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chiro 100%

It is time for the chiropractic profession to take responsibility and systematically investigate the efficiency of joint manipulation of problems relating to the developing musculoskeletal system.


Miles full bio 98%

• Positron Manipulation - control positrons, the antimatter counterpart to electrons.


Multimedia-1 94%

But photo manipulation is not a new phenomenon--pictures have been altered since the 1800s, when photographs were invented.


shadowrun magic cheat sheet by adragon202-d71s6ay 94%

Force Resist Drain As Spellcasting + Trigger Trigger Command Contact Time Drain +1 +2 +1 Tradition Combat Detection Health Illusion Manipulation Drain Note Triggered by You &


Brochure 93% We are a graphic design company that specialises in the manipulation of wedding photography.


Portfolio of Galen Erickson for work 93%

Gross Domestic Scene, 2017 (photography, digital manipulation) - featured in Gengar.Land, 2017- ( Wario Land 2, 2017 (photography, digital manipulation) - featured in Fantasy Direct, curated by Isa Magalhães, from November 6 – December 6 at Chungking Mansions, 36 Nathan Road, Hong Kong ( Invoking Phase Space in Shiga, 2017 (photography, digital manipulation) - unwanted album cover Untitled, 2018 – collaboration with Aisha Mizuno (photography, illustration, digital manipulation) - for upcoming publication.


HongKongRokea 90%

[Type Here] Glabrus Gladius Chasmus Squamus 6 Strength( +2 )_____ 5 Stamina( +2 )_____ 0 Manipulation( -2 )__ -2 0 Appearance( )___ 7 Strength( +3 )_____ Dexterity( -/+2 )4/6 ____ 5 Stamina( +2 )_____ Manipulation( )__ Appearance( )___ Difficulty:


Paul Chehade – Who Control the Weather Control the World 89%

Long ago I questioned the practice of weather manipulation as a tool in a new global cold war.


BMG Quick Reference v1 88%

Starting the game Round phases Phase 0 :


chiro healthflash 87%

This decrease in your neck’s tightness after chiropractic manipulation changes the signals going to the brain, which in turn alters your blood pressure.


Elliott Campbell - Portfolio 87%

CREAMSODA C R E A T I V E Photo Editing/Manipulation Jerrard Wayne Studio2 During my time working as an intern for Jerrard Wayne Creatives, they expanded the services they offer to include Photography.


Introduction to SQL Language 87%

The SQL related Data Manipulation Language commands are:


BMG Quick Reference v2 86%

Starting the game Strategies Phase 0 :


Resume BMG v2 86%

Préparation Stratégies Phase 0 :


The Vampire Bible of Atazoth 83%

In reality, it is an ancient way of magick and manipulation that predates all known religions.


TimeandLightAlienationinContemporarySpace 81%

  Time and Light: Alienation in Contemporary Space   Traditional spaces serve to facilitate movement and commerce1, simplifying life through  efficient design. The mall, casinos, airports, and other commodity­centres function to encourage  a numbing alienation and propagate consumption. Alternative, non­traditional spaces undermine  these aims, instead providing a space for self­reflection and repositioning away from the  capitalist trajectory of space, and therefore the mechanics of the everyday through their  manipulation of time and light. A synartetic, or nonhistorical, approach to the analysis of these  alternative spaces provides an avenue that cannot be periodized or folded back into the more  traditional narratives of space.  Benjamin’s arcades and the shopping mall participate in the traditional trajectories of  capital, commerce and space. In this traditional narrative, spaces function to serve us by  facilitating movement and commerce through their architectural makeup. Benjamin references  An Illustrated Guide to Paris​  in his seminal​  Passagenwerk:   These arcades, a recent invention of industrial luxury, are glass­roofed, marble­paneled  corridors extending through whole blocks of buildings, whose owners have joined  together for such enterprises. Lining both sides of these corridors, which get their light  from above, are the most elegant shops, so that the passage is a city, a world in miniature2    These enclosed microcosms, with their monumental facades and wide array of consumer options,  parallel the 1960s American mall in both form and purpose. Victor Gruen, a prominent  shopping­plaza designer, believed that suburban malls could become the epicenter of suburban  1  Here I mean commerce as a signifier of the implicit narrative of traditional spaces.   Benjamin, Walter, and Rolf Tiedemann. ​ The Arcades Project​ . Cambridge, MA: Belknap, 1999. Print.  2   social interactions.3 The community sphere Benjamin detected in the Arcades was perhaps fully  realized by the American mall.4   This traditional trajectory directs us towards spaces that facilitate commerce and  movement. Space is treated as an engine of capital, chained to an insatiable desire for goods and  services. Although overlooked by this narrative, there is a rich history of non­consumable spaces  in the 20th century. These spaces resist us: they are non indexical, serving to neither facilitate  commerce or movement. These spaces manipulate time and light in order to motivate  self­reflection; through them we examine the positioning of our bodies in the contemporary  environment. Unlike in the mall, within the alternative spaces we are faced with an introspective  experience that unveils (rather than obscures) the true nature of alienation in the contemporary  environment.   For instance, James Turrell’s ​ A Frontal Passage ​ (Figure 1)​  ​ transforms the passivity of  light into an active force by endowing it with a physical presence as the singular artistic medium  utilized in the work. This manipulation increases the awareness of one’s own body, and therefore  one’s positioning in the space. Light becomes a marker of the existential moment in that to  become aware of one’s body and its temporal limitations is the feeling of existentialism. The  properties of light, when manipulated through structures, forces a reorientation that is  symptomatic of an experience with existential questions5. This existential moment hinges on  3  ​ Davidson, Ronald A.. “Parks, Malls, and the Art of War”. ​ Yearbook of the Association of Pacific Coast  Geographers​  73 (2011): 27–51. Web...  4  ​ I think it is important to note here the furthest articulation of this spatial impulse: e­commerce. However, this  conclusion of the narrative seems to function more to implode the dialogue in on itself rather than furthering it. In  this way, e­commerce becomes the ouroboros. By shedding it’s locus, e­commerce distances itself from a discourse  on physical structures or site and moves towards one regarding modes of consumption.   5  These existential questions, and the experience attached therefore, mark a new sublime differing from the historical  sublime in form and function. The sublime is no longer an individual experience, instead it is marked by a collective  existential experience. Furthermore, the new sublime is no longer strictly attached to “art space” or feats of god,  instead it is extended into commodity space and the everyday.      manmade structures with alienation as a key determinant of the contemporary experience. The  self­reflexive manipulation of time and light open the body to the feeling of existentialism and  causes a subsequent repositioning in the contemporary landscape. Turrell's work provides us a  lens through which to examine the intersection of time, space, and light as mechanics of the new  social existentialism. As the catalogue establishes: “​ Instead of diffusing freely from one side of  this wall to the other, the light ends abruptly in space, as if it had density. The power of the work  lies in this paradox, in which nothingness gains physical presence.”6  The physical presence of  nothingness, manifested through the physicality of light, confronts us with our own finitude. In  other words, we disappoint the desire to fill space undefined, as light can. Therefore,  disappointing the accompanying wish for immortality. As one moves around the work, the work  itself changes. The positioning of the body to the piece transforms it from a mere light show to  an expansive view of the abyss. Our body’s relationship to the piece is therefore of tantamount  importance. The experience of becoming re­aware of the limitations of our body is in fact the  experience of existentialism. Light, space, and time function in the work to trigger a new  awareness of our body in the space. Our awareness of our body in this space then triggers an  awareness of our body in the contemporary environment. This repositioning is symptomatic of  the new social existentialism.  This new understanding of the contemporary environment  includes an acknowledgement (or a purposeful un­acknowledgment) of our own alienation from  other bodies and space itself.    ​ Publication excerpt from The Museum of Modern Art, ​ MoMA Highlights​ , New York: The Museum of Modern Art,  revised 2004, originally published 1999, p. 343      6   Shopping malls and casinos are designed to encourage naive alienation; their windowless  facades obscure natural light, and the passing of time. Naive alienation encourages an acceptance  of our positioning and a continuation of the rhythm of neoliberalism through a shrouding of the  potential for collectivity. If we are all individual consumers, then we are alone and must  consume products to bridge the gap between ourselves and others. Alternatives to these  traditional structures, such as Isamu Noguchi’s ​ California Scenario (​ Figure 2)​ , ​ use light as a  physical force to express a revelatory alienation. Revelatory alienation functions to unveil our  positioning, allowing for self reflection and a radical repositioning. Revelatory alienation tears  down the constructed individualism of neoliberalism. In its place emerges a collective  existentialism experienced through the body's relationship to space. Noguchi’s work is  symptomatic of this type of unveiling. Nestled in between the largest mall in California, several  office centres, and a parking lot, ​ California Scenario​  is a dramatic pause in the monotony of the  everyday7. Light in Noguchi’s work is as present as the sculptural elements, arguably becoming a  sculptural object in itself. Standing in ​ California Scenario ​ feels similar to standing on a sundial­  one becomes aware of the passing of time as a physical presence. During the afternoon, the sun  bouncing off the neighboring parking lot causes the space to become so bright and hot that it is  physically overpowering for many viewers.8 The heat and light reflecting off the adjacent  parking garages dramatically changes the environment. It is through this heat that light becomes  a texture in the work; this heat makes it uncomfortable to be within the space and therefore  7  Ironically, in reading the Yelp reviews of the California Scenario it becomes clear that (when not reflected upon)  the work often becomes an elaborate stage for the everyday. Vivian A. writes “​ My friends and I took our prom  pictures here (...) It was an impeccable place to take pictures at; nice, quiet and may I add, very clean too! Although  it's a quite a small space, there's a lot of different artsy backgrounds you can choose from, which made it the perfect  photo spot!”  8  Yelp user Tilla L. writes “​ I came around 2 pm which was so hot that day so it could have a huge impact based on  my experience here.”    changes how one composes their body within the space. Compare this to the florescent lights of  an office building or mall, lights within these structures pass as neutral and unremarkable. They  work to neutralize the space, anesthetizing the aesthetic experience of existing within them and  therefore distancing us from a real awareness of our bodies and the passing of time. Light within  California Scenario ​ functions as the only real temporal marker. The piece does not change; the  landscape and sculptures are constantly preserved as to appear atemporal and unchanging. Even  in just moving across the plaza, one can observe how light is utilized as haptic and dynamic.  Approaching the forested area of the plaza feels like approaching a mirage, the heat reflecting off  the stone ground contrasts the lush grass and temperate shade (Figure 3). The transitioning  between the two environments within the larger scenario shocks the body into a revelatory  alienation. Using this experience as a key; one can then reconsider the positioning of their body  outside ​ California Scenario ​ instead of naively accepting the conditions of their positioning in the  world.     Naive alienation, or acceptance, suggests an abstraction or denial of space. To follow  Worringer’s ​ Abstraction and Empathy ​ to its conclusion would be to admit that to productively  exist in the contemporary environment one must mentally abstract space. Completely absorbing  the myriad of hyper­real contemporary spaces would be overwhelming to an individual.  Worringer elaborates;   While the tendency of empathy has as its condition a happy pantheistic relation of  confidence between man and the phenomena of the external world, the tendency to  abstraction is the result of a great inner conflict between man and his surroundings, and


11 MA 80%

CHRISTOPHER O’BRIEN AW/11_MA AW/11_MA This MA collection by Christopher O’Brien has at its heart the abstraction of the male silhouette through the manipulation of fabric and layering in a distinctive yet restrained manner.


Dove Lauren Resume 80%

December 2010 – March 2012 Art Institute of Philadelphia Bachelor of Science (B.S.), Graphic Design June 2012 Western State College Bachelor of Fine Arts, Graphic Design 2007 – 2009 May 2010 – Present Mesa state college Bachelor of Arts, Visual Arts 2007 technical Adobe Creative Suite QuarkXPress Corel Painter 11 Microsoft Office Suite Digital Photography Cross-platform capable acclaim BEST PORTFOLIO The Art Institute of Philadelphia Class of June 2012 Recipient of Best of Quarter Awards:** Interactive Portfolio Publication Design Portfolio Preparation Advanced Image Manipulation Digital Photo Manipulation Nominated for seven additional AIPH Best of Quarter awards from 2009-2012.


Skripal CaseStudy Discernment IFS2018 80%

THE SKRIPAL POISONING A CASE-STUDY IN COUNTERING DISINFORMATION INSTITUTE FOR STATECRAFT 2018 WHY THIS ASSASSINATION ATTEMPT IN SALISBURY, ENGLAND HAS SIGNIFICANT IMPLICATIONS FOR DEMOCRATIC SOCIETIES AND THE RESISTANCE AGAINST RUSSIAN DISINFORMATION AND MANIPULATION Salisbury Cathedral, England DISCERNMENT IN ACTION Lessons learned from real-time media messages and responses The assassination attempt by poisoning of Sergei and Julia Skripal in Salisbury has exposed brutal Russian aggression towards the UK and the extent of their willingness to follow through this action with an extensive media disinformation campaign.


weirdestebookever 80%

First of all, a bit about me.


20150609TheStreetCEOandAdamFeuersteinReIsoRay 79%

a publicly traded company, article dated May, 21, 2015 entitled:’ IsoRay Takes Liberties With Lung Cancer Study Results to Prop Up Stock Price ’1 specifically states:‘ In their conclusion, the study authors do not endorse IsoRay's Cesium-131… ‘ may be a false and possibly a slanderous statement as demonstrated by empirical evidence herein and if subsequently proven to be false and slanderous by court(s) and or a regulatory body(s) may additionally be demonstrative of gross negligence and or possibly willful and illegal manipulation of the market price of IsoRay’s stock in a way that furthers the interests of short sellers by Adam Feuerstein and The Street, Inc.


posterpdf 79%

Experimental manipulation of the perceived race using audiovisual stimuli was shown.