Sentences with phrase «viewing images of our past»

Viewing images of our past giant German Shepherd puppies is the best way to know what kind of colors we produce.

Not exact matches

Our answer to that question about our basic identity impacts everything in our lives: our self - image, our health, our spirituality, our ethics, our roles and relationships, our careers, and our view of the past, the present and the future.

Advances in optics and microscopy over the past millennium have, of course, let us peer far beyond the limits of the naked eye, to view exquisite images such as a micrograph of a virus or a stroboscopic photograph of a bullet at the millisecond it punched through a lightbulb.

Meanwhile, astronomers will get close - up views of the outer solar system in July 2015, when the New Horizons spacecraft flies past Pluto and sends back detailed images of the once most - distant planet and its three moons.

This past January, a new Hubble Space Telescope image revealed the deepest view of the universe yet.

The Earth Engine, according to Google's press release, will allow researchers to study Earth's surface, especially deforestation, by trawling through a database containing trillions of data points from satellite images collected over the past 25 years and by viewing results with the Google Earth viewer.

The small area of sky imaged, seemingly devoid of light, provides a «keyhole» view of the universe's past; reaching across space and time to reveal infant galaxies.

Researchers performed brain scans of volunteers while they viewed images, some sexually suggestive, and also asked their sexual behaviors within the past year.

J.D. Power quality rankings in the past few years solidly refute that notion, but Hyundai knows it has an image problem and will have to continue to prove itself to consumers who have that negative view of the company's products.

Once past that the second screen isn't so much as puzzle as it is a waiting game as it requires a lot of people to be viewing the page at the same time to help reveal a blurry image that seems to change each day.

Friday night at NeueHouse, after slinking past a seemly - looking Powerpoint presentation on the first floor, I headed towards the basement where far more titillating images were on view for the opening of the explicit B - side of «In Your Dreams,» organized by curator Marina T. Schindler for the Spring / Break art fair.

Friday night at NeueHouse, after slinking past a seemly - looking Powerpoint presentation on the first floor, I headed towards the basement where far more titillating images were on view for the opening of the explicit B - side of «In Your Dreams,» organized... Read More

Viewing becomes a spatial, physical experience that compresses the geologic time implied by the surface details of the stones, a hint of some past process of erosion or eruption, the photographic moment at which each object was recorded and the transitory duration in which the images are presented and seen.

This expanded to encompass other symbols of bourgeois society, like Finance, Publicity and Modern Art, with the image of the eagle representing the «high falutin, «exalted view of art in cultural institutions inherited from the past.

Houck refers to these images as «aggregate photographs,» emblems of the manner in which imagination and recollection alter and distort our views of our past lives.

They vary from an attempt at reconstruction (When Attitudes Become Form, Venice, 2013), which entails the impossible endeavor of providing the viewer with an authentic experience in the form of an archival documentation exhibition with the aim of updating our (own) past (Recollections), to a much more multifaceted or «corrected» image of the original, such as Jens Hoffman's Other Primary Structures, which also included sculptures by artists working in the 1960s in Asia, Latin America, the Middle East, Eastern Europe, and Africa, and which reexamined the exhibition of 1966 from a global point of view.

Images from news reportage and photographs that provide social commentary or promote personal agendas all shape how we see our world and alter our view of the past.

On view through May 23, 2010, The Lens of Impressionism will be complemented by the presentation of Coastlines: Images of Land and Sea, a special exhibition drawn from the Museum's collections opening in April that will explore how coastal landscapes have been portrayed by artists throughout the past century.

Below, you can view past works by the artists Eric Bulatov, Yayoi Kusama, Rirkrit Tiravanija, Julius Koller, and Katharina Grosse who are included in the Garage Museum of Contemporary Art's opening exhibition and will be presenting interactive installations and works at the museum's new location, as well as images from the museum's ongoing research project, Field Research: a progress report, and an image of the building that was once known as Vremana Goda:

While the gallery clearly prods us to view the latter as providing the exhibition's heft, the lighter pieces hung in the hallway hint at what the leaden centerpieces lack; namely, the lubricant image play that gives rise to slipperiness of meaning — between personal memory and collective history, perhaps — that has animated Bailey's art in the past.

Then as our community moves progressively forward, we can all still be relieved to know that Miami is still on its way to transcending its past as just another dumbed down tourist destination — promoting that less thoughtful decaying visual aroma that we still get a whiff of now and then... that kind of old Miami putrid commercialized smell that turned so many despondent and sour and caused the international arts communities to view Miami's indifference to an international discourse as but a memory, constantly recuperating the South Florida pastiche... a past that if you need reminding of you need only take a trip to Key West to know what kind of image Miami is still fighting against — the land built on coral and swamp, but filled with cheap and shallow tawdriness, like acid in your contemporary, progressive face, eyes of mundane kitschy campiness saddening and maddening, dumbed down affection that solicits and sells itself to another kind of cultural neanderthal — the accidental drunken tourist who seeks passive mediocrity and the same in other kindred spirits -LSB-.]

There in the ever dimming late - afternoon light, surrounded by his newest works — comparatively small to mid-sized painted wall reliefs and large - scale collages of computer generated images — we spoke of his views and attitude toward his work, both past and present.

Over the past few months, I have thought back to my viewing experience of this supposed cross-section or pulse - taking of contemporary American art, and can not seem to shake the thought that it was an exhibition dominated and shaped by images — images that were overtly political, often beautiful, and sometimes even made me reconsider the definition, purpose, and lasting power of «image.»

Polly Yates culls old photographs from flea markets around Berlin and cuts and weaves abstract forms that force the viewer to come closer and view a fragmented shape interwoven with what once was the representational image of a time long past.

View enlarged image Models that account only for the effects of natural processes are not able to explain the warming over the past century.

For the past few weeks, we have quietly implemented a new way of viewing images on Earth Observatory.

When coupled with the new images from both the Calipso and CloudSat, there now exists a possible 3D view of the atmosphere and a clear indication that we really may not understand the adiabatic character of water vapor nearly as well as had been indicated in the past.

(Images and details of our home at Christmas for the past two years can be viewed here and here if you'd like.)