Sentences with phrase «arms in gestures»

He asks us to stand and raise our right arms in a gesture of blessing» a practice that's become increasingly popular in Catholic churches and is distressing not only because of its questionable theology, but also because the net effect of the sight of a thousand people, right arms stretched forward seems unsettlingly... well, fascist, to put it bluntly.

Not exact matches

The gesture - identification technology developed by Pebbles allows users to see their own arms and hands while immersed in virtual reality, according to WSJ.

What may well reveal the ancient origins of flamenco are the gestures of the profound dance (baile grande), in which the arm, hand, and foot movements closely resemble those of classical Hindu dance of the Indian subcontinent.

Arm raised in an emphatic gesture, he points rigidly to the woman who stands on his right.

sometimes he looks at me blankly, but other times he makes a sweeping gesture with his arm, as though taking in the entire world.»

He is the friend of Tio, and Tio is my employee, and as all of you know» — he waved his arm in a broad gesture — «my employee went to the school, to the college, in the United States.

The manager, in a somewhat self - conscious attempt at a fatherly gesture, reaches up to put one arm around Boog.

Coming back down the strip, Garlits smiled and waved his arm in a slow pirouette that seemed more like a long sigh than a gesture.

Tariku dove headfirst into the waves over and over, popping up with his arms outstretched toward the sky in a gesture of pure joy.

Let me hold my arms up in the traditional gesture of surrender.

Through a clinical collaboration between Caltech, Keck Medicine of USC and Rancho Los Amigos National Rehabilitation Center, the now 34 - year - old Sorto is the first person in the world to have a neural prosthetic device implanted in a region of the brain where intentions are made, giving him the ability to perform a fluid hand - shaking gesture, drink a beverage, and even play «rock, paper, scissors,» using a robotic arm.

Some of them are embedded to make it oriented correctly and some of them is from afar to know the whole environment in general, and that's where based on your gestures the arm can move to the different drums that you are interested in.»

«Skinput works very well for a series of gestures, even when the body is in motion,» the researchers say, with subjects able to deftly scroll through menus whether they moved up and down or flicked across their arm.

In a clinical trial, the Caltech team and colleagues from Keck Medicine of USC have successfully implanted just such a device in a patient with quadriplegia, giving him the ability to perform a fluid hand - shaking gesture and even play «rock, paper, scissors» using a separate robotic arIn a clinical trial, the Caltech team and colleagues from Keck Medicine of USC have successfully implanted just such a device in a patient with quadriplegia, giving him the ability to perform a fluid hand - shaking gesture and even play «rock, paper, scissors» using a separate robotic arin a patient with quadriplegia, giving him the ability to perform a fluid hand - shaking gesture and even play «rock, paper, scissors» using a separate robotic arm.

Some therapists recommend that caregivers use hand and arm gestures in conjunction with words.

The researchers captured everything from a begging gesture that would suffice in most human households in the world to an oddly comic raising of the arms (and exposing of the armpits) to signal sexual interest.

In her first major screen role, Daniela Vega, who plays Marina Vidal, the beleaguered central character in Chilean director Sebastián Lelio's A Fantastic Woman, elevates even the most mundane action — petting a dog, lifting an arm to activate a motion - sensor hallway light — into a gesture of minor majestIn her first major screen role, Daniela Vega, who plays Marina Vidal, the beleaguered central character in Chilean director Sebastián Lelio's A Fantastic Woman, elevates even the most mundane action — petting a dog, lifting an arm to activate a motion - sensor hallway light — into a gesture of minor majestin Chilean director Sebastián Lelio's A Fantastic Woman, elevates even the most mundane action — petting a dog, lifting an arm to activate a motion - sensor hallway light — into a gesture of minor majesty.

In the police car, we see her, hands to her mouth, in an ambiguous gesture of what could be anticipation or apprehension; but Affleck is smart enough to recognize that any shot of Amanda's face when she is taken from the arms of Francine Doyle (Kippy Goldfarb) or delivered into those of Helene McCready would introduce interpretation into the shoIn the police car, we see her, hands to her mouth, in an ambiguous gesture of what could be anticipation or apprehension; but Affleck is smart enough to recognize that any shot of Amanda's face when she is taken from the arms of Francine Doyle (Kippy Goldfarb) or delivered into those of Helene McCready would introduce interpretation into the shoin an ambiguous gesture of what could be anticipation or apprehension; but Affleck is smart enough to recognize that any shot of Amanda's face when she is taken from the arms of Francine Doyle (Kippy Goldfarb) or delivered into those of Helene McCready would introduce interpretation into the shot.

However in order to make this experience as close to the Mickey Mouse experience as possible, Harmonix have really fine turned the control systems of the Kinect 2 which monitors the players arm and hand gestures.

Yet because the only way these outlaw martyrs can reclaim their freedom is to nobly strike back against a society characterized by male - propagated sexism and objectification — in one of many instances of overkill, a truck driver, besides simply gesturing obscenely to the women, even has mud flaps with silvery nude women decals protecting his truck's tires — Thelma & Louise «s feminist call to arms winds up sounding woefully simple - minded.

If your puppy jumps up for attention use a gentle body block gesture (block him from jumping on your body) by folding your arms in front of you and abruptly turning away from your dog as though you are highly insulted, he should slightly go off balance at this point and land back with all 4 feet on the floor.

Mirren and the bright green jet ski were hidden in the back of the Dolby Theatre stage, and she gamely did all the requisite Price is Right arm gestures as it sat on display.

Before putting the gesture into players» hands, throwing your arms up in the air with your palms out while standing tiptoed could have meant anything, but it's a unique gesture that only looks like a person preparing to swan dive or somehow take off flying.

It's gesture input rather than completely mirroring your actions, of course, but many will certainly enjoy experiencing The Elder Scrolls V: Skyrim in a new way, even if it's probably not suited to lengthier sessions as your arms will tire.

In Party Time, we have very simplified gesture navigation: you swipe with your right arm to select a song, swipe with your left to change modes, and high - five to start playing.

Players mimic the actions and gestures of real - life activities allowing them to move their arms, legs or full bodies in natural motions to control the game.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greateIn 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its lesser relationship to the greater.

What persists is an understated elegance and a sensitivity to gesture, color, and composition in fragmentary pictures: a silhouetted figure, a masked face, a veined arm.

In Hank Willis Thomas's work Raise Up, 2016, 12 men cast in bronze seem to be encased in gray concrete, their upstretched arms in the hands - up - don't - shoot gesture inspired by Michael Brown's 2014 shooting in Ferguson, MissourIn Hank Willis Thomas's work Raise Up, 2016, 12 men cast in bronze seem to be encased in gray concrete, their upstretched arms in the hands - up - don't - shoot gesture inspired by Michael Brown's 2014 shooting in Ferguson, Missourin bronze seem to be encased in gray concrete, their upstretched arms in the hands - up - don't - shoot gesture inspired by Michael Brown's 2014 shooting in Ferguson, Missourin gray concrete, their upstretched arms in the hands - up - don't - shoot gesture inspired by Michael Brown's 2014 shooting in Ferguson, Missourin the hands - up - don't - shoot gesture inspired by Michael Brown's 2014 shooting in Ferguson, Missourin Ferguson, Missouri.

LOS ANGELES — Michael Govan stood in a third - floor gallery scattered with paintings and crates at the Los Angeles County Museum of Art, his arms gesturing at blank white walls, his face furled in thought.

I can get very passionate when I'm talking, throwing my arms around in enthusiastic gesture.

She clenches her fist with an angled arm — is she hiding something precious in her hand or is it a triumphant gesture?

Baldessari's 1971 video piece I am Making Art, where he moves his arm in differing gestures and repeats the phrase «I am making art,» played into the idea that there's no perceptible boundary between art and life — one that circulated throughout the 1960s and»70s.

Mira Dancy's gorgeous, joyful mural of a reclining female nude, for instance, takes off across from the ecstasy of feminist artist Mary Beth Edelson's Woman Rising (1973), a black - and - white photograph in which a woman stands in an open desert, her arms stretched out toward the sky in a gesture of empowerment and freedom that is reinforced by a V - shaped line of contrails in the sky.

After prosecutors complained that Blagojevich had made gestures and comments in response to testimony by his former chief of staff, Judge Zabel directed Blago to refrain from «all arm waving, facial gestures and side comments.»

Like the Pebble, the Galaxy Gear lights up automatically in response to a physical gesture, though Samsung tries to be more natural by reacting to you raising the arm the watch is on.

Talking of shaking your arm, Google has also released a series of «wrist gestures» that can control the watch in several ways when enabled.

But after wildly flailing my limbs around in Arms, a gesture - based fighting game coming this Spring, I'm reminded just how good Nintendo is at crafting competitive multiplayer experiences disguised as silly party titles.

For example, if your prospect begins the appointment by sitting back in his or her chair with folded arms and crossed legs, you must continue the warm up until he or she shows open gestures and leans forward towards you.

Be mindful of your own body language gestures and remember to keep them positive by unfolding your arms, uncrossing your legs, nodding your head in agreement, and smiling frequently.

Repetitive gestures such as touching the hair, adjusting eyeglasses, or drumming fingers suggest that the client is feeling anxious while disagreement may be indicated by a person sitting back in the chair with arms folded.

But if I picked her up in my arms and made a grand gesture of pointing and saying «MOOOOON», she'd follow my arm skyward, see the moon for herself and smile a smile that would knock an angel to their knees.