Sentences with phrase «by objects in the room»

The motion sensor should be high enough so it's not obstructed by objects in the room, but low enough so it also captures as much of the room as possible.

Not exact matches

Normally many of the object - oriented programming languages clean up for you because they notice when you are running low on memory and haven't used a bit of code in a while, but in the case of these terascale systems, it would be like having a kitchen the size of a football field, so by the time you ran out of room, it would take weeks to clean it up.

During this event presented by Arup, girls in grades six - nine interested in STEM, will learn to think and design like an engineer to design a roller coaster using pipe insulation, marbles and objects within the room.

So, it's really keeping them out of those areas and setting up the areas for your older children that they can play in, with those toys like the Lego's or you know the dolls or the clips and stuff that have little objects and then they have other areas where the older child can play with the younger child for age appropriate toys, so that they can play together by keeping the non - age appropriate toys either in a separate room or in that older child's room so that you can keep them separated and not necessarily have to baby proof that older child's room, because It's gonna be nearly impossible to do.

Instead of being awakened countless times by their 22 - month - old son, Joey, identifying objects in a hotel room — «light, light» — the Richardses now put a crib in a separate room.

By seven months old, your baby has learnt the differences in colour, their vision has become less blurry as they have gained focus, they understand and are aware of depth perception and they follow objects across the room with their eyes.

Surrounded by these objects, in a dark curtained room suffused with the musty odor of old books, the visitor feels privy not only to the dwelling place but also to the brain of one of the 20th century's most influential thinkers.

Exo - zodiacal dust has been warmed to room temperature by its host star, so it glows when viewed in infrared wavelengths — that is, in infrared light, emitted by heated objects.

Begin by looking for five things in the room, then touch four objects, smell three things, listen for two sounds, and finally taste one.

Online Dating at Australia's Premier Greek Dating Site An office is generally a room or other area where administrative work is done by an organizations users in order to support and realize objects and goals

An office is generally a room or other area where administrative work is done by an organizations users in order to support and realize objects and goals

Learn More An office is generally a room or other area where administrative work is done by an organizations users in order to support and realize objects and goals

Sequences occur in contained rooms, recalling the claustrophobic, object - driven narrative environment established by the physicality of the stage.

His work during «Original Sin» introduced this shift in his style and it adds an amazing sense of detail to his already packed panels, allowing objects and characters breathing room uninhibited by line weight.

I've had cats who seem to focus on an unseen - by - me object in the corner of the room, or in the air.

To compare accidental injuries treated in emergency rooms, a person is roughly 23 times more likely to be injured from a fall than from a dog bite; 12 times more likely to be injured by a car; 7 times more likely to be injured by a sharp object; and, 1.5 times more likely to be injured by a bicycle.

- as Captain Olimar is making his way home, an asteroid onslaught forces him to land on a nearby planet - Sparklium is the fuel for Olimar's Dolphin III ship - with the ship's fuel depleted, you have to find items on this planet which can be turned into fuel - collect everything from seeds to large scale treasures - you need 30,000 Sparklium to make your way home - you are eventually required to find a lost ship part at the end of the game - levels are more linear and puzzle based, and include specific goals / goodies to collect - move Captain Olimar with the Circle Pad, while all other interactions use the touchscreen - blow your whistle, throw Pikmin and also touch certain objects - worlds are called Sectors, with six areas altogether - find all the treasure and look for new passageways to complete a sector 100 % - passageways can grant you access to secret spots or additional levels highlighted with the letter X - the first world is called Brilliant Garden, which has lush forest environments - Yellow Pikmin can easily reach the upper screen, where you can sometimes collect goodies and pull down vines - there's a level where you use yellow Pikmin as a source to connect two wires - connecting the wires lets you see enemies and platforms that were hidden in the shadows - Winged Pikmin can be flung at high speeds, and they can pick up Olimar and help him descend down into new areas - in a later level, you need to use red Pikmin to stomp out fire and clear the way for you - Rock Pikmin are the strongest ones of the bunch and can break crystals - blue Pikmin can swim and fight well underwater - the maximum amount of Pikmin you can have in a stage is 20 - blow your whistle to call over the correct Pikmin for a task or puzzle - Ravaged Rustworks offers a unique industrial environment where you climb on pipes - Loney Tower has you climbing to the top of a tower without any help of Pikmin, and instead use pipes and Olimar's jetpack - Valley of the Breeze, found in the Leafswirl Lagoon sector, relies complete on Winged Pikmin - Barriers of Flame is in the Sweltering Parchlands sector - here you «lll be forced to improvise with Yellow and Rock Pikmin to get around fire - every world ends with a boss stage - one boss fight puts you up against a Fiery Blowhog, where you use Red Pikmin to pick up / feed bombs to the boss - beating bosses gives you treasures worth 1,000 Sparklium each - supports amiibo in the Splatoon, Super Mario and Animal Crossing lines - amiibo can be scanned in to grant you access to secret spots - these are one room puzzle challenges where you collect a statue - these bonus rooms will also get you 200 Sparklium every time - you are limited by how many amiibo you can summon to each secret spot - one of the treasures you will find is an NES cartridge for Ice Climbers, which carries the name «Revenge Fantasy».

- get Public Works tasks from Isabelle - early on you'll have to build a school - choose the outside look from a selection of options then work on the inside - inside includes work on benches, lockers, tables and more - later you'll work on a hospital, cafe, a shop and more - the hospital tasks you with working on multiple rooms - use the stylus to drag and drop items into the playing field - tap the object to change the perspective and move them all easily to somewhere on the grid - drag the characters around as well - tapping on the D - Pad lets you change the camera angle - move around with the Circle Pad and interact with others by pressing the A-button - the plaza is where old and new animals are gathered - a speech bubble above a head denotes requests - once you've wrapped up the development of a property, a scene will play where the animals interact with the property - animals will say specific things when they are in stores / school or comment on things that are placed around the house - throw in your own favorite characters by purchasing amiibo cards - scan them and they will enter the house or scene - cards also give requests from characters before you even meet them in the game - some characters are exclusive to the cards - put data back on the card and give that information to the friend

Just don't be distracted by the screams that echo down the unlit corridors, or the voices that whisper in your ear when no one is standing there... Featuring a captivating combination of adventure and hidden object gameplay, Dark Asylum contains dozens of unnerving rooms to explore and each one is packed with secrets and pulsating with an undercurrent of dread.

Individual collections include: examples of British vernacular culture from Peter Blake; the eclectic contents of two rooms from Hanne Darboven's family home in Hamburg; Damien Hirst's skulls, taxidermy and medical models; Indian paintings from Howard Hodgkin; Dr. Lakra's record covers and scrapbooks, Sol LeWitt's Japanese prints, modernist photographs and music scores; 20th century British postcards and Soviet space dog memorabilia from Martin Parr; Hiroshi Sugimoto's 18th century French and Japanese anatomical prints and books; Andy Warhol's cookie jars; more than 1,000 scarves and other textiles by the American designer Vera Neumann from Pae White; and a collection of thousands of objects assembled by Martin Wong and subsequently acquired by Danh Vo.

In the white - walled, window - interrupted, vaulted - ceiling room that is the Renaissance Society's main gallery, 20 meticulous objects shaped by the longtime Chicagoan jut out from the walls, drop from the ceiling, rest on the floor.

Ten works on paper from 2010 are exhibited in the second room of the gallery in which Whitten experiments with dry pigment, graphite and oil stick, and creates grid - like compositions by transferring the structure of objects, such as a radiator, directly onto paper with a graphite block.

Kirstin Mitchell's tranquil gradient series and alluring minimalist statements, in a single room punctuated by quirky objects, seem notably different from the complex gestural abstractions by Karen Schwartz that fill the rest of Hathaway Gallery's expansive spaces.

Recent exhibitions include System of Objects, The Dakis Joannou Collection Reloaded by Andreas Angelidakis at DESTE Foundation in Athens (co-curator and exhibition architecture), 2013; DO - IT Moscow at Garage, 2014 (exhibition architecture); Crash Pad, A preliminary statement for the 8th Berlin Biennial, 2014 (artist); Every End is A Beginning at National Museum of Contemporary Art Athens, 2014 (artist, co-curator); Fin de Siècle at Swiss Institute / Contemporary Art, New York, 2014 (curator, exhibition architecture); and 1:1 Period Rooms at Het Nieuwe Instituut, Rotterdam, 2015 (artist, curator).

Individual collections include: African art and samurai armour owned by Arman; examples of British vernacular culture from Peter Blake; the eclectic contents of two rooms from Hanne Darboven's family home in Hamburg; Edmund de Waal's Japanese netsuke; Damien Hirst's skulls, taxidermy and medical models; Indian paintings from Howard Hodgkin; Dr. Lakra's record covers and scrapbooks, Sol LeWitt's Japanese prints, modernist photographs and music scores; 20th century British postcards and Soviet space dog memorabilia from Martin Parr; Jim Shaw's thrift store paintings; Hiroshi Sugimoto's 18th century French and Japanese anatomical prints and books; Andy Warhol's cookie jars; more than 1,000 scarves and other textiles by the American designer Vera Neumann from Pae White; and a collection of thousands of objects assembled by Martin Wong and subsequently acquired by Danh Vo.

By 2007 the collection had grown to 888 objects, making the room no longer enterable.12 Since that year, the objects have been shipped and reinstalled for exhibitions at Gagosian New York and at Tate Britain, which now owns the work in partnership with the National Galleries of Scotland.

In the early 1950s, when Rauschenberg was living with artist Susan Weil in a one - room apartment on West 95th Street in Manhattan, they produced a series of cyanotypes — images produced without a camera, by shining an ultraviolet light on an object or nude model resting on blueprint paper, exposing the paper where the light isn't blocked and creating a negative shadow of the object or model's outline, similar to the way an X-ray is donIn the early 1950s, when Rauschenberg was living with artist Susan Weil in a one - room apartment on West 95th Street in Manhattan, they produced a series of cyanotypes — images produced without a camera, by shining an ultraviolet light on an object or nude model resting on blueprint paper, exposing the paper where the light isn't blocked and creating a negative shadow of the object or model's outline, similar to the way an X-ray is donin a one - room apartment on West 95th Street in Manhattan, they produced a series of cyanotypes — images produced without a camera, by shining an ultraviolet light on an object or nude model resting on blueprint paper, exposing the paper where the light isn't blocked and creating a negative shadow of the object or model's outline, similar to the way an X-ray is donin Manhattan, they produced a series of cyanotypes — images produced without a camera, by shining an ultraviolet light on an object or nude model resting on blueprint paper, exposing the paper where the light isn't blocked and creating a negative shadow of the object or model's outline, similar to the way an X-ray is done.

Hobbs creates installations in living spaces such «Alarmist (Motel 6)» that features a tent and objects hoarded by a survivalist; or, the room with walls clad in gold metallic sheets that features the iconic refreshment tables found at high school proms in «Prom Forever.»

A new Site Specific project by Matthew Jensen at Green - Wood Cemetery where he has assembled a room - sized cabinet of curiosities drawing from specimens and photographs amassed in his many walks through the cemetery, as well as from Green - Wood's rarely seen collection of fine art and historic objects

Prominently placed in the Garden Room at the beginning of the exhibition is Scatter Piece (1968), whose setting gives the viewer control over how he experiences the objects by moving through the space.

Richard Hughes is known for his exceptional skill to turn ordinary, sometimes slightly repulsive objects that might be found in a hovel of a rooming house or unceremoniously dumped by the side of the road «'' bleak monuments to abused domestic or public spaces «'' into narrative sculptures.

In other words, viewers no longer focus on an object atop a pedestal placed within the open space of a room as they do in regarding conventional sculpture, but are directed to one wall and then across to the other, at first bemused by the illusion of the figures coming through the wall before realizing that they are seeing two halves of a wholIn other words, viewers no longer focus on an object atop a pedestal placed within the open space of a room as they do in regarding conventional sculpture, but are directed to one wall and then across to the other, at first bemused by the illusion of the figures coming through the wall before realizing that they are seeing two halves of a wholin regarding conventional sculpture, but are directed to one wall and then across to the other, at first bemused by the illusion of the figures coming through the wall before realizing that they are seeing two halves of a whole.

If archives are to be reduced from book object to compact flatness in Kindles, computer screens, disks and hard drives, the fallacy is that more room is gained by a reduction of space via the reduction of the object.

Dion explores rainforests and organises digs to gather arrays of objects that he displays in cases or rooms that pay homage to the cabinets of curiosity created by Renaissance princes.

Hence, their resort to materials such as cast resin, in jewel - like objects made by Pashgian and Peter Alexander, and rooms whose isolation seems to deepen the inwardness of all who linger in them.

Shown again in New York's Michael Werner Gallery, in one room, representing the 19th century, cannons sat on an artificial grass carpet surrounded by objects including potted palms, a candelabra, two lobsters playing cards, a gun, a stuffed python poised to strike and two velvet chairs.

Rauschenberg's exhibition at Betty Parsons Gallery opened on May 14, 1951, and, as was standard for the time, remained on view for just three short weeks.36 The presentation consisted of thirteen easel - size oils in the smaller gallery while the larger main room featured works by Walter Tandy Murch, an artist known for his realistic depictions of mechanical objects and illustrations for such magazines as Forbes and Scientific American.

The works in The Valentine - Adelson Collection range from small discrete objects to room - scale installations and include many of the key works by this new generation of artists who are rapidly emerging with national and international recognition.

In a nutshell: A rather magical exhibition in which sculptor Cornelia Parker has dotted a quirky array of objects provided by 68 of her artist, writer and musician friends, from Anthony Gormley and Thomas Heatherwick to Marina Warner and Jarvis Cocker around the building's creaking staircases and stucco'd state roomIn a nutshell: A rather magical exhibition in which sculptor Cornelia Parker has dotted a quirky array of objects provided by 68 of her artist, writer and musician friends, from Anthony Gormley and Thomas Heatherwick to Marina Warner and Jarvis Cocker around the building's creaking staircases and stucco'd state roomin which sculptor Cornelia Parker has dotted a quirky array of objects provided by 68 of her artist, writer and musician friends, from Anthony Gormley and Thomas Heatherwick to Marina Warner and Jarvis Cocker around the building's creaking staircases and stucco'd state rooms.

In a series of hand - painted and collaged monoprints on view through March 2 at Pace Prints in Chelsea, Hammond redefines a Renaissance - style room with a checkerboard floor framed by arches, which she has populated with her eccentric company of stock objects and figures — including a jester, a bear, and Einstein wearing a bear costumIn a series of hand - painted and collaged monoprints on view through March 2 at Pace Prints in Chelsea, Hammond redefines a Renaissance - style room with a checkerboard floor framed by arches, which she has populated with her eccentric company of stock objects and figures — including a jester, a bear, and Einstein wearing a bear costumin Chelsea, Hammond redefines a Renaissance - style room with a checkerboard floor framed by arches, which she has populated with her eccentric company of stock objects and figures — including a jester, a bear, and Einstein wearing a bear costume.

Just as her large - scale paintings of Mickey Mouse, Batman, and Homer are mirrored in the source material photographs in the next room, they are similarly mirrored by the various lunch boxes, posters, and other objects that permeate our lives.

Artpace, Hudson (Show) Room: Inspired by the work of Artpace founder Linda Pace, this exhibition brings together selected artworks from the Pace Foundation collection composed of found objects or rooted in assemblage.

In the first room of the show a series of photographs by Yto Barrada focuses on dolls collected during missionary expeditions to North Africa in the 1930s, inviting us to consider how objects tell a story about a people, place or timIn the first room of the show a series of photographs by Yto Barrada focuses on dolls collected during missionary expeditions to North Africa in the 1930s, inviting us to consider how objects tell a story about a people, place or timin the 1930s, inviting us to consider how objects tell a story about a people, place or time.

Recent projects include her solo exhibition Learning about Heraldry, Ceri Hand Gallery, United Kingdom; Pick Me Ups & Pick Ups, ICA, United Kingdom; NY — LUX, MUDAM, Luxembourg; Throw Up / On Line, House for Electronic Arts Switzerland; read the room / you've got to, S.A.L.T.S., Switzerland; Inflected Objects, Instituto Svizzero, Milan, Italy; Panda Sex, State of Concept, Greece; X&X at Oslo10, Switzerland, her most recent solo show New Waiting at Temnikova & Kasela, Tallinn, Estonia, an online comission for Inflected Objects at Instituto Svizzero in Milan, curated by Melanie Bühler, the 4th edition of the Eternal Internet Brotherhood, Uncanny Valley at Wysing Arts Centre (UK) as well as Äppärät curated by Tom Morton at Ballroom Marfa (US).

Hampton, Monica and Lily Kane, eds., Shaping the Future of Craft: 2006 National Leadership Conference, published by American Craft Council, New York, NY, 2007 Flood, Richard, Laura Hoptman, Massimiliano Gioni and Trevor Smith, Unmonumental: The Object in the 21st Century, published by The New Museum and Phaidon Press, New York, NY, 2007 Grayson, Kathy, ed, Panic Room: Selections from the Dakis Joannou Works on Paper Collection, published by Deitch Projects, New York, NY, 2007

In the white - walled, window - interrupted, vaulted - ceiling room that is the Renaissance Society's main gallery, 20 meticulous objects shaped by the longtime...

Underlining and highlighting the transition from the past to the present, the complex identity of which it is important to conserve, it has been decided to graft the exhibition in its totality — walls, floors, installations and art objects, including their relative positions — onto the historical architectural and environmental structure of Ca» Corner della Regina, thereby inserting — on a full - size scale — the modern rooms of the Kunsthalle, delimited by white wall surfaces, into the ancient frescoed and decorated halls of the Venetian palazzo.

These places are living spaces: his grandmother's room, appearing like that of a giantess, where furniture and objects, broom and chamber pot, are immense, in the proportions perceived by the artist as a child; the bedroom of his daughter, still a child, seems reserved for Lilliputians, where an adult has to stoop to enter.

From the town to Collezione Maramotti, the posters lead us toward the exhibition space, where every room presents a single work that creates a relationship between «objects» belonging to the history of the location (the first Max Mara factory, now housing the Collection) and other elements linked to a much wider story, not solely Italian, by creating «stopovers» in an itinerary that can be assembled at will by viewers.

Made for Inverleith House, all of the works in persistencebeatsresistance are being exhibited for the first time: paintings, sculptural plinths, cast objects and large wall drawings have been installed by the artist throughout the gallery in its seven ground and first — floor rooms.