Sentences with phrase «as viewers study»

As viewers study techniques employed by artists working in a...

Not exact matches

Among other things, the study identified 15 moments when the audience experienced the fight - or - flight response (as determined by a specific heart - rate pattern) and 4,716 seconds during which viewers were motionless, signaling peak filmgoer engagement.

Studies have also found that as viewer age increases there is a corresponding increase in the serious content of programs watched.

Later he focused on one program, the 700 Club, conducting extensive interviews with twenty individuals or couples that the study identified as heavy viewers.

Even when viewers fast - forward, at least one study shows that they're just as aware of which brands are being advertised as those who watch the ads in their entirety.

Its tractability is astonishing — protean, not too much to say magical; in describing his first film experience as a visit to «the kingdom of shadows,» Maxim Gorky brushes up against the ineffable sublimity of a medium that mimics the eye, stimulates the ear, and has as one of the key elements of its academic study a concept that suggests the moment a viewer finds himself «sutured» into the text.

In a study slated for release later this year in the journal Applied Animal Behavior Science, researchers concluded that televised moving images of prey animals hold «some merit as a method of environmental enrichment for domestic cats,» so time in front of the tube may not be unproductive, at least for feline viewers.

We are using the Twitch streamer itsMinxC as our case study and will walk you through how she has gained followers and viewers in a small period of time.

Sunset (1987) and White Roses 9 (2012), each with severely minimized background detail, direct the viewer's attention to the object depicted and come across less as landscapes than as vastly scaled - up studies.

It can be argued that this scale is more difficult to work with, as they forgo the impact of a larger piece, pulling the viewer in close to create a more intimate experience, one that invites study, contemplation, even scrutiny.

Much like her paintings in the past two iterations of NDA, the artist's new series of geometric abstraction becomes even more architectural as she continues her study of visually defining «place», giving the viewer a sense of being able to walk into and inhabit the pictorial «space».

We will begin by looking at the early history of photography, emphasizing genres such as spirit photography and motion studies, which allowed viewers to see beyond ordinary perception.

Works such as Desk Chair (2012), an acrylic painting on aluminum, studies the graceful curves and ergonomic design of a common school desk, inducing the viewer to consider the form and function of such mundane objects more closely.

As a testament to the need for deeper study, the exhibition's catalogue was textual rather than visual, providing the viewer with critical context.

As a result, the viewers encounter these artworks both as sculptures and studies of sorAs a result, the viewers encounter these artworks both as sculptures and studies of soras sculptures and studies of sort.

Exploring the function of materials and forms in concrete space, the simple equations invoked by these works locate them within the physical and conceptual environment of the viewer, who encounters them both as sculpture and study.

Through the studied placement of objects, photographs, and sculptures, she assembles artworks - as - physical - invitations that ask viewers to regard detail and quirk.

At the gallery's basement, the viewer comes across three bodies of work: black photographic paper (coin studies), museum barriers standing in vertical position (distance keepers) and wall painting (model), that act as collage elements and manage in a quite unexpected and paradoxical way to serve as a whole new system of reference.

As E. F Schumacher wrote in his book «Small is Beautiful: A Study in Economics as if People Mattered», bigger is not better, there is such a thing as the perfect scale in a work of art and this can translate in works that are smaller in scale and therefore calling for intimacy and individual attention from the vieweAs E. F Schumacher wrote in his book «Small is Beautiful: A Study in Economics as if People Mattered», bigger is not better, there is such a thing as the perfect scale in a work of art and this can translate in works that are smaller in scale and therefore calling for intimacy and individual attention from the vieweas if People Mattered», bigger is not better, there is such a thing as the perfect scale in a work of art and this can translate in works that are smaller in scale and therefore calling for intimacy and individual attention from the vieweas the perfect scale in a work of art and this can translate in works that are smaller in scale and therefore calling for intimacy and individual attention from the viewer.

Conceived as a artwork in itself, Uraniborg transforms the museum's exhibition galleries in a way that echoes the panoptic constructions studied by Foucault and destabilizes viewers by blurring their spatial and temporal points of reference.

While often times the sheer mass of a sculpture can limit its setting to the outdoors, many modern sculptors and collectors revel in the open air as a venue where the viewer is free to study the work from any distance and at any angle.

[3] She has created small scale installations in which the viewer engages with the artwork in some way, such as Space Invaders (1980), Speedflesh (1999), and Study for Mirror and Garden (2008).

This video can be seen as a study in cultural history done almost subliminally, as each viewer instantaneously recognizes specific images and text.

Studies in Calibration, a wall - mounted sculpture of layered Plexiglas and wood, refers to a continuous process of orientation, whether as a pilot reading a technological display or as a viewer processing at an abstract work of art.

Taken as a whole, the work was an exceptional topographical map of material, while an up - close study afforded the viewer an understanding of the labor that must have been involved in its creation.

One untitled work from 1982, for instance, is a life study of a nude male, perched on a stool and thrusting his left foot dynamically out of the picture plane toward the viewer as he pulls on a boot.

And as such they study the viewer.»

As with Borges» writing, these works provide an indexical entrance into the processes and histories being studied, allowing the viewer to follow the deviations and divergences of this art from a» neutral» historical retelling.

Inspired by the civil rights and women's liberation movements as well as her own philosophical studies, Piper created performances designed to catalyze the viewer's social awareness.

Applying Gaston Bachelard's elaboration on Carl Jung's psychoanalytic studies on space as a base point, Lí Wei brings a group of installations which demonstrates a seeming cellar and garret, unleashing an unorthodox conversation between the viewer's internalized desire and external facade of hypocrisy.

«A playfully metaphorical work that embraces the personal and political, Cloud Study invites the viewer to meditate on the tragicomic nature of life, with the movement of the vane mirroring these oscillations as it twists and turns in the wind.»

A playfully metaphorical work that embraces the personal and political, Cloud Study invites the viewer to meditate on the tragi - comic nature of life, with the movement of the vane mirroring these oscillations as it twists and turns in the wind.

In the book, Nauman's Dance or Exercise on the Perimeter of a Square (Square Dance) is used as a case study about the impact of when a performance artist faces away from the viewer.

Newman, who was a frequent interlocutor with Herrera after she moved from her native Cuba, where she studied architecture, to New York in 1939, would likely have impressed on her the capacity of abstract painting to address a viewer's phenomenological experience as it is grounded

His intentions result in complex works, both large and small, that unfold as the viewer searches and studies the surfaces with great satisfaction if not absolute conclusions.

A foot - square Martin painting from 1999, the pictorial equivalent of a one - stanza poem, hangs directly above Andre's «Copper - Zinc Plain» (1969), forcing the viewer curious to study it to tread on Andre's grid of elemental metal plates, as he intended.

Like any abstract the paintings rely on the subjective emotional response of the viewer — but also with this artist there is the sensation of the viewer studying a mathematician's blackboard — there is a balance in the work suggesting a Renaissance purity — as if the viewer is witnessing the attempt to «paint» an equation.

It's fascinating that, like vultures searching the ground for a carcass, some viewers look at one study (which is as yet unverified by other climate scientists) and claim it puts the final nail in the coffin of AGW.

But studies have found that we can give those same speeches with points mixed at random, and as long as we also incorporate humor, viewers won't notice.