigoonaanig)? |
| work_z3mseq72qrgn5i66j244arq3wq | A speaker of Anishinaabemowin must determine:- Does “ we ” includes the listener or not( gimiizhaanaanig or nimiizhaanaanig)? |
| work_z3mseq72qrgn5i66j244arq3wq | Is she writing against society or exploring the beauty of communal anarchy as led by a troupe of tricksters? |
| work_z3mseq72qrgn5i66j244arq3wq | When the Dawes Act of 1887 used accounting as a means of erasure, who was doing the giving and whose land it was to give? |
| work_qg6lbnycwbdtvo264p66lnsxn4 | And how is it even possible? |
| work_qg6lbnycwbdtvo264p66lnsxn4 | Given that reality, how is it be possible to have an objective and unchanging view of the street as Cartesian methodology insists? |
| work_qg6lbnycwbdtvo264p66lnsxn4 | If complete knowledge exists, what would it look like? |
| work_qg6lbnycwbdtvo264p66lnsxn4 | If this is so, then what( or who) is orchestrating all this constant change in the world? |
| work_qg6lbnycwbdtvo264p66lnsxn4 | Prelude to Cubism and Preaching What Is Cubism? |
| work_qg6lbnycwbdtvo264p66lnsxn4 | To that end, I explore the twofold question: What is cubist preaching, and why do we need it today? |
| work_qg6lbnycwbdtvo264p66lnsxn4 | What Is Cubism? |
| work_qg6lbnycwbdtvo264p66lnsxn4 | What does the end of this process look like? |
| work_qg6lbnycwbdtvo264p66lnsxn4 | Why is this termed symbolic or poetic- metaphoric? |
| work_xkfmxzb3jvgnplivhxkk3gfh3a | 6- 7) What are we to do about this? |
| work_xkfmxzb3jvgnplivhxkk3gfh3a | But who are those with a"single- minded attachment to concep- tual analysis"? |
| work_xkfmxzb3jvgnplivhxkk3gfh3a | He asks,"Need philosophy of education be so dreary?" |
| work_xkfmxzb3jvgnplivhxkk3gfh3a | Reviewed by Don Cochrane, University of Saskatchewan 1{1? |
| work_xkfmxzb3jvgnplivhxkk3gfh3a | True,"What is teaching?" |
| work_xkfmxzb3jvgnplivhxkk3gfh3a | What sort of inquiry must we undertake in order to answer such a question? |
| work_ur2jx45sprb3ndr32hhgznfz24 | ( choking with surprise)...? |
| work_ur2jx45sprb3ndr32hhgznfz24 | Antiseptically murdered tunes, ranged on shelves — what could be more postmodern? |
| work_ur2jx45sprb3ndr32hhgznfz24 | But what sort of integrating principle can be found in Satie''s noise- collage? |
| work_ur2jx45sprb3ndr32hhgznfz24 | Does he love me, this young man? |
| work_ur2jx45sprb3ndr32hhgznfz24 | How should one feel upon hearing it? |
| work_ur2jx45sprb3ndr32hhgznfz24 | The moment has come to lay my trap.... Young man, come near.... Tell me... Do you know how to dance on an eye... on a left eye? |
| work_ur2jx45sprb3ndr32hhgznfz24 | To put the question another way, what sort of noise might be inappropriate? |
| work_ur2jx45sprb3ndr32hhgznfz24 | What does, say, Edriophthalma mean? |
| work_ur2jx45sprb3ndr32hhgznfz24 | What sort of music should accompany this sort of laborious non- action? |
| work_ur2jx45sprb3ndr32hhgznfz24 | or something else? |
| work_y2ssgm6rfjf6lai67bdin3ndle | Davenport, admittedly in low spirits, replied: Gone world? |
| work_y2ssgm6rfjf6lai67bdin3ndle | Edmund M. Burns, impeccable editor, raises a question: why did this correspondence between HK and GD end, or peter out when it did? |
| work_y2ssgm6rfjf6lai67bdin3ndle | Max said before he considered what he was saying, why are there tears in your eyes? |
| work_y2ssgm6rfjf6lai67bdin3ndle | One thing that ’s running static into “ gone world ” is that that phrase now means( and for how long?) |
| work_y2ssgm6rfjf6lai67bdin3ndle | The Pound Era raised and answered a question: what would modern poetry in English look like if you were convinced that Pound was its great enabler? |
| work_y2ssgm6rfjf6lai67bdin3ndle | The dying light? |
| work_y2ssgm6rfjf6lai67bdin3ndle | What was a scholar to do, looking at a papyrus? |
| work_y2ssgm6rfjf6lai67bdin3ndle | What ’s that mean? |
| work_y2ssgm6rfjf6lai67bdin3ndle | Yeats? |
| work_vu3ejfjzmbdcdis5uajqjxcy3y | ,Which country are you from?" |
| work_vu3ejfjzmbdcdis5uajqjxcy3y | First of all, can these"flexible citizenships"be regarded as"diaspora ”? |
| work_vu3ejfjzmbdcdis5uajqjxcy3y | How do the memories give meaning to themself? |
| work_vu3ejfjzmbdcdis5uajqjxcy3y | How do they, through painting, reproduce their immigrant identity? |
| work_vu3ejfjzmbdcdis5uajqjxcy3y | How does the involvement of the body present a new aspect? |
| work_vu3ejfjzmbdcdis5uajqjxcy3y | However, how do the Chinese- French artists look at"themself"? |
| work_vu3ejfjzmbdcdis5uajqjxcy3y | INTRODUCTION"Where are you from? |
| work_vu3ejfjzmbdcdis5uajqjxcy3y | Is it Otherness or an origin? |
| work_vu3ejfjzmbdcdis5uajqjxcy3y | Or did they take the initiative to move abroad to pursuit their dreams? |
| work_vu3ejfjzmbdcdis5uajqjxcy3y | Were they forced to"drift"to a foreign land? |
| work_vu3ejfjzmbdcdis5uajqjxcy3y | What is their representation of France and China／Taiwan? |
| work_ryyy7gdnkrfd5ctlj2ocqc24ym | A Farewell to Modernism Journal of Art Historiography Issue 3 December 2010 A Farewell to modernism? |
| work_ryyy7gdnkrfd5ctlj2ocqc24ym | In the case of art history, this moment pivots on aesthetic experience: when having assembled Raymond Spiteri A Farewell to modernism? |
| work_ryyy7gdnkrfd5ctlj2ocqc24ym | Raymond Spiteri A Farewell to modernism? |
| work_ryyy7gdnkrfd5ctlj2ocqc24ym | Raymond Spiteri A Farewell to modernism? |
| work_ryyy7gdnkrfd5ctlj2ocqc24ym | Raymond Spiteri A Farewell to modernism? |
| work_ryyy7gdnkrfd5ctlj2ocqc24ym | Raymond Spiteri A Farewell to modernism? |
| work_ryyy7gdnkrfd5ctlj2ocqc24ym | Raymond Spiteri A Farewell to modernism? |
| work_ryyy7gdnkrfd5ctlj2ocqc24ym | Raymond Spiteri A Farewell to modernism? |
| work_ryyy7gdnkrfd5ctlj2ocqc24ym | Raymond Spiteri A Farewell to modernism? |
| work_ryyy7gdnkrfd5ctlj2ocqc24ym | Raymond Spiteri A Farewell to modernism? |
| work_ryyy7gdnkrfd5ctlj2ocqc24ym | Raymond Spiteri A Farewell to modernism? |
| work_ryyy7gdnkrfd5ctlj2ocqc24ym | Raymond Spiteri A Farewell to modernism? |
| work_ryyy7gdnkrfd5ctlj2ocqc24ym | Raymond Spiteri A Farewell to modernism? |
| work_cipqsdtaxvdanim64qtwhg4brq | ( Whence Impressionism without Rodin? |
| work_cipqsdtaxvdanim64qtwhg4brq | As artists, let us rather continue our inquiry within the realm of the concrete — and what could be more concrete than the marble Kritios Boy? |
| work_cipqsdtaxvdanim64qtwhg4brq | If these machines are our servants, why are all of us — chained to our computer screens — working harder and more desperately than ever[ 16]? |
| work_cipqsdtaxvdanim64qtwhg4brq | Moreover, can we not also hear a distant echo of Homer ’s warning that “ there is a force in iron which lures men on ”[ 14]? |
| work_cipqsdtaxvdanim64qtwhg4brq | Must we not also suspect that this missing element might have been in part responsible for the futility of Post- modernism and Conceptualism? |
| work_cipqsdtaxvdanim64qtwhg4brq | Thus our second question: does there remain any value in a physical art of the machine? |
| work_cipqsdtaxvdanim64qtwhg4brq | Whence Cubism without Brancusi?) |
| work_www3gs6ttbakrl2hh46e7rwa6m | Deuxième tableau: Monet est placé devant une autre facette de la réalité: un peintre doit- il être le témoin de son temps? |
| work_www3gs6ttbakrl2hh46e7rwa6m | Devait elle s''appliquer, comme bien des chanteurs, à devenir compositeur ou, pouvions- nous, par une recherche com- mune, trouver une voie nouvelle? |
| work_www3gs6ttbakrl2hh46e7rwa6m | Est- ce le matin ou le soir? |
| work_www3gs6ttbakrl2hh46e7rwa6m | Faut- il préciser que dans les deux spectacles le texte était entièrement chanté? |
| work_www3gs6ttbakrl2hh46e7rwa6m | Le temps est- il clair ou brumeux? |
| work_www3gs6ttbakrl2hh46e7rwa6m | Mais comment pouvait- elle renouveler son répertoire? |
| work_www3gs6ttbakrl2hh46e7rwa6m | Or, de quoi s''agit- il ici, sinon de faire passer un texte? |
| work_www3gs6ttbakrl2hh46e7rwa6m | Pourquoi, chez lui, cette poursuite forcenée de l''apparence? |
| work_www3gs6ttbakrl2hh46e7rwa6m | Qu''y cherchait- il? |
| work_www3gs6ttbakrl2hh46e7rwa6m | Que voulais- je obtenir de mes comédiens? |
| work_www3gs6ttbakrl2hh46e7rwa6m | Quel fut mon rôle? |
| work_2gaqalzzvvaotfriqd5p6gfzci | But where is the problem of European painting, such that it has to undergo a constant change and frequently decline? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Could expressionism have been born without impressionism? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Did Vincent con- sciously mention that his work should be recognised as an expressive work? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Do n’t they all have a flaming heart? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Do n’t you see that they have produced such detailed and intricate works? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Do people recognise that only by walking this path could he be transformed from a wooden toy into a speaking creature? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Gandhi? |
| work_2gaqalzzvvaotfriqd5p6gfzci | How about Muhammad? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Is he brave enough to say that the Buddha too does not have a flaming heart? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Is there any-ism or even religion that is not excessive? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Lao Tzu? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Li Tai Po? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Ramakrishna? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Wali Songo? |
| work_2gaqalzzvvaotfriqd5p6gfzci | What do you think about these works, Sir? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Why? |
| work_2gaqalzzvvaotfriqd5p6gfzci | Would Picasso be blamed for his path, for he could walk and talk freely, leaving his chamber, wandering around until he got lost in “ hell ”? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | ( 3) why committees of two, and not, say, comatous of three? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | ( 4) why are the individual relevance opinions combined using a binary conjunction rule? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | ( 5) why are all cataloger opinions given the same weight, where in practice some opinions may be more informed or worthy than others? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | , What is the nexus of the DS model and information indexing and retrieval applications? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | But what does this notion of relevance mean? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | Given the obvious simplicity of a Boolean indexing scheme, why bother about developing formalisms for weighted indexing? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | How should we combine this multitude of relevance opinions into an aggregate index? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | If a mass function is taken to represent relevance, then what is the exact semantics of this representation? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | If one wishes to aggregate indexing opinions via a certain pooling mechanism, then why use( 7-S) and not another set of formulae? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | Is there a credible way to combine- the two indexing opinions( 4),(5) into an aggregate index? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | Said otherwise, what type of relevance do mass functions represent? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | To what extent, then, are we forced to accept the canonical interpretation of multiple cata- logers in principle? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | What are the taxonomical implications and limitations of this representation? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | What is the relationship among these three representation in the specific context of information indexing and retrieval applications? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | Why, the argument goes, should ignorance be translated to the strong statement that every proposition( or state of nature) is equally likely? |
| work_nk3liutbn5exrjjd6j54zdcnn4 | union? |
| 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_vqwnasnga5dgxlay6fphrmhbl4 | 1"A enfermeira — Sabes o que é medo? |
| work_vqwnasnga5dgxlay6fphrmhbl4 | Deus nos l i v r e() de todos os"ismos"? |
| work_vqwnasnga5dgxlay6fphrmhbl4 | Vida ou romance? |
| work_vqwnasnga5dgxlay6fphrmhbl4 | l''ultraisme recommende la m é l a n g e de 7 choses artistiques Que fait DADA? |
| work_vqwnasnga5dgxlay6fphrmhbl4 | l''unanimisme embrasse le toutisme et p ê c h e à la ligne artistique Que fait DADA? |
| work_vqwnasnga5dgxlay6fphrmhbl4 | le créacionisme le vorticisme l''imagisme proposent aussi quelques recettes artistiques Que fait DADA? |
| work_vqwnasnga5dgxlay6fphrmhbl4 | le futurisme veut monter dans un lyrisme- ascenseur ar- tistique Que fait DADA? |
| work_vqwnasnga5dgxlay6fphrmhbl4 | le néo- classicisme d é c o u v r e les bienfaits de l''art artistique Que fait DADA? |
| work_vqwnasnga5dgxlay6fphrmhbl4 | le paroxysme fait le trust de tous les fromages artistiques Que fait D A D A? |
| work_vqwnasnga5dgxlay6fphrmhbl4 | le s i m u l t a n é i s m e en est encore à sa p r e m i è r e communion artistique Que fait D A D A? |
| work_vqwnasnga5dgxlay6fphrmhbl4 | — 48 — l''expressionnisme empoisonne les sardines artistiques Que fait DADA? |
| work_ximkvuexyfdsnj67es2qpvupji | 44 « Une forme 4 dimsl est perçue(?) |
| work_ximkvuexyfdsnj67es2qpvupji | Faut- t- il conclure que ces « ombres » s’entremêlent aux êtres tridimensionnels ordinaires? |
| work_ximkvuexyfdsnj67es2qpvupji | L’objet 3 dimsl vu dans le continu 4 dimsl est perçu d’ensemble( A- t- il un envers et un endroit comme le plan vu dans l’espace?) |
| work_ximkvuexyfdsnj67es2qpvupji | Nous pouvons nous interroger si la ressemblance entre les épures de Brauner et les Moules mâlic de Duchamp n’est pas une simple coïncidence? |
| work_ximkvuexyfdsnj67es2qpvupji | Ou faut- il plutôt combiner l’hypothèse de la paresse avec l’utopie du projet? |
| work_ximkvuexyfdsnj67es2qpvupji | Vous rappelez- vous quelqu’un qui s’appelait Povolowski15? |
| work_343rgxqowrcetmin32uuya4ufa | ( Turkle, 2011, p. 3) Would it have been preferable for the Museum to have used robotic replacements and saved the actual tortoises the long journey? |
| work_343rgxqowrcetmin32uuya4ufa | 3 See http://www.parorobots.com Baron Lessons from Venice 13 WHEN DOES AUTHENTICITY MATTER? |
| work_343rgxqowrcetmin32uuya4ufa | Authentic? |
| work_343rgxqowrcetmin32uuya4ufa | Authentic? |
| work_343rgxqowrcetmin32uuya4ufa | Did I look for authenticity in Paro? |
| work_343rgxqowrcetmin32uuya4ufa | Did we care that Watson expressed no emotions? |
| work_343rgxqowrcetmin32uuya4ufa | Did we care that Watson “ spoke ” through a synthesized voice and was visually represented by an animated globe- like avatar? |
| work_343rgxqowrcetmin32uuya4ufa | Does Paro perform as it ’s designed to? |
| work_343rgxqowrcetmin32uuya4ufa | Get smart: How will we know when machines are more intelligent than we are? |
| work_343rgxqowrcetmin32uuya4ufa | Is body- to- body communication still the prototype? |
| work_343rgxqowrcetmin32uuya4ufa | Is da Vinci ’s work more “ authentic ”? |
| work_343rgxqowrcetmin32uuya4ufa | Or did we only care that Watson bested his human competitors? |
| work_343rgxqowrcetmin32uuya4ufa | Our issue, however, is a different one: Are users of the fruits of AI actually looking for replicas of human behavior( however achieved)? |
| work_343rgxqowrcetmin32uuya4ufa | The central question of this essay is: How important is authenticity when we are using ICTs, particularly as social robots? |
| work_343rgxqowrcetmin32uuya4ufa | What did Alexander actually look like? |
| work_343rgxqowrcetmin32uuya4ufa | What do issues of authenticity in Venetian music or architecture have to do with information and communication technologies( ICTs)? |
| work_343rgxqowrcetmin32uuya4ufa | Why do we retouch photographs? |
| work_343rgxqowrcetmin32uuya4ufa | § How adaptive are we in dealing with representational limitations? |
| work_343rgxqowrcetmin32uuya4ufa | § To what extent does authenticity in ICTs matter? |
| work_xatjepsvyvarzlxb5nzfe7ardm | 13 painted it in 1654.45 Why had Xu Bing reproduced it? |
| work_xatjepsvyvarzlxb5nzfe7ardm | Was he no more than staging the Chinese propensity to imitate, emulate, or even simply copy? |
| work_xatjepsvyvarzlxb5nzfe7ardm | What does it mean for me to give a voice to the underdog? |
| work_uk2ntw7pxbdytczdaxarbet4um | But, how to appropriate the position of the one who ‘ gives name ’? |
| work_uk2ntw7pxbdytczdaxarbet4um | Could Broodthaers be appointed to do that? |
| work_uk2ntw7pxbdytczdaxarbet4um | Could it be verified? |
| work_uk2ntw7pxbdytczdaxarbet4um | DISCUSSIONS| ART+MEDIA 115 everyone accept it? |
| work_uk2ntw7pxbdytczdaxarbet4um | Is it enough to give a statement like the one by Rauschenberg( ‘ this is a work of art because I say so ’)? |
| work_uk2ntw7pxbdytczdaxarbet4um | So, how did Mangelos attempt to deconstruct this myth? |
| work_uk2ntw7pxbdytczdaxarbet4um | The act of asking ‘ What is art? ’ – is destroying that sacred- ness. |
| work_uk2ntw7pxbdytczdaxarbet4um | The question is whether a statement “ This is a work of art ” is a statement at all? |
| work_uk2ntw7pxbdytczdaxarbet4um | Those new developments in the field of forms raised the question as to what would be considered art in the future? |
| work_uk2ntw7pxbdytczdaxarbet4um | What if in both cases an artist was not sincere when giving those ‘ statements ’? |
| work_uk2ntw7pxbdytczdaxarbet4um | What makes one statement a performative and how can Broodthaers ’ statement ‘ This is a museum ’ become a performative? |
| work_uk2ntw7pxbdytczdaxarbet4um | – Well, what is it? |
| work_uk2ntw7pxbdytczdaxarbet4um | “ What is the relation between name and thing named? |
| work_zxmo3fvjhjebjkhtnxsqmjbwme | How do I get a performance? |
| work_zxmo3fvjhjebjkhtnxsqmjbwme | How do I get the best singers I need? work_zxmo3fvjhjebjkhtnxsqmjbwme Finally, when will it be over? work_zxmo3fvjhjebjkhtnxsqmjbwme Has Bordes spoken to you again about his theatrical project? work_zxmo3fvjhjebjkhtnxsqmjbwme Inasmuch as I''ve received nothing, I wonder if the package fromMusica"could have gone astray? |
| work_zxmo3fvjhjebjkhtnxsqmjbwme | Is it OK? |
| work_zxmo3fvjhjebjkhtnxsqmjbwme | What do you think of that? |
| work_zxmo3fvjhjebjkhtnxsqmjbwme | What kind of involvements do these artists have that might prevent their participation in my work? |
| work_zxmo3fvjhjebjkhtnxsqmjbwme | Where will future events leave me? |
| work_zxmo3fvjhjebjkhtnxsqmjbwme | Who can advise me?" |
| work_zxmo3fvjhjebjkhtnxsqmjbwme | Will it be good?!! |
| work_6oanysw5wrbwrczi2qgcnwv544 | 2 ‘ The Face ’ in Picasso? |
| work_6oanysw5wrbwrczi2qgcnwv544 | 21 Where does Bataille detect monstrosity in such an ordinary provincial scene? |
| work_6oanysw5wrbwrczi2qgcnwv544 | 45 Can this not stand too as a description of Picasso ’s inhuman faces? |
| work_6oanysw5wrbwrczi2qgcnwv544 | A key passage might be the famous statement to the photographer Brassaï in 1943: ‘ Why do you think I date everything I do? |
| work_6oanysw5wrbwrczi2qgcnwv544 | And all the rest? |
| work_6oanysw5wrbwrczi2qgcnwv544 | And what is truth – the thing that acts as my model, or what I am painting? |
| work_6oanysw5wrbwrczi2qgcnwv544 | Behind? |
| work_6oanysw5wrbwrczi2qgcnwv544 | Besides, they need only look at themselves a little more carefully in the mirror … What is a face when you get right down to it? |
| work_6oanysw5wrbwrczi2qgcnwv544 | Does n’t everyone see it in his own way? |
| work_6oanysw5wrbwrczi2qgcnwv544 | Faciality? |
| work_6oanysw5wrbwrczi2qgcnwv544 | Inside? |
| work_6oanysw5wrbwrczi2qgcnwv544 | Its make- up? |
| work_6oanysw5wrbwrczi2qgcnwv544 | Its photograph? |
| work_6oanysw5wrbwrczi2qgcnwv544 | Or the face as its was represented by this or that painter? |
| work_6oanysw5wrbwrczi2qgcnwv544 | The image of truth? |
| work_6oanysw5wrbwrczi2qgcnwv544 | What is in front of it? |
| work_6oanysw5wrbwrczi2qgcnwv544 | Which one, then, is the truth? |
| work_aiygxin32bf2xapa3xlkhi6xjq | ( …) Avant, il n''y a pas longtemps, pas longtemps du tout, il y a seulement deux ans, la téléphoniste répondait: « Comme l''écrivain? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Arthur Adamov, alter ego d’Eugène Ionesco? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Avez- vous l''impression d''être apparenté à tous ces auteurs ou bien vous sentez- vous différent d''eux? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Comment ne pas percevoir dans cet aveu la profonde détresse et déception d’un écrivain qui n’a pas eu la réputation qu’il mérite? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Et au nom de quelle magie valable aurait- il le droit de prétendre nous envoûter? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Et, dans ces conditions, comment aurait- elle pu se maintenir dans le temps, après la disparition de ses supposés promoteurs? |
| work_aiygxin32bf2xapa3xlkhi6xjq | I. À l’exemple d’Eugène Ionesco, que reste- t- il, de nos jours, du fameux Théâtre de l’Absurde? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Interprétation par Cioran? |
| work_aiygxin32bf2xapa3xlkhi6xjq | L''éclat de rire ou le suicide? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Mais y a- t- il seulement eu un Théâtre de l’Absurde? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Manière pour lui de s''accommoder de l''obscurité relative qui enveloppe son propre nom alors que celui de Ionesco est universellement connu? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Mise en scène de Ionesco par soi- même pour émouvoir son confident diurne et nocturne? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Ne plairais- je plus? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Pourquoi? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Quand n''ai- je plus aimé le théâtre? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Quels sont les monstres sacrés du théâtre qui pourraient nous la restituer? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Qui est Arthur Adamov? |
| work_aiygxin32bf2xapa3xlkhi6xjq | Transcription très approximative de ce que se sont dit les deux Roumains? |
| work_dhtwoqi35ff5ncshb32ha2tzey | : Thinking further of their corpuses and total careers, how do you con- ceive the late and last works of these poets? |
| work_dhtwoqi35ff5ncshb32ha2tzey | And how do you conceive of late Yeats and late Stevens? |
| work_dhtwoqi35ff5ncshb32ha2tzey | Are there evolutions in this regard that you view with excitement and others that are causes for concern? |
| work_dhtwoqi35ff5ncshb32ha2tzey | But does modern criticism need to “ come to terms ” with Yeats, Stevens, and Eliot in relation to their implied or explicit worldviews? |
| work_dhtwoqi35ff5ncshb32ha2tzey | But how did these French influences impact differently on Stevens and Eliot, in your view? |
| work_dhtwoqi35ff5ncshb32ha2tzey | But what do Yeats, Stevens, and Eliot still have to teach us now that modernism is over a hundred years of age? |
| work_dhtwoqi35ff5ncshb32ha2tzey | Did n’t a vocal postmodernism arise in response to modernism and question all its premises? |
| work_dhtwoqi35ff5ncshb32ha2tzey | Does this matter? |
| work_dhtwoqi35ff5ncshb32ha2tzey | Have these points of comparison become more apparent with the passing of time and our evolving sense of modernism? |
| work_dhtwoqi35ff5ncshb32ha2tzey | How can that be in 2017, a full hundred years after the publication of Eliot ’s “ Prufrock ”? |
| work_dhtwoqi35ff5ncshb32ha2tzey | Is it fair to say there is no late great Eliot? |
| work_dhtwoqi35ff5ncshb32ha2tzey | Is that simply a trait of modernism itself or do you see modernism as something that is still evolving in the twenty- first century? |
| work_dhtwoqi35ff5ncshb32ha2tzey | Marjorie Perloff: Yeats, Stevens, Eliot? |
| work_dhtwoqi35ff5ncshb32ha2tzey | What do you make of Eliot ’s alleged dragging of his feet when it came to Faber publishing Stevens? |
| work_dhtwoqi35ff5ncshb32ha2tzey | What do you see as the main driving forces behind these dynamics of change? |
| work_dhtwoqi35ff5ncshb32ha2tzey | What has struck you about the changing fates and varying poetic statuses of Yeats, Stevens, and Eliot in different parts of the world? |
| work_dhtwoqi35ff5ncshb32ha2tzey | Yet those more total- izing gestures are of a different order from how Yeats and Eliot built their respective poetic worlds, are they not? |
| work_dhtwoqi35ff5ncshb32ha2tzey | “ ‘ Pound/ Stevens: Whose Era? ’ Revisited. ” The Wallace Stevens Jour- nal, vol. |
| work_yldqvhkx2fefhle4hcwpz73sgi | 10 https://www.harvardartmuseums.org/collections/object/186826? position=4[ accessed: 3.06.2020]. |
| work_yldqvhkx2fefhle4hcwpz73sgi | 10 https://www.harvardartmuseums.org/collections/object/186826? position=4[ data dostępu: 3.06.2020]. |
| work_yldqvhkx2fefhle4hcwpz73sgi | 9 https://www.harvardartmuseums.org/collections/object/187012? position=5[ accessed 3.06.2020]. |
| work_yldqvhkx2fefhle4hcwpz73sgi | An unforgettable journey by narrow- gauge railway to Mrzeżyno – recalls his son Lux – is it still possible to make this exciting jour- ney today? |
| work_yldqvhkx2fefhle4hcwpz73sgi | Czy jest to opisana przez Worringera geometria wyrażająca potrzeby religijne? |
| work_yldqvhkx2fefhle4hcwpz73sgi | Czy można zatem traktować owe z nieba stworzone ża- gle w sposób symboliczny? |
| work_yldqvhkx2fefhle4hcwpz73sgi | Is it possible, then, to treat these sails made of heaven in a symbolic way? |
| work_yldqvhkx2fefhle4hcwpz73sgi | Is it the geometry described by Worringer which expresses religious needs? |
| work_yldqvhkx2fefhle4hcwpz73sgi | Maybe this is the reason why Feininger ’s triangular sails are more than just a piece of canvas? |
| work_yldqvhkx2fefhle4hcwpz73sgi | Może dlatego trójkątne żagle u Feiningera to coś więcej niż kawałek płótna? |
| work_yldqvhkx2fefhle4hcwpz73sgi | Pa- trzymy z niedowierzaniem – czy jeszcze kiedyś sztuka będzie wierzyła tak bardzo we własną siłę oddziaływa- nia? |
| work_yldqvhkx2fefhle4hcwpz73sgi | We look with disbelief – will art ever believe so much in its own power of influence? |
| work_yldqvhkx2fefhle4hcwpz73sgi | [ 5] Sztabiński G., Dlaczego geometria? |
| work_oh3e7oyly5c5pd747xnbpdffry | 2020, 10, 15 5 of 13 Interpret works of art( Why do you think the painter painted this? |
| work_oh3e7oyly5c5pd747xnbpdffry | Can you connect it to something in your life? |
| work_oh3e7oyly5c5pd747xnbpdffry | Chamorro- Premuzic, T.; Reimers, S.; Hsu, A.; Ahmetoglu, G. Who art thou? |
| work_oh3e7oyly5c5pd747xnbpdffry | Describe works of art( What is in this painting? |
| work_oh3e7oyly5c5pd747xnbpdffry | Do you know any painters?) |
| work_oh3e7oyly5c5pd747xnbpdffry | Do you recognize any dark – light contrast? |
| work_oh3e7oyly5c5pd747xnbpdffry | Do you see a rhythm and ratio of differently sized shapes?) |
| work_oh3e7oyly5c5pd747xnbpdffry | Do you see any patterns of colors and shapes? |
| work_oh3e7oyly5c5pd747xnbpdffry | Do you see any shapes and colors repeating themselves? |
| work_oh3e7oyly5c5pd747xnbpdffry | Do you see complementary colors? |
| work_oh3e7oyly5c5pd747xnbpdffry | Do you see dark and light colors? |
| work_oh3e7oyly5c5pd747xnbpdffry | Do you see dark and light colors? |
| work_oh3e7oyly5c5pd747xnbpdffry | Do you see shapes like these in the world around you? |
| work_oh3e7oyly5c5pd747xnbpdffry | Do you see the chromatic – achromatic contrast? |
| work_oh3e7oyly5c5pd747xnbpdffry | Do you see warm and cold contrasting colors? |
| work_oh3e7oyly5c5pd747xnbpdffry | Evaluate works of art( After you have found out something about this work of art, how do you feel about it at the moment? |
| work_oh3e7oyly5c5pd747xnbpdffry | What does it remind you of?) |
| work_oh3e7oyly5c5pd747xnbpdffry | What does this work of art make you feel? |
| work_oh3e7oyly5c5pd747xnbpdffry | What does this work of art mean to you? |
| work_oh3e7oyly5c5pd747xnbpdffry | What shapes are shown? |
| work_oh3e7oyly5c5pd747xnbpdffry | What shapes are shown? |
| work_oh3e7oyly5c5pd747xnbpdffry | Where do you see shapes like these?) |
| work_oh3e7oyly5c5pd747xnbpdffry | Who are the painters? |
| work_oh3e7oyly5c5pd747xnbpdffry | Who painted it? |
| work_oh3e7oyly5c5pd747xnbpdffry | Who would you give it to as a present?). |
| work_oh3e7oyly5c5pd747xnbpdffry | Winner, E.; Goldstein, T.; Vincent- Lancrin, S. Art for Art ’s Sake? |
| work_odwbcomy55dvtnpyflybpll7wu | 22 It is interesting to read Why Did We Choose to Industrialize? |
| work_odwbcomy55dvtnpyflybpll7wu | 28 Brian Gettler, « En espèce ou en nature? |
| work_odwbcomy55dvtnpyflybpll7wu | Had opportunities for individuals increased? |
| work_odwbcomy55dvtnpyflybpll7wu | His book, Why Did We Choose to Industrialize? |
| work_odwbcomy55dvtnpyflybpll7wu | How, exactly, does drawing upon the ideas of Gramsci negate or deny the sufferings of the victims of Stalinism? |
| work_odwbcomy55dvtnpyflybpll7wu | I turn now to the question of choice, who makes it and what does it mean? |
| work_odwbcomy55dvtnpyflybpll7wu | MONTRÉAL, 1819- 1849 121 Response to the Round Table on Why Did We Choose to Industrialize? |
| work_odwbcomy55dvtnpyflybpll7wu | MONTRÉAL, 1819- 1849 127 pational segregation increased? |
| work_odwbcomy55dvtnpyflybpll7wu | Response to the Round Table on Why Did We Choose to Industrialize? |
| work_odwbcomy55dvtnpyflybpll7wu | Response to the Round Table on Why Did We Choose to Industrialize? |
| work_odwbcomy55dvtnpyflybpll7wu | SWEENY ’S WHY DID WE CHOOSE TO INDUSTRIALIZE? |
| work_odwbcomy55dvtnpyflybpll7wu | SWEENY ’S WHY DID WE CHOOSE TO INDUSTRIALIZE? |
| work_odwbcomy55dvtnpyflybpll7wu | SWEENY ’S WHY DID WE CHOOSE TO INDUSTRIALIZE? |
| work_odwbcomy55dvtnpyflybpll7wu | SWEENY ’S WHY DID WE CHOOSE TO INDUSTRIALIZE? |
| work_odwbcomy55dvtnpyflybpll7wu | SWEENY ’S WHY DID WE CHOOSE TO INDUSTRIALIZE? |
| work_odwbcomy55dvtnpyflybpll7wu | SWEENY ’S WHY DID WE CHOOSE TO INDUSTRIALIZE? |
| work_odwbcomy55dvtnpyflybpll7wu | SWEENY ’S WHY DID WE CHOOSE TO INDUSTRIALIZE? |
| work_odwbcomy55dvtnpyflybpll7wu | Son ouvrage, Why Did We Choose to Industrialize? |
| work_odwbcomy55dvtnpyflybpll7wu | Specifi cally, I asked: Was the society more polarized? |
| work_odwbcomy55dvtnpyflybpll7wu | Sweeny responds to comments on his award- winning book, Why Did We Choose to Industrialize? |
| work_odwbcomy55dvtnpyflybpll7wu | Sweeny répond aux commentaires de son livre récompensé, Why Did We Choose to Industrialize? |
| work_odwbcomy55dvtnpyflybpll7wu | Sweeny répond aux commentaires de son livre récompensé, Why Did We Choose to Industrialize? |
| work_odwbcomy55dvtnpyflybpll7wu | Sweeny, “ What Difference Does a Mode Make? |
| work_odwbcomy55dvtnpyflybpll7wu | Was the society more secular? |
| work_odwbcomy55dvtnpyflybpll7wu | When the issue is so large, how can one talk about choice and who can be said to have made those choices? |
| work_ixf6mt5mjfaadixh4dl45erpzu | 7 5 intend to teach students about computers? |
| work_ixf6mt5mjfaadixh4dl45erpzu | And to whom? |
| work_ixf6mt5mjfaadixh4dl45erpzu | And what is it that we are proposing to teach? |
| work_ixf6mt5mjfaadixh4dl45erpzu | And what kind of transference? |
| work_ixf6mt5mjfaadixh4dl45erpzu | BASIC? |
| work_ixf6mt5mjfaadixh4dl45erpzu | But how? |
| work_ixf6mt5mjfaadixh4dl45erpzu | But what kind of learning? |
| work_ixf6mt5mjfaadixh4dl45erpzu | But who would fill their classes( and thus justify their salaries)? |
| work_ixf6mt5mjfaadixh4dl45erpzu | C. Social Mechanisms What about curricular arguments for computer literacy relating to what I have called social mechanisms? |
| work_ixf6mt5mjfaadixh4dl45erpzu | Economic Considerations What about economic considerations? |
| work_ixf6mt5mjfaadixh4dl45erpzu | Here the problem is not so much should we teach ethics, or to whom should we teach it, but how should we teach it? |
| work_ixf6mt5mjfaadixh4dl45erpzu | How does such an argument work? |
| work_ixf6mt5mjfaadixh4dl45erpzu | If so, to whom? |
| work_ixf6mt5mjfaadixh4dl45erpzu | Make Citizens Able to Function Well in Society What kind of computer literacy do we need to make citizens function well in society? |
| work_ixf6mt5mjfaadixh4dl45erpzu | SHOULD EVERYONE BECOME COMPUTER LITERATE? |
| work_ixf6mt5mjfaadixh4dl45erpzu | SHOULD EVERYONE LEARN ANYTHING? |
| work_ixf6mt5mjfaadixh4dl45erpzu | Should we teach it to everyone? |
| work_ixf6mt5mjfaadixh4dl45erpzu | Should we teach it? |
| work_ixf6mt5mjfaadixh4dl45erpzu | Society Third, what about the larger social dimension of these economic arguments for computer literacy? |
| work_ixf6mt5mjfaadixh4dl45erpzu | To only some students? |
| work_ixf6mt5mjfaadixh4dl45erpzu | What can we argue about individual, institutional, and social motivations? |
| work_ixf6mt5mjfaadixh4dl45erpzu | What kind of computer learning are we talking about? |
| work_ixf6mt5mjfaadixh4dl45erpzu | What should colleges and universities teach about computers? |
| work_ixf6mt5mjfaadixh4dl45erpzu | What should we in higher education do about the teaching of"computer literacy? |
| work_ixf6mt5mjfaadixh4dl45erpzu | Will flowcharting do it? |
| work_ixf6mt5mjfaadixh4dl45erpzu | Work Out Social Problems How might computer literacy foster the working out of social problems? |
| work_ixf6mt5mjfaadixh4dl45erpzu | ethical implications of computer use and misuse? |
| work_ixf6mt5mjfaadixh4dl45erpzu | machine hardware? |
| work_ixf6mt5mjfaadixh4dl45erpzu | multiple programming languages? |
| work_ixf6mt5mjfaadixh4dl45erpzu | to teach them programming in BASIC? |
| work_sphq4gwwqff47oqtd4znug4g2q | Again we ask ourselves then, what is an image? |
| work_sphq4gwwqff47oqtd4znug4g2q | But why did you steal my gods? |
| work_sphq4gwwqff47oqtd4znug4g2q | Dlaczego? |
| work_sphq4gwwqff47oqtd4znug4g2q | Do we have sound knowl edge about images? |
| work_sphq4gwwqff47oqtd4znug4g2q | In What is a Picture? |
| work_sphq4gwwqff47oqtd4znug4g2q | Mitchell in a famous essay entitled “ What is an image? ”. |
| work_sphq4gwwqff47oqtd4znug4g2q | Mitchell, from What is an image? |
| work_sphq4gwwqff47oqtd4znug4g2q | Mitchell, z Czym jest obraz? |
| work_sphq4gwwqff47oqtd4znug4g2q | Mitchella w jego słynnym eseju zatytułowanym „ Czym jest obraz? ”. |
| work_sphq4gwwqff47oqtd4znug4g2q | One of the most remarkable passag es of “ What is an image? ” is the paragraph that illustrates the thesis of image= sign. |
| work_sphq4gwwqff47oqtd4znug4g2q | The title of the second part is “ Is in scription ┤ Boob ├ an image? |
| work_sphq4gwwqff47oqtd4znug4g2q | Translated by Michelle Symonds References /Bibliografia[ 1] Mitchell W.J.T., What is an Image?, „ New Literary History ” 1984, Vol. |
| work_sphq4gwwqff47oqtd4znug4g2q | What makes the God of the Bible forbid all like- ness in the Second Commandment, before pronouncing of killing, adultery and theft? |
| work_sphq4gwwqff47oqtd4znug4g2q | Why? |
| work_sphq4gwwqff47oqtd4znug4g2q | Why? |
| work_sphq4gwwqff47oqtd4znug4g2q | [ 3] Bell J., What is Painting? |
| work_sphq4gwwqff47oqtd4znug4g2q | [ 4] Mitchell W.J.T., What Do Pictures Want? |
| work_sphq4gwwqff47oqtd4znug4g2q | [ 6] Newall M., What is a Picture? |
| work_sphq4gwwqff47oqtd4znug4g2q | [ 9] What Is an Image?, J. Elkins, M. Naef( eds. |
| work_xkxw236yqzabzntyuhss53nqgi | ( p. 723) Who might have told Apollinaire that there was a problem with music itself, rather than simply with contemporary musicians? |
| work_xkxw236yqzabzntyuhss53nqgi | ( p. 9) What is the quality of music that allows it thus to symbolise purity in art? |
| work_xkxw236yqzabzntyuhss53nqgi | 20 What “ air ”, then, should we imagine being played by the flute- player in “ Le musicien de Saint- Merry ”? |
| work_xkxw236yqzabzntyuhss53nqgi | But did that the tune actually exist? |
| work_xkxw236yqzabzntyuhss53nqgi | Ce qui sera peut- être un bon débarras.20 “ Bon débarras ”, the destruction of all pianos? |
| work_xkxw236yqzabzntyuhss53nqgi | Did he actually sing his poems to these tunes? |
| work_xkxw236yqzabzntyuhss53nqgi | He is, nonetheless, playing the flute: Jouant l’air que je chante et que j’ai inventé What is this “ air ” that the poet invented and sang? |
| work_xkxw236yqzabzntyuhss53nqgi | How could this add up? |
| work_xkxw236yqzabzntyuhss53nqgi | If all music is unsatisfactory, then why not get rid of it? |
| work_xkxw236yqzabzntyuhss53nqgi | If music itself can not suffice to guide the musician, can words help? |
| work_xkxw236yqzabzntyuhss53nqgi | Is such a music possible? |
| work_xkxw236yqzabzntyuhss53nqgi | Or something more like the hymn of telegraph wires? |
| work_xkxw236yqzabzntyuhss53nqgi | The little tunes noted by Max Jacob? |
| work_xkxw236yqzabzntyuhss53nqgi | Was this out of pure ignorance? |
| work_xkxw236yqzabzntyuhss53nqgi | What is the nature of this distance, and why is it necessary? |
| work_xkxw236yqzabzntyuhss53nqgi | What, exactly, if not the kind of music one hears in concerts, was the music of which he had a strong sense? |
| work_xkxw236yqzabzntyuhss53nqgi | What, then, of Savinio ’s music itself? |
| work_xkxw236yqzabzntyuhss53nqgi | Why should this be? |
| work_xkxw236yqzabzntyuhss53nqgi | Why? |
| work_xkxw236yqzabzntyuhss53nqgi | Why? |
| work_xkxw236yqzabzntyuhss53nqgi | should we try to find it? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | : Ce désir que Stein a éveille en chacune de vous, comment se concrétise- t- il à l''issue de votre première rencontre avec l''auteur? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | A croire que Stein était vraiment trop moderne pour ce milieu? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | C''est une parole que j''ai retrouvée chez certains spectateurs:"univers spécial","on comprend rien","mais alors, c''est un conte ou pas?"... |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Comment pouvez- vous dire si une cloche est une cloche?... |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Comment ça se noue, pour toi, corps et texte? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Dans quel état ce jeu met l''actrice ou dans quel état doit se mettre l''actrice pour se rendre disponible à ce"devenir- texte"? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | De vous amener là où vous n''aviez pas prévu d''aller? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Emma, s''il y avait une chose du travail de Lise sur laquelle vous souhaiteriez revenir, quelle serait- elle? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Emma, vous contactez très vite le traducteur et l''éditeur de Tendres boutons: comment réagissent- ils? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Est- ce que cela répond à ta question? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Est- ce votre vision du théâtre, de la mise en scène des textes en général ou de ce texte de Stein en particulier? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Grande question: en quoi l''écriture de Stein est- elle liée au cubisme? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | L''écriture de Stein fait souvent peur: ces deux lieux ont- ils accepté de suite ou a- t- il fallu les convaincre, Lise? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Lise Avignon: Et toi? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Lise, Emma, avez- vous dû rassurer votre entourage artistique quant aux projets? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Lise, quelle question poseriez- vous à Emma? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Lise, suite à votre lecture si bouleversante de Le Monde est rond, quelles furent les démarches que vous avez entreprises pour monter le texte? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Lise? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Lui arrive- t- il de vous surprendre? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Mais la chair?... |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Normalement, ils demandent un peu d''argent pour l''utilisation du lieu, mais là il m''a accueillie gratuitement("t''as pas d''argent, et alors? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Ont- ils compris de suite votre désir de monter ces textes d''une auteur réputée comme difficile? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Pourquoi? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Pouvez- vous nous expliquer comment vous avez appréhendé le passage du texte au plateau? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Pouvez- vous revenir sur ce travail du"devenir- texte"sur le plateau? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Pouvez- vous, chacune, revenir sur la mise en place du projet? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Qu''est- ce qui animent des femmes de plateau comme vous à aller vers un texte qui, à la première lecture,"ne fait pas sens"? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Quand et comment ça change? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Quel espace pour ces mots? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | Stein? |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | et"comment faîtes- vous?" |
| work_w3ae4vpqvfbfrhhvi5kti2cnym | qu''est- ce que le texte accepte? |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | 252 Image available online at Zelska- Darewych, “ Levytsky, Myron. ” Page 98 of 108 Tradition altogether? |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | During the Reformation? |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | Gschwandtner, Christina M. Postmodern Apologetics? |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | If some forms of art are determined to be unsuitable for iconography, where is the boundary or horizon? |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | Is n’t the East about to lose its inner richness in order to put on what we ourselves are abandoning? |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | Is text, such as the Bible, a type of icon, and/or what characteristics does it share with icons? |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | Is this a factor in the argument that Western religious art is not iconography( as per the previous point)? |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | Is this a medium in which there is the crossing of the gaze, between the observer and the divine( or divinized)? |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | Making a Scene: Co- Creator or Co- Participant? |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | The key question is, “ what does the medium enhance or intensify? ” 2. |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | The key question is, “ what does the medium render obsolete or displace? ” 3. |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | The key question is, “ what does the medium retrieve that was previously obsolesced? ” 4. |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | “ L’art Contemporain : L’idole En Quête d’icone? ” In Nicée II, 787- 1987 : Douze Siècles d’images Religieuses, 471–488. |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | • Are there characteristics of the Christian Tradition that necessarily require icons in order to achieve its fullest potential? |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | • Obsolescence — what becomes ground? |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | • Retrieval — what figure had previously become ground, and is now returning to figure? |
| work_7vy7th5ocbcqbamo5fqv7gjzp4 | • Reversal — how can figure and ground switch places when the medium is taken to the extreme? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | ( Can we compare the Romantic to the Classical in all art?) |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | ( New York Review of Books, Schapiro ’s translation.17) The moral? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | ("What shall I love if not the enigma? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | 11 April 1973[ Psychology and Art] Why did Cézanne paint apples at certain times and places? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | 121- 134 Terry Smith Meyer Schapiro on style in art and science 47 of unconscious processes? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | 2 May 1973 Valuation Why do we talk about certain objects/ artists and not others? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | 24- 5 70 Giorgio de Chirico, Self- Portrait[ Et quid amabo nisi quod aenigma est? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | 61 We might take this up by asking these questions about meaning in works of art: i) What is represented, said? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Abstract or non- figurative imagery in art––are these signs? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Are centuries- long explanations applicable to the careers of individual artists? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Are norm- conforming works without style? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Are the criteria we apply to individual works the same as those for national style of differences? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Are the fields of nature distinguishable stylistically? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Are the same criteria applicable to the collective and the personal trait? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Are there inherent forms of development? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Are there no meanings without context? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Are they derived from paradigms? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Are they properly called subjective? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Because Isaac is tilted, submissive, the rocks are tilted in the same angle as him––an expressive device? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | But does he use symbols? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | But the open door in her abdomen suggests sexual interpretation; is this an addition on the artist ’s part? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | But to what extent does the valuing of art works and of scientific works rest on the same criteria? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | But value for whom? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | But what of non- representational art, abstract painting, and buildings with cross- media style features? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | But why are we so confident about “ similar looking ” past work, when locally, now, in downtown New York, there is a plethora of variety? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | But why does the horse Sarah stands in go through the frame? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | But why place them in a still life? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Can line, form, and color be the carriers of quality independent of meaning, intentions, subject, and iconography? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Can the criteria for style features in drawing and in painting be the same? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Can the style terms we apply to his work be applied also to the objects photographed? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Can we achieve objectivity of value judgement? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Can we discuss Giotto ’s participation as a student in a group project? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Can we make objective statements about “ private ” matters? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Can we take measure of sensations as responses to stimuli? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Can you see what is shared amongst all these things? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Communication has to differ from nature––is nature communicating to you? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Compared, for example, to the individual? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Correspondences between style and time- space features––how do you establish their similarity? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Did this occur in Cologne in the 1920s for the first time? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Do all Mediterraneans speak quickly? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Do most neologisms fail because of their prematurity? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Do terms like “ Roman ” mean a class of qualities of an abstraction? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Do they belong to the object or the spectator? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Do they communicate? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Do we say the same things about all the works of an artist as we do of the expressiveness of individual works? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Does Mark Tobey think of his ‘ calligraphic ’ models as signs? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Does a different criteria of valid statement operate in regard to artworks compared to natural objects? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Does a physical Law hold forever, has it held forever, all over the universe? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Does a whole building communicate? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Does it always amount to the exercise of subjectivity and lead to inaccuracy? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Does not the case of Picasso suggest this? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | For example, in his Self Portrait of 1913 de Chirico juxtaposed two plaster casts of feet crossed over each other, an egg, a rod( a rolled up drawing? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | For the molecule? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Have the laws of physics changed in time? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | How are all the gradients related? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | How are they formed? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | How do we decide degrees of resemblance? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | How do we get to know things effectively? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | How does Cézanne in particular use apples? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | How does expression relate to the idea advanced earlier that art is a group product, the result of collectivities? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | How does one validate artworks if they are unconscious? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | How does quantifying relate to artworks? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | How does this norm disappear? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | How much conscious recognition is there on the part of the artist of, say, the exhaustion of painterly means at a given time? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | How small need the sample be to see the genius, stylistically, of, for example, Shakespeare? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | How would Gombrich incorporate architecture? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | How would you store works from all over the world against the Atomic Bomb? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | If it were possible, could the resultant work be judged objectively? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | If taste were idiosyncratic or voguish, would a work survive the succeeding waves of changing taste? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | If the whole universe were contracted, would we know? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | If there Terry Smith Meyer Schapiro on style in art and science 56 are cycles, how does a new cycle begin? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | In large numbers, or by obsessively repeating one apple? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Introductory generalizations about an artist––are these valid generalizations or projections from just some works? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is a style a schema in this sense? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is a universal art history possible? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is abstract painting communicative? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is all art intended as a communication? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is psychoanalysis an adequate ground for explaining artists ’ choices of forms, colors, etc.? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is style a set of principles from which a great number of individual works can be generated? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is style a theory in a generative sense, that is, does it generate its instances? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is style an expressive structure? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is the measure of qualities too wide a net? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is the notion of the individual so precious? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is the “ Isaac ” painter at Assisi the young Giotto or is he Giotto ’s teacher? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is there a new norm, current today? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is there a psychology of art in general, and a quite different one that refers only to particular works? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is there no objectivity? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is there not a supra- interested way of approaching artworks? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Is this contradictory? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Its time and place, 1560 to 1700, Italy, France etc., how do all these factors relate? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Just because they were spheres, close to pure forms? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Later, we might ask: how much did he give to the assistants? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Ledoux ’s “ speaking architecture ” contained signs evoking something about the owner, but what if he had to build a house for an architect? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Mathieu ’s paintings with their allusions to signatures, to signing one ’s name––are these signs? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Objects value free, unaffected Is it useful, susceptible to analysis? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | On what grounds would we retain the same artists, acquire new ones, see same artists from different viewpoints, etc.? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Or even Louis XIV ’s signature, with its elaborate serifs, is it expressive in the way that the word “ Louis ” is expressive of Louis himself? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Or is it suspended? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Perhaps there are inhibitions on eye- to- eye projection, where it might imply aggressive intent on the part of the artist? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Place and time? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Prematurity? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Psychohistory is important here: can changes of institutions, for example, be explained by psychoanalytic theory? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Q: Because style characteristics are spread over all the arts, does this mean that they have a spiritual essence in common? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Q: Is intentionality a criterion? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Q: What is the meaning of one human action compared to for example, a speech by President Nixon and a symphony by Beethoven? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Returning to dating from internal evidence, we face the question: why could not a datable detail have been inserted later? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Schema of what? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Science is historicist in many of its questionings, for example, origins of the earth( predictions?). |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Shopping centers have this problem: how do you store objects so as to be able to retrieve them? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Should we innovate at the risk of losing connection with past? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Should we, then, treat history as a succession of unique events? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Sir William Temple and the author Jonathan Swift debated the controversy.53 Can the moderns match the past? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Size? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | So what if the rocks are vertical? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | So, too, artists ask what are the root, underlying elements of an artwork? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Subject Matter? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Substance? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | TS: Are schema instantial diagrams or are they like the intensional structures that generate a sentence? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Take the Master of Vezelay: we know him definitely through one work, so what do we do with early work, etc.? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Terry Smith Meyer Schapiro on style in art and science 22 Q: Are all these classification statements of the same logical type, or are they different? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | That linear leads to painterly is an observable phenomenon but does painterly always then lead to linear? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | The ideas that one ’s life- style is unified to one ’s art style––there are people like this, but is it true for all? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | The issue becomes: Can you encourage others to engage in the same process in the same way? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | To what extent may we take worldviews and philosophies as clues to understanding great styles of art? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Was it a mental preference? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | We do need them in art discussion? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What about the ideas of Shannon, and others, which emphasize quantitative information? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What are the boundaries of Italy throughout history? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What are the grounds for asserting the correctness of a judgement? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What are the limits of such mappings? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What are we trying to explain when we apply psychoanalytical theory? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What constructs do we need to make? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What happens when styles succeed each other? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What has brought about this change from Classical and Renaissance art as the key standards of how we behave towards art? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What is a schema? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What is it that gives a terminus post- quem? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What is meant by the “ value- free ” character of something, of an artwork, or of science? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What is this norm in painting, sculpture and architecture? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What meaning can be given to overcome anomalies and repugnant beliefs? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What of involuntary gestures? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What sort of evidence is pertinent to the work done in, for example, the year X? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What was meant? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | What was the impact of moral criticism in the late eighteenth century? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Which inventions take? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Who would like to ask a question about style? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Why are rocks elsewhere straight, for example, Moses giving his laws? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Why can an artist not be making something parallel to a carpenter making a chair, with no communication intended? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Why did ethnology museums show their materials as artworks? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Why did he use certain shadows on the face and on the mountains in the background? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Why did the theorists not take note of this? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Why do some people have better “ eyes ” and “ ears ” than others do? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Why is the style problem so closely related to art? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Why not also in art? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Why not earlier? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Why not truly Gothic? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Why so many? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Why was this man painted? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Why? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | Would such a still- life displacement have taken place in the fifteenth century? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | [ TS: the third question is, therefore, why were i) and ii) done the way they were?] |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | ii) How does a given element function within the painting? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | ii) What is the meaning of this line, or of separating the upper and lower parts, why no frame on this painting? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | iii) How does it come about that i) and/or ii) were done? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | iii) Why was this work made? |
| work_2xaatfvr5bcbjlvd4g6pezp7pe | “ Are you a man? ” he says. |