Sentences with phrase «as the grid spacing»

Not exact matches

Space weather events such as geomagnetic storms can disturb Earth's magnetic field, interfering with electric power grids, radio communication, GPS systems, satellite operations, oil and gas drilling and air travel.

Rats have cells in their brains» entorhinal cortex that appear to generate an internal grid of triangles, and which fire as the animals navigate around a space.

Although the advisers specialise to a degree, Nath is currently working on projects as diverse and challenging as «e-Science and the grid,» «The militarisation of space,» and «the 24 hour society.»

Typically engineers build photodiodes as tiny square elements and spread them out in regularly spaced grids.

By using smaller grids — with spacing of just a few kilometers rather than several tens of kilometers as in conventional current models — they were able to show that they could more realistically model the amount of black carbon aerosols, mitigating the underestimation in more coarse - grained models.

The newly available data gives researchers a treasure trove of measurements they can use to better understand how space weather works and how best to protect critical infrastructure, such as the nation's satellites, aircraft, communications networks, navigation systems, and electric power grid.

Electric currents that flow into and out of the ionosphere, which AMPERE monitors, have various effects on it as well as the atmosphere in general that can cause problems with tracking LEO space debris, the use of GPS systems, and even terrestrial power plants — as was the case when a geomagnetic storm took down Quebec's power grid in 1989, Anderson says, adding, «The operators didn't know what was happening.»

The sun is a tempestuous place prone to proton and electron particle storms that can speed across a 150 - million - kilometer space chasm to bash into Earth's atmosphere, potentially disrupting satellite service, damaging telecommunications networks, causing power grid blackouts and endangering high - altitude aircraft as well as astronauts on board the International Space Staspace chasm to bash into Earth's atmosphere, potentially disrupting satellite service, damaging telecommunications networks, causing power grid blackouts and endangering high - altitude aircraft as well as astronauts on board the International Space StaSpace Station.

MEAs are tiny rectangular devices that consist of evenly spaced metal bumps arranged in a grid, all of which serve as electrodes.

If they've accessed a network that's controlling something, such as an electrical power grid or a railroad system, they can cause things to happen not in cyberspace but in physical space.

You are confined to a large grid set on the backdrop of space, with enemies that drastically get stronger as the game progresses as well as advance in numbers.

It also offers customers an optimized library grid view and reading experience with enhanced book margins and line spacing, as well as an improved shopping experience and more.

But just as e-signage presents an opportunity for a city's development, it is not without its challenges: to enable a city's evolution into a truly smart, and therefore sustainable and green urban living space, digital signs should support energy saving features, be implementable even at the most demanding of locations, power grid or no, and feature superb visibility in all light conditions.

As a result challenges include trying to achieve a podium from the back of the grid, fending off faster cars, clinching a championship in the space of a few laps and much more.

For those who betray the divine will pay for their sins in the space which separates salvation and damnation, as will their progeny... Revamped Battle System: Unlike the first two games of the series, Agarest 2 battles are fought with an engaging active grid - based battle system.

This creates a diamond (rhombus) shaped grid where the grid spaces are twice as wide as they are tall.

Players are placed on a grid composed of black and white spaces, and can shoot through squares of their own color to create pathways (as they can't travel through spots of their color) and hit other, rival squares.

We're still exploring the game's art direction and it may change during development, but our simple cube characters will remain, and our grid - design will also stay constant as it makes for good readable spaces.

Each mission takes place on a small boardgame - like grid, which represents a city - sized space, but can be crossed by your mechs in as little as two turns.

Whether it is seen as a flat shape, part of a grid, a three dimensional solid, in shallow or deep space, as one or many, paired, or single — it is a stand - in for the human, a being we project ourselves on.

In this beginner - level course, professional art tutor Jane Lazenby leads you right from the very basics of measuring proportion, using a grid system and finding negative space through to more expressive and creative exercises as your confidence builds.

In other works, like Jennifer Bartlett's Swimming Pool (Early 1970s), the grid (silkscreened onto the ground of the steel plate) intrinsically spaces and allocates the site in which she paints her dots as a kind of means to an end.

(Holland Cotter The New York Times) Some of the more significant creations about spirituality, beauty, and painting itself that modernism has ever known... She used the grid as a forum for belief - a space where the viewer as well as the artist could contemplate the hand making the thing being observed.

The grid of the window frame fuses with the view of her courtyard as Biala interlocks interior and exterior space like the warp and weft of fabric.

His kaleidoscopic compositions of overlapping grids and patterns create complex pictorial spaces, and his use of transparent pigments allows the viewer to see, as the artist has said, «all the events that went into the making of the painting.»

Important works such as Tony Smith's Die (1962), a six - foot cue of hot - rolled steel, and Flavin's Untitled (in honor of Harold Joachim) 3 (1977), which uses a grid of colored florescent tubes to shape the installation space, paved the way for new concepts of space and criticism.

As the artist explains,» The space will be filled with sinuous, large, sprawling structures on two opposing walls (units composed of weaving of metal grid and clear, iridescent,» edge glowing» Plexi glass), which transmit, reflect, and refract light while the painted dark walls of the gallery are enclosed with images that echo the shadows and reflections of the gleaming sculpture.

As a symbol of transformation and possibilities for crisis - stricken communities, the trailer itself has been completely transfigured from a «toxic tin - can» of a FEMA trailer into a sustainably - built, off the grid living and work space.

Formal invention abounds, especially in the Bingo cards (some of which were hand - labeled «Beano» by Seal Point's long - ago gamblers as a way of sidestepping a state law against playing Bingo for money), where loosely applied smears, blots, speckles and truncated grids vie for space with the voluminous white outcropping found in «White Reach # 2» and other works.

Animated by the negative space that surrounds them, the inside and outside of the cubes are referents that encompass the landscape as well as the grid, as if the artist had thrown a gigantic and invisible net over the countryside.

Lassaw's welded grids in particular evoke the order of natural and celestial systems, as well as Taoism's emphasis on moving through the spaces between things rather than forcing a way through life.

In the case of 100 Copper Square the piece is an intervention in that it occupies formerly empty floor space while also highlighting the dimensions of the space by virtue of the repeated, orderly grid that maps the existing space and serving, as Carl Andre intended, to create an ongoing discussion between the work and its place.

Taking the form of open grids, the sculptures serve as screens or dividers, creating layers and influencing the viewer's experience of the space.

The artist transports the viewer to this holistic in - between - stage by reformulating the constituents of painting as similar quintessential dualities: flat surface versus deep space, precision versus ambiguity, material versus ethereal, the grid - like composition of brightly colored dots versus animated, formative fields of homochromatic hues.

The wall grids and the studio's near emptiness relate as well to Minimalism, as with Carl Andre and his invitation to take one's time to explore the space around one.

Composed of grids, lines, and geometric shapes, the structures form a volumetric drawing within the space of the gallery, referencing cheap commercial constructions as well as the serial patterning of paintings and sculptures made by Minimalist artists such as Sol LeWitt and Agnes Martin.

First - time exhibitor Robilant + Voena's presentation of Gianni Colombo (b. 1937, Italy) will include drawings executed for Colombo's immersive gridded environment «Spazio elastico» (1967), as well as subsequent mixed media and motorized pieces exemplifying his investigation of the potentialities of altered, moving and flexible space.

I enter the K.O.S. studio in Chelsea to find a sunlit space crowded with giant canvases, tables covered with books (Darwin's Origin of Species, Shakespeare's A Midsummer Night's Dream, H.G. Wells's The Time Machine), ladders with people reaching out to work at the top of the canvas, computers, music blaring, and several individuals kneeling and standing as they fill in and stamp, with various levels of pressure, hand stamps of tiny branches over a canvas covered in a grid of book pages.

Probably best known for her paintings of lines and grids using understated colors, Martin's work has been hailed as «pure abstraction, in which space, metaphysics, and internal emotional states are explored through painting, drawing and printmaking.»

Some of the more significant creations about spirituality, beauty, and painting itself that modernism has ever known... She used the grid as a forum for belief - a space where the viewer as well as the artist could contemplate the hand making the thing being observed.

The strangest feeling, as I remember it, was to locate the white shapes locked safely into the colour grid, but to see them also as free and ready to enter our space, our world... The conundrum of these masterpieces is that they are decorative without being designs, pictorial without being paintings, heart - stopping in their directness, their economy, their inventiveness.»

It can be read as an early indicator of her need to impose a limiting framework upon herself — in this case an imagined box — but the score also connects her choreographic work to concurrent visual arts practices.17 Locus» gridded demarcation of the cube echoes any number of contemporary works, such as Robert Barry's sketches for wire installations and Mel Bochner's Measurement Room (1969), for which the vertical and horizontal dimensions of a room were inscribed directly onto the walls of the space, drawing attention to the physical characteristics of the gallery itself.

This simple but clever grid of colored light is tucked away in a somewhat remote space, making its finding a prize — as if the viewer shares a secret with the museum.

Chuck close's grids, Gabriel Orozco's checkered patterns, the frame itself, or the smooth white walls of a gallery space all strive to achieve the same end as a pencil guided along a straight edge - respite from the expressive responsibility of mark - making, submission to something sure, inert, and objective.

Description: A sound installation that uses spatial sensing and a grid of electromechanical sound modules to create a rain storm that follows visitors as they move through space.

Alternatively, the empty spaces of the grid can be read as the missing narratives, the voices that were never heard — either because their lives were cut short or because they never stepped forward or spoke out.

In her recent monotypes on view, gridded fields of grommeted holes physically open the paper surface alluding to layers, spaces and histories buried below, as well as body orifices.

We detect an emergence of grid formulas rendered within perspectival space, reminiscent of the pioneering oeuvre of constructivists and other twentieth century modernists such as Rodchenko, Popova, Ryndin, Bulatov, Kabakov and the «clearer» modular practice of Sol LeWitt as embodied in the solid anatomy of Fatherhood (2015).

Empty boxes figure in many of the works, as do overlapping sheets of colored and gridded paper that are likely to stimulate painterly debates about space and perspective even as they suggest a rational - mathematical mind - set.

The gridded wall structures imitate the foundations of the walls as they curve congruently with the space.