Sentences with phrase «as the viewer moves»

When through an unusual coincidence President Reagan's second inauguration was telecast on the same day as the 1985 Super Bowl, the entire day seemed liturgically orchestrated, as viewers moved from one sacred event to another.

Thus a rainbow appears to move as a viewer moves (hindering the search for a pot of gold).

Multiperspective 3 - D differs from the stereoscopic 3 - D now common in movie theaters in that the depicted objects disclose new perspectives as the viewer moves about them, just as real objects would.

In a return to video, Sze questions how we measure time and space, incorporating elements that shift and dissolve as the viewer moves around the piece.

While they are called paintings, these wall - mounted works are composed of layers of laser - cut birch wood ply and MDF, milled, perforated and painted so that evocations — of colour, form and image — seem to shift and dissolve as the viewer moves in front of them.

What resulted remained true to painting's basic materials while turning its traditionally flat surface into a field of topographical undulations that, interacting with light, appear to change a great deal as the viewer moves around them.

The paintings change and a dazzling effect ensues as the viewer moves before them; the found snapshot is infused with a new life.

Lighted from behind, images seen through the grooved surfaces of these lightboxes change as the viewer moves past them.

Colors mutate, fade and intensify, seeming to hover just above the surface of the room like a prism, materializing the unseen shifts of light and air as the viewer moves through space.

«The whole idea of putting marks into the Breathing Panels is that as the viewer move around them they change depending on the view you take of them,» adds the sculptor.

These leafed areas look different in different light, and shift as the viewer moves.

As a viewer moves through the narrow, open - ended corridor, illuminated by green fluorescent lights from above, the eyes become overwhelmed by its particular shade of green.

She continues to develop their possibilities in monochromatic works which are covered with undulating meshes that seem to fluctuate and dissolve as the viewer moves around them.

As the viewer moved from gallery to gallery, they were presented with a series of paintings and sculptures that aggressively challenge the very idea of portraiture, from Marsden Hartley's One Portrait of One Woman (the woman being Gertrude Stein, whose work was referenced multiple times in the show) to Glenn Ligon's moving and disturbing Runaway series from 1993 that juxtaposes images of runaway slaves with descriptions of Ligon written by his friends and colleagues.

Landscapes and seascapes, simple from a distance, break down into complex collages of evocative visual information as a viewer moves towards them.

Unlike typical retrospectives, this presentation is organized with an eye to morphological relationships so that, as viewers move through the gallery, they will recall and ideally return to earlier related images.

The silhouettes of the sculptural works continue this shifting as the viewer moves around the work, with an amorphous shape suddenly turning into a gaping mouth or a funny bird's head.

Rather than offering a comprehensive drawing retrospective, the show will be organized with an eye to morphological relationships so that, as viewers move through the gallery, they will recall and ideally return to earlier related images.

In Kauffman's work, the environment constantly shifts as the viewer moves around each object.

As the viewer moves through the space they will have to -LSB-...]

As the viewer moves through the space, the miniature paper imagery comes alive.

In one instance, the figures have been painted on fabric printed with multicolored cartoon ghosts, which seem to waver and vibrate as the viewer moves from one side of the canvas to the other.

As viewers move through this gifographic, the images and animations build upon each other further highlighting the theme of the visual.

The centerpiece of Timothy Nolan's exhibition, a latticed and stacked trapezoidal shaped sculpture shifts, melds and reconfigures as the viewer moves around the work and throughout the gallery, sometimes taking form as the elements of the piece interact with one another, and sometimes confounding viewers» experience of spatial dynamics within the work and the larger gallery space.

These new works set up uncanny formal repetitions, triggering a sense of déjà vu as the viewer moves through the rooms of the gallery.

As the viewer moves around the work, the light reflected on the surface seems to be active and moving in various states.

Hadid does in painting what multiple cameras do in film and television, offering simultaneous angles as the viewer moves through space.

For example, Total Recall (2017) features a patterned velour atop Dault's composition of blue and yellow forms; as the viewer moves around it, like a lenticular print, the fabric changes color and appears to rise from the surface.

As the viewer moves through the space, the works reflect and refract, giving an impression that is both imposing and unexpectedly organic.

This color is itself cut with beeswax, at a low enough level not to conjure up associations with well known purveyors of the encaustic technique, like Jasper Johns and Brice Marden; it instead increases the sensation of the paint as dense and saturated, and gives it a subtle, changing play of light over the surface as the viewer moves around the work.

These threads, which accept or reject light, form a mosaic of attraction and repulsion where the colours are gradually revealed as the viewer moved forwards or backwards.

The effect harnesses light and causes the painting to shift in depth and contrast as the viewer moves around it.

Grosse's works are highly performative; as viewers move through them, tracing the artist's gestures, their own actions are in turn framed by the color - saturated backdrop.

As the viewer moves around the room, the construction is revealed and the rings disclose themselves as semicircular tubes mounted to a mirror.

These threads, which either accept or reject light, form a mosaic of attraction and repulsion: a satin - finished exterior and a bright and shiny interior where the colours are gradually revealed as the viewer moved forwards or backwards.

The curvilinear geometries between the roots frame the view creating landscapes in the negative spaces that ebb and flow as the viewer moves around and under the piece.

Not exact matches

But as broadcast entertainment moves ever faster toward a world where viewers are free to choose what they watch, where they watch it and when, the audience for top dramas and comedies continues to fragment.

All channels converted to a digital format back in 2009, so over-the-air viewers should be able to continue to find channels that are moved through a process known as rescanning.

The move comes as advertisers are increasingly shifting budgets from television to online as more viewers prefer to watch their favorite shows on their smartphones and tablets.

** The U.S. Justice Department presented evidence on Thursday to show that AT&T, owner of DirecTV, viewed buying Time Warner as a way to make viewers stick with their pay TV service instead of moving to cheaper online providers.

Readers of Solzhenitsyn's «Repentance and Self - Limitation in the Life of Nations,» which dared to defend as essentially correct the common feature of ordinary speech that depicts nations as capable of guilt, repentance, and a «spiritual life,» will understand why, as will viewers moved by Nelson's Mandela core message in the film Invictus.

Last week, Pat Robertson told his viewers that he believes Alzheimer's disease to be a «kind of death,» a basis for the un-afflicted spouse to seek divorce and move on with their life — so long as they act mercifully and provide a means for care of that spouse.

Fans may not like the CGI zombies, but unlike the video game creatures in I am Legend (2007), these are more filmed actor - CGI tweaked hybrids; their believability is really dependent on how much viewers will accept the virus as a fast - moving bug which immediately transforms a host into a rabid sprinter with super-strength (not unlike 28 Days Later).

Some viewers will require an adjustment period, as Tangerine involves so much shouting, and moves at such a breakneck pace, that it can feel a little assaultive.

As reported by Coming Soon, the e-commerce giant - turned - TV studio has announced that its Casanova and Sneaky Pete pilots will premiere August 7 on Prime Instant Video, with viewers once again weighing in on which show (s) move on to a...

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

Director Trey Edward Shults thrusts viewers into a situation without explanation, but enough facts become clear as the story moves on.

In the psychological horror film It Comes at Night, Director Trey Edward Shults thrusts viewers into a situation without explanation, but enough facts become clear as the story moves on.

Presented more as a costume drama than a film with any modern relevance, Milk «s power to move is largely dependent on the viewer's ability to watch Sean Penn make hammy faces at the camera.

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.