Sentences with phrase «describe films forming»

Not exact matches

As the group describes in Applied Physics Letters, from AIP Publishing, they combined the highly regular convection pattern that forms in thicker layers with strong interfacial deformations possible only in much thinner liquid films.

While the activation of the voxels varies randomly during other parts of the film, at each of the 15 key moments certain voxels are in the same position for each viewer and form an identical fingerprint pattern,» describes Iiro Jääskeläinen, Aalto University professor in systems neuroscience.

While the film is seemingly accessible as a portrait of an artist who seems particularly attuned to his own creative process, and particularly adept at describing this attunement (Cave has given several long - form lectures on the peculiar metaphysics of songcraft), it's unlikely that many who aren't already whole - hog Bad Seeds fans would be able to stomach much of Cave's self - styled pomposity.

The great New Yorker film critic Pauline Kael said the film «altered the face of an art form» and described it as the most «powerfully erotic movie ever made».

The picture - in - picture commentary stands as perhaps the best extra of the year, in which the directors hold forth with a marvelous lack of pretension even as they describe a fantastically experimental approach More surface pleasure than their borderline avant - garde Crank films or Gamer «s symbiosis of satiric content and form, Ghost Rider 2 nevertheless tries to create new aesthetic paths for a genre that has rapidly fallen into vanilla homogeneity.

Welcome to L.A. can be faulted, or at least delimited, for its unavoidable borrowings from Nashville, California Split and The Long Goodbye, but then those films partly belonged to Rudolph anyway (as very involved assistant director), and besides, Welcome ends up describing a form — and a formal destiny — all its own.

It's not your typical Soderbergh film, when described in outline form — an action thriller, with Gina Carano as a «covert operative» who gets more than she bargained for when sent to Barcelona to retrieve a hostage.

«Evil Comes in Small Packages» is a 25 - minute retrospective making - of complete with an option to watch its three sections separately: «The Birth of Chucky» expounds on Mancini's original vision of the story (a golem in service to Andy's id, brought to life by a blood - brother ritual) and how it evolved into its current form; «Creating the Horror» discusses casting and the shoot itself — including brief snippets of rehearsal footage of Dourif acting out Chucky's every move; and «Unleashed» describes the film's release and Chucky's ascent to cult stardom.

Officially described as «data which is produced and supplied in digital form» this includes things like computer games, films, downloaded music, ebooks or mobile phone apps.

It was a series he began in 1973 with the 16 mm film Line Describing a Cone, in which a volumetric form composed of a beam of projected light slowly evolves in real, three - dimensional space.

Shonibare has described himself as a post-colonial hybrid, and his work in painting, sculpture, photography, film, and performance utilizes unexpected combinations of pattern and form to examine race, class, migration, and identity in a globalized world.

As a group, the vertical projected works continue McCall's exploration of sculptural form, durational structure, and the possibility of representing the corporeal, which began in 1973 with his seminal film, Line Describing a Cone.

Dallas Morning News art critic Rick Brettell has described Huyghe as creating «artistic «situations» that include living organisms of various forms, objects, liquids, gases, films and more arcane media in dizzying combinations.

Today, ekphrasis is more openly interpreted as one art form, whether it be writing, visual art, music, or film, being used to define and describe another art form, in order to bring to the audience the experiential and visceral impact of the subject.

Until the installation of his 1973 solid - light film, Line Describing a Cone in Chrissie Iles's Whitney exhibition Into The Light in 2001, Anthony McCall remained one of those artists whose work circulated almost entirely in the form of two or three very well - known documentary photographs: his art was immediately recognizable, canonical even, but rarely experienced firsthand.

In this movie filmed by Dezeen, east London designer Paul Cocksedge describes his discovery of the interesting forms created when polystyrene cups are heated and how he used the process to create a pendant lamp.