Itself in sentence

9061 examples of Itself in a sentence

Then, Google DeepMind's AlphaZero AI took 3,000 years of human Go games and Go wisdom, ignored it all and became the world's best player by just playing against itself.

Diana Reiss: You may think you're looking through a window at a dolphin spinning playfully, but what you're actually looking through is a two-way mirror at a dolphin looking at itself spinning playfully.

At the end of its breeding cycle, the Great Basin Spadefoot toad digs itself down about a meter under the hard-panned desert soil of the American West, where it can stay for many seasons until conditions are just right for it to emerge again.

So ladies and gentlemen, I would like to take you on a journey throughout the continents and throughout sound itself.

So what I'm going to ask is, basically, is history repeating itself?

And you know, it was not a failure for ourselves in itself, but it was a failure that will impact his full life.

So in the theater, as much as the story is critical and the book and the language, the telling of the story, how it's told, the mechanics, the methods that you use, is equal to the story itself.

So I went from theater, doing "The Tempest" on the stage in a very low-budget production many years ago, and I love the play, and I also think it's Shakespeare's last play, and it really lends itself, as you can see, to cinema.

But as they started to pour the water, the light changed from showing you the black-clad stagehands to focusing, this rough magic that we do in theater, it focused right on the water itself.

There are actually many theories, and just like the process itself, the ones that best fit the data are the ones that survive to this day.

Of course, you're fueling the waking state with these stimulants, and then, of course, it gets to 11 o'clock at night, and the brain says to itself, "Actually, I need to be asleep fairly shortly.

But luckily, we got help from the brain itself.

While watching this, Steve and I are as shocked as the mouse itself.

The entire project is predicated on this act of love which is listening itself.

And Gallery One is an interesting project because it started with this massive, $350 million expansion for the Cleveland Museum of Art, and we actually brought in this piece specifically to grow new capacity, new audiences, at the same time that the museum itself is growing.

And so what we're doing is making a broad array of different ways for people to actually engage with the material inside of these galleries, so you can still have a traditional gallery experience, but if you're interested, you can actually engage with any individual artwork and see the original context from where it's from, or manipulate the work itself.

This is one of my favorites because you see the studio itself.

And so you can imagine that, as people are performing inside of the museum itself, you get this sense of this emotional connection, this way in which our face connects with the thousands and tens of thousands of years.

And of course the event itself is so recent, somewhere between history and current events, it was a huge challenge to imagine how do you actually live up to a space like this, an event like this, to actually tell that story.

There's a firefighter that's stuck, actually, in traffic, and so the firefighters themselves are running a mile and a half to the site itself with upwards of 70 pounds of gear on their back.

We can't have just a historian or a curator narrating objectively in the third person about an event like that, when you have the witnesses to history who are going to make their way through the actual museum itself.

It's the original, excavated wall at the base of the World Trade Center that withstood the actual pressure from the Hudson River for a full year after the event itself.

And so we thought about carrying that sense of authenticity, of presence of that moment into the actual exhibition itself.

And as you make your way into the exhibition where it talks about the recovery, we actually project directly onto these moments of twisted steel all of the experiences from people who literally excavated on top of the pile itself.

And we ask them questions that are actually not really answerable, the types of questions that 9/11 itself draws forth for all of us.

JB: And so as people make their way out of the museum, reflecting on the experience, reflecting on their own thoughts of it, they then move into the actual space of the memorial itself, because they've gone back up to grade, and we actually got involved in the memorial after we'd done the museum for a few years.

The original designer of the memorial, Michael Arad, had this image in his mind of all the names appearing undifferentiated, almost random, really a poetic reflection on top of the nature of a terrorism event itself, but it was a huge challenge for the families, for the foundation, certainly for the first responders, and there was a negotiation that went forth and a solution was found to actually create not an order in terms of chronology, or in terms of alphabetical, but through what's called meaningful adjacency.

So this is an image of the actual algorithm itself with the names scrambled for privacy, but you can see that these blocks of color are actually the four different flights, the two different towers, the first responders, and you can actually see within that different floors, and then the green lines are the interpersonal connections that were requested by the families themselves.

You can see the way that the geography of the event is reflected inside of the memorial, and you can search for an individual name, or in this case an employer, Cantor Fitzgerald, and see the way in which all of those names, those hundreds of names, are actually organized onto the memorial itself, and use that to navigate the memorial.

Just as a caterpillar turns into a butterfly, the malaria parasite transforms itself like that seven times in its life cycle.

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