vollkommen autonom – English Translation – Keybot Dictionary

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  www.namirial.com  
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Supra-Roadflex-Systeme sind selbst- fahrende Systeme, die vollkommen autonom arbeiten und flexibel von einer Baustelle zur nächsten fahren können.
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Supra Roadflex systems are self-propelled, they can work completely autonomously and they are very flexible for moving from one job site to the next.
  www.langueonze.com  
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Sich für ein Ein-Zimmer-Apartment entscheiden, bedeutet vollkommen autonom zu sein.
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By opting for a private studio, you’re sure to be completely autonomous.
  take-a-cake.eu  
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Zudem ist es so flexibel designet worden, das schnell experimentelle Lösungsansätze ausprobiert werden können. NAStJA ermöglicht es vollkommen autonom das Rechengebiet dynamisch anzupassen und kommt dabei ohne kollektive Kommunikationen aus.
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With NAStJA, a framework has been created that can efficiently carry out scale bridging simulations. In addition, it has been flexibly designed so that experimental approaches to solutions can be tried out quickly. NAStJA makes it possible to dynamically adapt the computing region completely autonomously and without collective communications.
  kinarca.com  
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Teams aus jeweils fünf NAOs spielen auf einem 9 x 6 m² großen Spielfeld gegeneinander. Sie sind dabei vollkommen autonom. Sie können aber per WLAN miteinander kommunizieren und die Entscheidungen des (menschlichen) Schiedsrichters empfangen.
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NAO is equipped with up to 25 actuated joints. In its head, two cameras are integrated for perceiving the environment. In its chest, sonar sensors measure distances and gyroscopes and accelerometers allow determining the torso’s pose. In the feet there are sensors to measure ground contact and the contact with the ball. Teams of five robots play against each other on a 9 x 6 m² sized field. The robots are completely autonomous. However, through Wi-Fi, they can communicate with each other and receive the decisions of the referee.
  www.robocupgermanopen.de  
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Teams aus jeweils fünf NAOs spielen auf einem 9 x 6 m² großen Spielfeld gegeneinander. Sie sind dabei vollkommen autonom. Sie können aber per WLAN miteinander kommunizieren und die Entscheidungen des (menschlichen) Schiedsrichters empfangen.
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NAO is equipped with up to 25 actuated joints. In its head, two cameras are integrated for perceiving the environment. In its chest, sonar sensors measure distances and gyroscopes and accelerometers allow determining the torso’s pose. In the feet there are sensors to measure ground contact and the contact with the ball. Teams of five robots play against each other on a 9 x 6 m² sized field. The robots are completely autonomous. However, through Wi-Fi, they can communicate with each other and receive the decisions of the referee.
  www.db-artmag.com  
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Im Kontext westlicher Künstler-Selbstinszenierungen lassen sich Fossos Arbeiten unschwer zwischen dem frühen Jürgen Klauke und Cindy Sherman einordnen. Dennoch entstanden sie vollkommen autonom – wenn auch nicht ganz unberührt von internationalen Strömungen.
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Fosso's mother in Nigeria made sure that none of his posed pictures were lost; he had sent her prints on a regular basis for the family album, which must have caused some astonishment, because Fosso's fashion style was hardly any less daring than the New York club Studio 54: an androgynous look, close to drag. In a photograph from the Deutsche Bank Collection, he presents himself in white fringed Bermuda shorts, a muscle shirt, and disco boots, while in another he is wearing nothing but hot pants and white gloves. He had never intended to publish these images; it was only in 1994, after French photographer Bernard Deschamps happened upon Fosso's work, that they reached the international art world. Fosso's works are easy to classify in a context of western self-styled staged poses; he can be situated somewhere between the early Jürgen Klauke and Cindy Sherman. Yet they were made completely autonomously-even if not entirely untouched by international art movements. Many African states had a strong youth and pop culture, at the very latest since Rumble in the Jungle, the 1974 boxing championship between George Forman und Muhammad Ali that was broadcasted worldwide. The self-confidence of the man staging himself here before the camera cannot be separated from the collective feeling of cultural emergence, which today has receded into history.
  db-artmag.com  
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Im Kontext westlicher Künstler-Selbstinszenierungen lassen sich Fossos Arbeiten unschwer zwischen dem frühen Jürgen Klauke und Cindy Sherman einordnen. Dennoch entstanden sie vollkommen autonom – wenn auch nicht ganz unberührt von internationalen Strömungen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.com as primary domain
Fosso's mother in Nigeria made sure that none of his posed pictures were lost; he had sent her prints on a regular basis for the family album, which must have caused some astonishment, because Fosso's fashion style was hardly any less daring than the New York club Studio 54: an androgynous look, close to drag. In a photograph from the Deutsche Bank Collection, he presents himself in white fringed Bermuda shorts, a muscle shirt, and disco boots, while in another he is wearing nothing but hot pants and white gloves. He had never intended to publish these images; it was only in 1994, after French photographer Bernard Deschamps happened upon Fosso's work, that they reached the international art world. Fosso's works are easy to classify in a context of western self-styled staged poses; he can be situated somewhere between the early Jürgen Klauke and Cindy Sherman. Yet they were made completely autonomously-even if not entirely untouched by international art movements. Many African states had a strong youth and pop culture, at the very latest since Rumble in the Jungle, the 1974 boxing championship between George Forman und Muhammad Ali that was broadcasted worldwide. The self-confidence of the man staging himself here before the camera cannot be separated from the collective feeling of cultural emergence, which today has receded into history.
  www.db-artmag.de  
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Im Kontext westlicher Künstler-Selbstinszenierungen lassen sich Fossos Arbeiten unschwer zwischen dem frühen Jürgen Klauke und Cindy Sherman einordnen. Dennoch entstanden sie vollkommen autonom – wenn auch nicht ganz unberührt von internationalen Strömungen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain
Fosso's mother in Nigeria made sure that none of his posed pictures were lost; he had sent her prints on a regular basis for the family album, which must have caused some astonishment, because Fosso's fashion style was hardly any less daring than the New York club Studio 54: an androgynous look, close to drag. In a photograph from the Deutsche Bank Collection, he presents himself in white fringed Bermuda shorts, a muscle shirt, and disco boots, while in another he is wearing nothing but hot pants and white gloves. He had never intended to publish these images; it was only in 1994, after French photographer Bernard Deschamps happened upon Fosso's work, that they reached the international art world. Fosso's works are easy to classify in a context of western self-styled staged poses; he can be situated somewhere between the early Jürgen Klauke and Cindy Sherman. Yet they were made completely autonomously-even if not entirely untouched by international art movements. Many African states had a strong youth and pop culture, at the very latest since Rumble in the Jungle, the 1974 boxing championship between George Forman und Muhammad Ali that was broadcasted worldwide. The self-confidence of the man staging himself here before the camera cannot be separated from the collective feeling of cultural emergence, which today has receded into history.
  www.qcplannedgiving.ca  
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Im Kontext westlicher Künstler-Selbstinszenierungen lassen sich Fossos Arbeiten unschwer zwischen dem frühen Jürgen Klauke und Cindy Sherman einordnen. Dennoch entstanden sie vollkommen autonom – wenn auch nicht ganz unberührt von internationalen Strömungen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain
Fosso's mother in Nigeria made sure that none of his posed pictures were lost; he had sent her prints on a regular basis for the family album, which must have caused some astonishment, because Fosso's fashion style was hardly any less daring than the New York club Studio 54: an androgynous look, close to drag. In a photograph from the Deutsche Bank Collection, he presents himself in white fringed Bermuda shorts, a muscle shirt, and disco boots, while in another he is wearing nothing but hot pants and white gloves. He had never intended to publish these images; it was only in 1994, after French photographer Bernard Deschamps happened upon Fosso's work, that they reached the international art world. Fosso's works are easy to classify in a context of western self-styled staged poses; he can be situated somewhere between the early Jürgen Klauke and Cindy Sherman. Yet they were made completely autonomously-even if not entirely untouched by international art movements. Many African states had a strong youth and pop culture, at the very latest since Rumble in the Jungle, the 1974 boxing championship between George Forman und Muhammad Ali that was broadcasted worldwide. The self-confidence of the man staging himself here before the camera cannot be separated from the collective feeling of cultural emergence, which today has receded into history.
  db-artmag.de  
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Im Kontext westlicher Künstler-Selbstinszenierungen lassen sich Fossos Arbeiten unschwer zwischen dem frühen Jürgen Klauke und Cindy Sherman einordnen. Dennoch entstanden sie vollkommen autonom – wenn auch nicht ganz unberührt von internationalen Strömungen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain
Fosso's mother in Nigeria made sure that none of his posed pictures were lost; he had sent her prints on a regular basis for the family album, which must have caused some astonishment, because Fosso's fashion style was hardly any less daring than the New York club Studio 54: an androgynous look, close to drag. In a photograph from the Deutsche Bank Collection, he presents himself in white fringed Bermuda shorts, a muscle shirt, and disco boots, while in another he is wearing nothing but hot pants and white gloves. He had never intended to publish these images; it was only in 1994, after French photographer Bernard Deschamps happened upon Fosso's work, that they reached the international art world. Fosso's works are easy to classify in a context of western self-styled staged poses; he can be situated somewhere between the early Jürgen Klauke and Cindy Sherman. Yet they were made completely autonomously-even if not entirely untouched by international art movements. Many African states had a strong youth and pop culture, at the very latest since Rumble in the Jungle, the 1974 boxing championship between George Forman und Muhammad Ali that was broadcasted worldwide. The self-confidence of the man staging himself here before the camera cannot be separated from the collective feeling of cultural emergence, which today has receded into history.
  dbartmag.com  
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Im Kontext westlicher Künstler-Selbstinszenierungen lassen sich Fossos Arbeiten unschwer zwischen dem frühen Jürgen Klauke und Cindy Sherman einordnen. Dennoch entstanden sie vollkommen autonom – wenn auch nicht ganz unberührt von internationalen Strömungen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.com as primary domain
Fosso's mother in Nigeria made sure that none of his posed pictures were lost; he had sent her prints on a regular basis for the family album, which must have caused some astonishment, because Fosso's fashion style was hardly any less daring than the New York club Studio 54: an androgynous look, close to drag. In a photograph from the Deutsche Bank Collection, he presents himself in white fringed Bermuda shorts, a muscle shirt, and disco boots, while in another he is wearing nothing but hot pants and white gloves. He had never intended to publish these images; it was only in 1994, after French photographer Bernard Deschamps happened upon Fosso's work, that they reached the international art world. Fosso's works are easy to classify in a context of western self-styled staged poses; he can be situated somewhere between the early Jürgen Klauke and Cindy Sherman. Yet they were made completely autonomously-even if not entirely untouched by international art movements. Many African states had a strong youth and pop culture, at the very latest since Rumble in the Jungle, the 1974 boxing championship between George Forman und Muhammad Ali that was broadcasted worldwide. The self-confidence of the man staging himself here before the camera cannot be separated from the collective feeling of cultural emergence, which today has receded into history.