Sentences with phrase «between luminosity»
The surface of the canvas has been worked with many thin layers of paint to produce a strange balance between luminosity and opacity.
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Thus, his work wages a battle between luminosity and darkness, somehow merging life and death.
(Cepheid variables, named after Delta Cephei in Cepheus constellation, are very luminous stars that have a direct relationship between their luminosity and pulsation period, which makes these stars important standard candles for establishing distance scales.)
This is the relationship between luminosity (L), radius (R) and temperature (T): L = (7.125 x 10 - 7) R2T4 where the units are defined as L - watts, R - meters and T - degrees Kelvin
Their luminosity is between the luminosities of typical galaxies and the powerful quasars.
Not exact matches
One star may be the equivalent of 300,000 suns in luminosity, whereas another may amount to only a fifty - thousandth part of it (as great a difference, the astronomer Sir James Jeans observed, as there is between a lighthouse and a glow - worm).
The low luminosity of the companions and the estimated age of the system imply planetary masses between 5 and 13 times that of Jupiter.
Imaging detections are challenging because of the combined effect of small angular separation and large luminosity contrast between a planet and its host star.
«Despite the fact, that the difference between the maximal and minimal luminosity is measured by tens of percents, and now it is nearly a hundred times!
Plotting the luminosity of the accretion disks against the gamma ray power of their jets, the team reports online today in Nature that there is a clear linear relationship between the two.
Another dynamical complication comes from the so - called Tully - Fisher relationship, which describes the relation between a galaxy's luminosity and its rotation velocity: the higher the luminosity, the faster a galaxy rotates.
Several methods are used, such as exploiting the known luminosities of old stars that are just beginning to burn Helium in their cores, and the relationship between the rotation speed of galaxies and the number of stars they possess.
The team found that bright stars are mainly located in the inner disk of M81, while most of the young stars in outlying concentrations are fainter and have similar luminosity distributions as that of the stellar stream between M81 and NGC 3077.
In 1977 Brent Tully and Richard Fisher discovered a similar relation between the rotational velocity of the disk and the luminosity of a spiral galaxy.
A comparison of its luminosity to the values predicted by theoretical evolutionary models suggests that the substellar object has a mass of 0.051 + / - 0.014 Solar - masses, or around 50 times Jupiter's mass in a range between 22 and 57 Jupiter - masses (Luhman et al, 2006; and Mugrauer et al 2006).
Sandra Faber and Robert Jackson discovered in 1976 a simple relation between the spread of velocities (called the velocity dispersion) and the luminosity of elliptical galaxies.
With a visual luminosity that has reportedly varied between 0.000053 and 0.00012 of Sol's (based on a distance of 4.22 light - years) the star is as much as 19,000 times fainter than the Sun, and so if it was placed at the location of our Sun from Earth, the disk of the star would barely be visible.
Other prior work suggesting a link between terrestrial paleoclimate and solar luminosity variations has not provided any specific mechanism.
After analyzing data from the Kepler Space Telescope, scientists discovered huge dips in KIC 8462852's brightness that lasted between five and 80 days, with the star sometimes losing as much as 20 percent of its luminosity.
NASA, Chandra X-Ray Observatory — ring and larger images (more) Magnetic field interactions between giant stars Aa and Ab are thought to energize the corona of the larger star (Aa), generating more x-rays than would be expected for a single star (more) and creating an x-ray luminosity that is 10,000 times that of the Solar corona.
Based on its estimated bolometric luminosity, the distance from HR 4523 A where an Earth - type planet would be «comfortable» with liquid water is centered around 0.88 AU — between the orbital distance of Venus and Earth in the Solar System, with an orbital period about 330 days, or about 90 percent of an Earth year.
Between 2008 and 2010 the mid-IR luminosity of this system dropped dramatically by at least a factor of 30 suggesting a loss of dust mass of an order of magnitude or more.
A luminosity classification known as the Mount Wilson system was used to distinguish between stars of different luminosities.
Based on the infrared luminosity and color of the substellar object, the mass of this brown dwarf is estimated to be between 28 and 58 Jupiter - masses based on an estimated age of the star system of between two and eight billion years (Wright et al, 2012).
Due to the lack of sensitivity of past and current infrared (IR) instrumentation, so far it has not been possible to get a glimpse into the earl... ▽ More Our current knowledge of star formation and accretion luminosity at high - redshift (z > 3 - 4), as well as the possible connections between them, relies mostly on observations in the rest - frame ultraviolet (UV), which are strongly affected by dust obscuration.
Because this leads to an unresolvable overlap between spectral types» effective temperature and luminosity for some masses and ages of different L - T - Y types, no distinct temperature or luminosity values can be given.
With over 40 Solar - masses, extremely high luminosity, a variable spectra, and surrounding ejecta, it is classified as a Luminous Blue Variable like Eta Carinae, as an extremely large star that are now often regarded as the evolutionary link between main - sequence O stars and the more evolved, smaller but similarly explosive, Wolf - Rayet stars.
Abstract: Our current knowledge of star formation and accretion luminosity at high - redshift (z > 3 - 4), as well as the possible connections between them, relies mostly on observations in the rest - frame ultraviolet (UV), which are strongly affected by dust obscuration.
The brightness depends on the luminosity of the object and on the distance that separates the object from the photometer, as well as the amount of matter between the two that can obscure the object.
If you apply the relationship between mass and luminosity to the H - R diagram, you find that stars along the main sequence vary from the highest (approximately 30 solar masses) at the top left to the lowest (approximately 0.1 solar mass) at the bottom right.
If you are in a very dark room and have the luminosity levels between 50 % and 100 % you will start to notice discoloration at the top and bottom of the screen.
The fluctuations between opacity and translucency, and flatness and luminosity, are important to the personality of the work.
CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.
These works are in some way as minimal and subtle as Ad Reinhardt's black paintings, where he exhibited large black paintings with slight variations in luminosity between grades of black paint.
A frenzy of color in varying luminosity, the sculptures emblematize the balance between a rugged, industrial verve and the discerning, meditative precision of collage.
Working on these premises, the exhibition aims to analyze this dialogue between spaces and volumes, exploring the silent conversations and connections between artworks and the forces that structure them — gravity, luminosity, balance — but also between visual creation and philosophical thought.
As the gulf between painting and photography is increasingly crossed and recrossed by artists using approaches from digital manipulation to new economies of scale, Elisa Sighicelli bridges the gap with the oldest tricks in the book: luminosity and immanence.
There was an interesting distinction made by Patrick about Hilde Skilton's painting on Brancaster — he distinguished between a spatial painting and one that had luminosity.
Our results indicate that carbon dioxide was an important greenhouse gas during periods of lower solar luminosity, probably dominating over methane after the atmosphere and hydrosphere became pervasively oxygenated between 2 and 2.2 gigayears ago.