Sentences with phrase «different images of objects»

Other works in the collection include an important series from the 1980s entitled Concentric Bearings which explores different images of objects turning in space.

As she scrolled down the Word document, students saw different images of the objects and made observations and inferences to answer the question, «Are lithops living things?»

Not exact matches

There are different ways to perform facial recognition, but generally the accuracy of it depends on factors such as the quality of the image of your face at authentication time, light conditions, time between the enrollment image and verification, and visibility of occluding objects like a scarf or sunglasses.

I love the color contrast in this image, the fact that we're seeing entirely different populations of objects, and also the simple idea that this is such a strange view of the Andromeda galaxy, a huge spiral so bright and close it's easily visible to the unaided eye from a dark site.

Quickly analyzing many images of stationary objects taken from different angles as the spacecraft descends can create a 3 - D rendering of the ground.

Since there's significant overlap between different hypotheses, an adequate number of samples will generally yield consensus on the correspondences between the objects in any two successive images.

Because different routes around the massive object are longer than others, light from different images of the same Type Ia event will arrive at different times.

Wong and his thesis advisors — Leslie Kaelbling, the Panasonic Professor of Computer Science and Engineering, and Tomás Lozano - Pérez, the School of Engineering Professor of Teaching Excellence — considered scenarios in which they had 20 to 30 different images of household objects clustered together on a table.

At that time, the apes had been taught to recognise images of different objects on a screen.

To study the mechanism's fine surface details, they took multiple digital images each lit from a different direction, which allowed them to virtually rotate the object in the light [see interactive images here and a rotating view of the main fragment here].

When we look at an object, the images captured by the left and right eyes are slightly different from each other and when combined they give the brain the perception of depth.

To deepen this segmentation and reactivation mechanism of memories, the researchers designed an experiment in order to recreate in a simplified way these «boundary events»; the participants had to observe a sequence of images of the same category — for example, human faces — that was interrupted by an element of a different category — for example, an object.

The results of the study conclude that the elements contained in a single episode — two faces observed within a continuous sequence of faces, for example — were significantly easier to temporarily put in order than those that had been observed in different episodes — two faces shown in a sequence in which there were the images of two objects in the middle.

Software that systematically perturbs — or varies — different parts of an image and resubmits the image to an object recognizer can identify which image features lead to which classifications.

1 In the Leaning Tower Illusion, discovered by Frederick Kingdom, Ali Yoonessi, and Elena Gheorghiu of McGill University, two identical side - by - side images of the same tilted and receding object appear to be leaning at two different angles.

These two images of a huge pillar of star birth demonstrate how observations taken in visible and in infrared light by NASA's Hubble Space Telescope reveal dramatically different and complementary views of an object

The system quickly analyzes many images of stationary objects taken from different angles.

By grabbing 2 - D images of the same object from different angles, the technique allows researchers to assemble a 3 - D image of that object.

The chip splits the beam in two, and each of those beams bombards the object to be imaged from a different angle.

Do a Google Image search of different objects to match your décor and theme, print, cut, and glue to any simple stick (seriously, even a stick from a tree could be cute!)

Imagine a cinematic equivalent of a Picasso cubist portrait, but instead of showing multiple perspectives of an object in an image, it presents experiences from different periods in a life in a single narrative.

Using the same techniques employed by professional astro - photographers, students will quickly learn how to use LTImage to combine images taken through different filters, in order to generate a representative colour image of the object being observed.

The students could also take the laminated images and sort them into different types of Pirate related objects.

You could look at it directly as a presentation and discuss the different objects being shown in each of images.

Using Realia to Teach English Language Learners (Grades K - 12): Help students learn vocabulary in context by using images of different shoes in the Smithsonian collections to inform descriptive or compare - and - contrast conversations, encourage students to make personal connections, or explore the history of objects.

Dynamic Perspective lets you tilt the Fire Phone in different directions to see more information from apps, play games, resize images, scroll through webpages without using your fingertips, and most impressively, move various «layers» of the user interface around as though they were physical objects in front of you.

It's a dual - lense set - up that allows you to do things such as measure the distance between objects in a photo, refocus a picture after shooting it and apply filters to different layers of your images.

A bunch of older games had split graphics like stages into tiles (small images that are, like, 16 × 16, though size can vary) and the devs wrote code to make the tiles repeat in different ways to make different objects in order to reduce size.

The canvas and blocks provide information about qualities of the object that are missing from the silkscreened image, while the angled image of the photo - silkscreen exhibits properties that are both similar to and different from those of the painted object.

Since 1975, you have taken existing materials and presented them on a different plane, encouraging viewers to look at the material or remnant not only as a poetic image, but as a doubling of reality in a physical and cultural sense, as Germano Celant described it in «Object and Display» (2015).

Le Maitre's lenticular photographs, or biconvex images, provide viewers with two subtly different views of one object and collapse the images together, resulting in what seems to be a moment in movement.

Artists are a perceptive, eclectic group, and through their studios you get to see the various characteristics of different artists: some appear cluttered and homely, others clean and sterile; some have books strewn about, others bottles; in some, the sound of music drifts through the air... Art should be about more than just aesthetic images or objects.

Also, just as the lithograph was about one set of objects (namely man - made chimneys also acting as trees), the collaged ukulele would be a functional musical instrument also being an art object, so I felt that there existed interesting parallel sets of ideas to play with about one set of images that can suggest something entirely different or about an object that can be transformed into something else with different associations.»

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

The open interplay of different parameters like space, void, form and color as well as the aspect of an active involvement of the viewer contradicts the traditional theory of the image as a static and hermetically sealed object.

In very different ways Michael Dean, Anthea Hamilton, Helen Marten and Josephine Pryde all create situations and tell stories, via sculpture, photographs and other kinds of images, manufactured objects, the found, the handmade and the borrowed.

He works from photographs and drawings, creating collage - like compositions, and then experiments with different ways of drawing out the aspects that interest him — whether highlighting the surface detail or distant object, or by painting a version of the image as a blocked - out negative of flat colour.

Each of the four mantels in the exhibition takes on a different shape or surface — referencing the design and political ideologies of International Style and Memphis Group along with the high / low aesthetics of Pop and ornamentation — acting as a pedestal, a sculpture of an object, an image of an object, and so on.

Mounted on aluminum in shadow box frames, the images display the strange aesthetics of inner mechanisms of different animals and objects.

The pairing of image and object always has a logic to it, but its nature changes from composition to composition, sending the mind down different avenues of physical and conceptual associations.

Along with well - selected illustrations of works in different media, the catalogue traces Sillman's early exploration of cartoon imagery and the associative use of colors, her struggle for the unity of the physical legitimacy of the objects and the human body, her equally shared interest in figuration and abstraction, her attempts to reduce images that evoke the ambiguity of singular gestures in flux that are emphatically stable, and her «zines» and recent forays into drawings made with an iPhone.

Artists such as Clare E. Rojas, Chris Johanson, Shara Hughes, and David X. Levine — a self - taught artist whose colored pencil on paper works are among the most hard - won objects that I have ever come across - all have very different aesthetic points of view, but all construct images that draw energy from the space in between knowing and naivete.

«Since I began Photographs Rendered in Play - Doh in 2014, I have found myself attracted to photographs containing certain objects, animals or themes, interested in what is the same and what is different between each of these images,» explains Eleanor.

Hinged between the poetic and the political, his juxtapositions of images and objects question how people cope with economic and social exclusion in different environments.

In the selection of objects that compose the body of this beautifully designed volume, careful juxtapositions emphasize the graphic qualities of the photos, and extended captions compare and contrast images from different times and places, underscoring shared techniques, sensibilities or subjects.

The image - based works tackle subject - object relations from a different angle, positioning bodies that transcend their material bounds as transmitters of history and identity.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

The image depicts artworks from different epochs placed randomly next to objects of utility; a curious compilation of religious, officially and privately commissioned art throughout the ages.

a different sort of gravity features a new body of work that explores the ways in which thoughts, images, and objects are interpreted through language and memory.

Had Mr. Robert Doty devoted a few moments of serious contemplation to these different approaches, the hideous embarrassment suffered by the Whitney Museum at the disastrous history of Light: Object and Image might have been avoided.