weniger falsch – English Translation – Keybot Dictionary

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  www.scenesdeurope.eu  
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Weniger falsch-negative Ergebnisse
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Less false-negative results
  3 Hits www.seatra.es  
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Eine PC-gestützte EKG-Beurteilung verbessert somit erheblich die Validität der Beurteilung des EKGs von Leistungssportlern. So werden Sensitivität, Spezifität und Vorhersagewert des EKGs deutlich verbessert, es kommt zu weniger falsch positiven oder falsch negativen Befunden.
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The PC-based analysis increases the validity of the interpretation of an athlete's ECG considerably. Thus, the sensitivity, specificity and predictive value of the ECG are improved significantly, leading to fewer false-positive or false-negative diagnoses. For athletes, PCanalysed resting ECGs are more reliable than anamnesis and clinical diagnosis. Therefore, a resting ECG is a standard part of any sports medical check-up. The PC-based diagnosis facilitates and improves the interpretation of ECGs; however, it does not replace an in-depth sports-cardiological training.
  www.urantia.org  
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Wenn der Verstand zu keinen Schlüssen gelangen, zu keinen wahren Ursprüngen vordringen kann, wird er unweigerlich Schlüsse postulieren und Ursprünge erfinden, um innerhalb des Rahmens dieser von seinem Verstand erschaffenen Postulate eine Möglichkeit zu logischem Denken zu haben. Und obwohl solche gedankliche Universumsrahmen der Geschöpfe für rationale intellektuelle Operationen unerlässlich sind, sind sie doch ausnahmslos mehr oder weniger falsch.
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115:1.2 (1260.3) Conceptual frames of the universe are only relatively true; they are serviceable scaffolding which must eventually give way before the expansions of enlarging cosmic comprehension. The understandings of truth, beauty, and goodness, morality, ethics, duty, love, divinity, origin, existence, purpose, destiny, time, space, even Deity, are only relatively true. God is much, much more than a Father, but the Father is man’s highest concept of God; nonetheless, the Father-Son portrayal of Creator-creature relationship will be augmented by those supermortal conceptions of Deity which will be attained in Orvonton, in Havona, and on Paradise. Man must think in a mortal universe frame, but that does not mean that he cannot envision other and higher frames within which thought can take place.
  www.db-artmag.com  
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Man fragt sich, ob dies nun ein unbeholfener Ausdruck von Dankbarkeit ist, oder eher das hysterische Eingeständnis, dass der Staatsvertreter unrecht hat – vielleicht würde er weniger falsch liegen, wenn er dieselben Worte an Fei richten würde, die hinter der Kamera steht.
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This "urgency," however, would not yield as deep an impact on Fei's work if it were only imparted in gross overstatements about the contradictions of her culture—Communist and capitalist, nationalized and globalized, economic epicenter and impoverished badlands. It is more her investigation into the shifting nature of identity within this cultural framework that conveys the raw, and often jocose, mannerism of her work. Fei's 2005 video Father is a distinctly biographical example of this, and a sort of ample entryway into the artist's oeuvre. In December 2004, Fei's father Cao Fhong'en, who, in Fei's words, is "an 'old' official sculptor who worked for many years in the style of Socialist Realism," was commissioned to make a six-meter-high bronze sculpture of the late Deng Xiaoping, a Communist Party politician and reformer for China's runaway into the global market economy. "China's traditional view," Fei continues, "is that the son must inherit the Father's business … However, I never considered such an idea." As a kind of cathartic testimonial for her generation's departure from traditional media and State-allegiant subject matter, Fei documented her father's creation of the bronze memorial. One scene depicts a statesman telling Fhong'en that "your [work] belongs not only to China, but to the world." Fei's father laughs, making the viewer wonder whether this is a clumsy expression of gratitude or a hysterical acknowledgement that this statesman is wrong, and that he would be less misguided if he were to say those same words to Fei, who is behind the camera.
  db-artmag.com  
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Man fragt sich, ob dies nun ein unbeholfener Ausdruck von Dankbarkeit ist, oder eher das hysterische Eingeständnis, dass der Staatsvertreter unrecht hat – vielleicht würde er weniger falsch liegen, wenn er dieselben Worte an Fei richten würde, die hinter der Kamera steht.
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This "urgency," however, would not yield as deep an impact on Fei's work if it were only imparted in gross overstatements about the contradictions of her culture—Communist and capitalist, nationalized and globalized, economic epicenter and impoverished badlands. It is more her investigation into the shifting nature of identity within this cultural framework that conveys the raw, and often jocose, mannerism of her work. Fei's 2005 video Father is a distinctly biographical example of this, and a sort of ample entryway into the artist's oeuvre. In December 2004, Fei's father Cao Fhong'en, who, in Fei's words, is "an 'old' official sculptor who worked for many years in the style of Socialist Realism," was commissioned to make a six-meter-high bronze sculpture of the late Deng Xiaoping, a Communist Party politician and reformer for China's runaway into the global market economy. "China's traditional view," Fei continues, "is that the son must inherit the Father's business … However, I never considered such an idea." As a kind of cathartic testimonial for her generation's departure from traditional media and State-allegiant subject matter, Fei documented her father's creation of the bronze memorial. One scene depicts a statesman telling Fhong'en that "your [work] belongs not only to China, but to the world." Fei's father laughs, making the viewer wonder whether this is a clumsy expression of gratitude or a hysterical acknowledgement that this statesman is wrong, and that he would be less misguided if he were to say those same words to Fei, who is behind the camera.
  dbartmag.com  
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Man fragt sich, ob dies nun ein unbeholfener Ausdruck von Dankbarkeit ist, oder eher das hysterische Eingeständnis, dass der Staatsvertreter unrecht hat – vielleicht würde er weniger falsch liegen, wenn er dieselben Worte an Fei richten würde, die hinter der Kamera steht.
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This "urgency," however, would not yield as deep an impact on Fei's work if it were only imparted in gross overstatements about the contradictions of her culture—Communist and capitalist, nationalized and globalized, economic epicenter and impoverished badlands. It is more her investigation into the shifting nature of identity within this cultural framework that conveys the raw, and often jocose, mannerism of her work. Fei's 2005 video Father is a distinctly biographical example of this, and a sort of ample entryway into the artist's oeuvre. In December 2004, Fei's father Cao Fhong'en, who, in Fei's words, is "an 'old' official sculptor who worked for many years in the style of Socialist Realism," was commissioned to make a six-meter-high bronze sculpture of the late Deng Xiaoping, a Communist Party politician and reformer for China's runaway into the global market economy. "China's traditional view," Fei continues, "is that the son must inherit the Father's business … However, I never considered such an idea." As a kind of cathartic testimonial for her generation's departure from traditional media and State-allegiant subject matter, Fei documented her father's creation of the bronze memorial. One scene depicts a statesman telling Fhong'en that "your [work] belongs not only to China, but to the world." Fei's father laughs, making the viewer wonder whether this is a clumsy expression of gratitude or a hysterical acknowledgement that this statesman is wrong, and that he would be less misguided if he were to say those same words to Fei, who is behind the camera.
  www.db-artmag.de  
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Man fragt sich, ob dies nun ein unbeholfener Ausdruck von Dankbarkeit ist, oder eher das hysterische Eingeständnis, dass der Staatsvertreter unrecht hat – vielleicht würde er weniger falsch liegen, wenn er dieselben Worte an Fei richten würde, die hinter der Kamera steht.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain
This "urgency," however, would not yield as deep an impact on Fei's work if it were only imparted in gross overstatements about the contradictions of her culture—Communist and capitalist, nationalized and globalized, economic epicenter and impoverished badlands. It is more her investigation into the shifting nature of identity within this cultural framework that conveys the raw, and often jocose, mannerism of her work. Fei's 2005 video Father is a distinctly biographical example of this, and a sort of ample entryway into the artist's oeuvre. In December 2004, Fei's father Cao Fhong'en, who, in Fei's words, is "an 'old' official sculptor who worked for many years in the style of Socialist Realism," was commissioned to make a six-meter-high bronze sculpture of the late Deng Xiaoping, a Communist Party politician and reformer for China's runaway into the global market economy. "China's traditional view," Fei continues, "is that the son must inherit the Father's business … However, I never considered such an idea." As a kind of cathartic testimonial for her generation's departure from traditional media and State-allegiant subject matter, Fei documented her father's creation of the bronze memorial. One scene depicts a statesman telling Fhong'en that "your [work] belongs not only to China, but to the world." Fei's father laughs, making the viewer wonder whether this is a clumsy expression of gratitude or a hysterical acknowledgement that this statesman is wrong, and that he would be less misguided if he were to say those same words to Fei, who is behind the camera.
  www.qcplannedgiving.ca  
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Man fragt sich, ob dies nun ein unbeholfener Ausdruck von Dankbarkeit ist, oder eher das hysterische Eingeständnis, dass der Staatsvertreter unrecht hat – vielleicht würde er weniger falsch liegen, wenn er dieselben Worte an Fei richten würde, die hinter der Kamera steht.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine dbartmag.de as primary domain
This "urgency," however, would not yield as deep an impact on Fei's work if it were only imparted in gross overstatements about the contradictions of her culture—Communist and capitalist, nationalized and globalized, economic epicenter and impoverished badlands. It is more her investigation into the shifting nature of identity within this cultural framework that conveys the raw, and often jocose, mannerism of her work. Fei's 2005 video Father is a distinctly biographical example of this, and a sort of ample entryway into the artist's oeuvre. In December 2004, Fei's father Cao Fhong'en, who, in Fei's words, is "an 'old' official sculptor who worked for many years in the style of Socialist Realism," was commissioned to make a six-meter-high bronze sculpture of the late Deng Xiaoping, a Communist Party politician and reformer for China's runaway into the global market economy. "China's traditional view," Fei continues, "is that the son must inherit the Father's business … However, I never considered such an idea." As a kind of cathartic testimonial for her generation's departure from traditional media and State-allegiant subject matter, Fei documented her father's creation of the bronze memorial. One scene depicts a statesman telling Fhong'en that "your [work] belongs not only to China, but to the world." Fei's father laughs, making the viewer wonder whether this is a clumsy expression of gratitude or a hysterical acknowledgement that this statesman is wrong, and that he would be less misguided if he were to say those same words to Fei, who is behind the camera.
  db-artmag.de  
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Man fragt sich, ob dies nun ein unbeholfener Ausdruck von Dankbarkeit ist, oder eher das hysterische Eingeständnis, dass der Staatsvertreter unrecht hat – vielleicht würde er weniger falsch liegen, wenn er dieselben Worte an Fei richten würde, die hinter der Kamera steht.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine db-artmag.de as primary domain
This "urgency," however, would not yield as deep an impact on Fei's work if it were only imparted in gross overstatements about the contradictions of her culture—Communist and capitalist, nationalized and globalized, economic epicenter and impoverished badlands. It is more her investigation into the shifting nature of identity within this cultural framework that conveys the raw, and often jocose, mannerism of her work. Fei's 2005 video Father is a distinctly biographical example of this, and a sort of ample entryway into the artist's oeuvre. In December 2004, Fei's father Cao Fhong'en, who, in Fei's words, is "an 'old' official sculptor who worked for many years in the style of Socialist Realism," was commissioned to make a six-meter-high bronze sculpture of the late Deng Xiaoping, a Communist Party politician and reformer for China's runaway into the global market economy. "China's traditional view," Fei continues, "is that the son must inherit the Father's business … However, I never considered such an idea." As a kind of cathartic testimonial for her generation's departure from traditional media and State-allegiant subject matter, Fei documented her father's creation of the bronze memorial. One scene depicts a statesman telling Fhong'en that "your [work] belongs not only to China, but to the world." Fei's father laughs, making the viewer wonder whether this is a clumsy expression of gratitude or a hysterical acknowledgement that this statesman is wrong, and that he would be less misguided if he were to say those same words to Fei, who is behind the camera.