Sentences with phrase «about objects in your images»

Google Assistant will then pop up and give you some information about the objects in the image.

Not exact matches

In January this year, it was announced that the lander had been identified in images taken by Nasa's Mars Reconnaissance Orbiter in 2013; these showed the lander as a glinting object, just a few pixels wide, about 5 km from the intended touchdown sitIn January this year, it was announced that the lander had been identified in images taken by Nasa's Mars Reconnaissance Orbiter in 2013; these showed the lander as a glinting object, just a few pixels wide, about 5 km from the intended touchdown sitin images taken by Nasa's Mars Reconnaissance Orbiter in 2013; these showed the lander as a glinting object, just a few pixels wide, about 5 km from the intended touchdown sitin 2013; these showed the lander as a glinting object, just a few pixels wide, about 5 km from the intended touchdown site.

For each pair of successive images, the algorithm generates multiple hypotheses about which objects in one correspond to which objects in the other.

The images of 288P, which is located in the asteroid belt between Mars and Jupiter, revealed that it was actually not a single object, but two asteroids of almost the same mass and size, orbiting each other at a distance of about 100 kilometres.

In contrast, if neurons convey information about object size, they are expected to react to the small retinal image when the object is far away and to react to the big retinal image when the object is near.

The group analyzed neuron activity in the monkey's visual cortical area V4 and found that cells in this area integrated information about retinal image size and the distance from the object to calculate the size of the object.

VLA Image of Small Portion of Extragalactic Space: About 2,000 discrete objects are identified in this VLA image of the distant UnivImage of Small Portion of Extragalactic Space: About 2,000 discrete objects are identified in this VLA image of the distant Univimage of the distant Universe.

The telescope is expected to produce about 30 terabytes of data per night and advanced data - mining techniques will need to be developed to find objects of interest in the stream of images.

«It is not only about what is in the center of the image or a bigger object, it's also about coming up with a way of deciding on the importance of specific words.»

Michael Barnett - Cowan at the Max Planck Institute for Biological Cybernetics in Tübingen, Germany, and colleagues showed 15 volunteers an image of an object tilted to the right and asked them to judge whether it was about to topple.

In fact, when Chris Burrows of the European Space Agency did a detailed inspection of the Hubble images, he located a dim object that could be the source of the beams at the predicted location — about one - third light - year from the center of the supernova explosion.

The Gemini «speckle» data directly imaged the system to within about 400 million miles (about 4 AU, approximately equal to the orbit of Jupiter in our solar system) of the host star and confirmed that there were no other stellar size objects orbiting within this radius from the star.

«While some of the other objects in Riddle of the Image would have been cost the same as a farm or country home, the Westminster Abbey altarpiece would have cost no more than eight cows or about # 5 in 13th century money.

The first was to answer questions about relationships between objects in a single image, such as cubes, balls, and cylinders.

With its high - definition resolving power, HDST has the amazing ability to take an optical image or spectrum at about 100 - parsec spatial resolution or better, for any observable object in the entire Universe, no matter where a galaxy lies within the cosmic horizon.

Just this year it captured the most distant single star yet, learned more about a strange stellar ring, watched two galaxies merge, and created lots of new images of the Messier objects, the distant smudges first described by astronomer Charles Messier in the 18th century.

I've written before about that distinctively human tendency to see images in inanimate objects — everything from Jesus on a grilled cheese sandwich to a dog in a piece of wood.

After writing about the objects and characters they have identified in the artwork, families will draw their own images and use them as collage elements to create a collaborative, remixed version of Shaw's installation.

King of Lesser Lands traces the fugitive career of Eugene Von Bruenchenhein (1910 — 83), a prolific creator of a diverse range of distinctive images and sculptural objects, who produced his art in private over a period of about 50 years at his home in Milwaukee, Wisconsin.

Over and over again in the catalog, we read about Ligon's love for painting — de Kooning's Pirate (Untitled II)(1981) is a favorite, apparently — and how he, um, «opened up the semantic rules of identity and linguistic constructions between object - text and image - sign relations through the use of photography and text based on the appropriation of language, sign, text, and speech as material for his painting practice.»

Artists are a perceptive, eclectic group, and through their studios you get to see the various characteristics of different artists: some appear cluttered and homely, others clean and sterile; some have books strewn about, others bottles; in some, the sound of music drifts through the air... Art should be about more than just aesthetic images or objects.

Picking up on chance constellations of objects in her bedroom, or familiar images cast in a new light, she is interested in the «common things» that surround us, using these to guide phenomenological compositions about the act of looking and recognising, and the potentiality that might lie in the gap between.

While Fried described the spectator's connection with a work of art as a momentary visual engagement, Smithson's non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery.

As much as Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvain — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvain the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvaIn 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvas.

His work raises questions about where the photograph as object now resides in the age of post-appropriation and image saturation.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

On the surface, the recent and new works in Noh's solo exhibition Information About the Outside World appear as attractive collages of fragmented digital images, mixed materials, and decontextualized objects.

Coinciding with both the inclusion of Thomas» sculpture Liberty in Public Art Fund's group exhibition Image Objects in City Hall Park and his solo show, The Truth is I See You in Downtown Brooklyn's MetroTech Center, the artist will speak about his repeated engagement with the public and outdoor space.

For artists like Robert Rauschenberg, Claude Viallat, Elizabeth Murray, Blinky Palermo, Rochelle Feinstein, and Michael Venezia, painting has arguably been about the object more than about the image, and in the past decade or so, a slew of artists working with found materials, furniture, lumber, and more have adopted a painting - as - object, amalgamated approach to art making.

Taking a cue from the MoMA exhibitions Robert Heinecken: Object Matter and Alibis: Sigmar Polke 1963 — 2010, this session addresses the ways in which expanded ideas about the photographic medium and the circulation of images resonate into the 21st century.

In the process of folding, cutting, flipping and overlapping printed materials, images are gradually transformed away from identifiable objects, taking on a naturalistic guise of their own, growing into space, posing questions about our accepted definition of printed works of art, as well as the idea of passage.

At the AC Project Room can be seen the somewhat pretentious, but still engrossing «Self Portrait as Still Life,» by AKI FUJIYOSHI, a combination of videotape and photography in which the artist creates a found - object still life and tells you all about it, creating a layering of images and narratives reminiscent of Joan Jonas's early performances.

«Jacob was always clear about the fact that even when you are doing an image and it has figures, it has objects that are recognizable to the viewer, each and every one of those objects was a design element that had to work in space and place.»

that asked spectators to look, walk, view, read, and think about combinations of objects, images, and texts installed in a gallery and the Swedish curator Maria Lind's groundbreaking renovations of the exhibition form and the museum space into something more active, open, and democratic inviting the public into new and unexpected encounters with works of art and institutions.

Lives and works in Paris since 2011) enacts the shifts of originary forms over time in his work, using the movements between medium, in sound, image, objects, text, painting and drawing to form new material and technological genealogies, and to suture the physicalization of matters with philosophical and spiritual ideas about life and death, their commitments and their inevitabilities.

He was a friend, and while I'm not sure he thought about it this way, I loved how some of his work seemed to both embody and parody images of masculinity, and to present his body as an object in ways that are historically associated with the feminine.

Barbara Maria Stafford wrote about her work in Echo Objects: The Cognitive Work of Images, as did Joe Houston in Optic Nerve: Perceptual Art of the 1960s.

The narrative is bracketed by American artist Robert Smithson's seminal non-sites that asked spectators to look, walk, view, read, and think about combinations of objects, images, and texts installed in a gallery and the Swedish curator Maria Lind's groundbreaking renovations of the exhibition form and the museum space into something more active, open, and democratic inviting the public into new and unexpected encounters with works of art and institutions.

When painting, Lorca is interested in realism in the sense of rescuing traditional painting itself, beyond what is painted: «First I think about what I'm about to paint, spontaneously I get the images of something that brings me a certain sensation, then comes the object to my mind and I always have a visual record of things that have caught my attention.

Though obliquely referential, the images are more about the material and process than anything concretely object - like to be found in the gelatin silver, Mordançage, and tintype formations.

By calling attention to their relationship with Walker Evans» «originals», her images ask complex and multiple questions about the relationship between image and object, original and copy, and in turn question the relationship of Walker Evans» own images taken in 1935 to the original African objects, and their role in establishing the curatorial canon of so - called «Primitive» art at the time.

Notable examples include «H.M. 2009,» Kerry Tribe «s double film projection about an epilepsy patient who lost his short - term memory in experimental brain surgery and Nina Berman's arresting images of former Marine sergeant Ty Ziegel, who was severely disfigured in a suicide bombing in Iraq; R.H. Quaytman's series «Distracting Distance,» which riffs on the physical act of perception; and Suzan Frecon's huge minimalist paintings, which embrace the labor intensity of making an art object that is intended to last.

These sculptures, which appeared in his 1993 Whitney Museum survey, became his best - known images because they could function as stand - alone objects, a thing critics knew how to write about and galleries knew how to sell.

Working both online and with objects, the Los Angeles — based artist has said his work concerns «ideas about the internet, and technology, and the necessity of the object in a time when photography and the distribution of JPEG images and all sorts of documentation are prevailing.»

It's an image that captures a lot of what her husband was about — not only the wind turbine and verdant landscape but also the clear sense of motion imparted by the blurry car mirror (or whatever that object is) in the foreground.

As a matter of act, when we get to this world, a lot of things that we think about as physical objects today, like a TV for displaying an image, will actually just be $ 1 apps in an AR app store.

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