Sentences with phrase «digital image of an object»

Using high precision optics, a photo scanner (it looks a little like a drip coffee maker attached to a turntable) can create a three - dimensional digital image of an object placed inside it.

Not exact matches

Researchers at the University of Guadalajara, in Mexico, in collaboration with the University of the Republic in Uruguay designed a program of digital processing of 3D image from the projection and digitization of binary data that allows three - dimensional reconstruction of various objects in order to reproduce parts of classic automobiles, prehispanic antiques, as well as serving as a tool for face recognition.

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].

Based on high definition 3D lossless digital imaging technology, the Compound Eye imaging system can acquire realistic 3D positional information of objects at both near and far fields, which provides a solution to image distortion caused by conditions such as insufficient light and inadequate resolution.

During training, a neural net continually readjusts thousands of internal parameters until it can reliably perform some task, such as identifying objects in digital images or translating text from one language to another.

The Dragonfly Telephoto Array used 14 - centimeter state of the art telephoto lens cameras to produce digital images of the very faint, diffuse objects.

Creating an extended focus image of a tilted object in Fourier digital holography M. Paturzo and P. Ferraro Optics Express 17, 20546 - 20552 (2009).

As soon as the medallion appears, so do the digital maneuverings — speeded - up movement, composite images, objects and people morphing into supernatural thingamajigs — that undercut the genuine thrills of the genuine action.

Visualisers and document cameras are another option that work very similarly to traditional overhead projectors, transferring real - time digital images of documents or objects to the front - of - house display.

These work very similarly to traditional overhead projectors, transferring real ‑ time digital images of documents or objects to the front - of - house display.

With the notable exceptions of The Oxford Companion to the Book (2010) and Bettley's The Art of the Book (2001), most literature in the fields of book history and topics concerning the history of writing and digital textuality, including studies of books as artistic objects and of the material page make no mention of comics at all, in spite of the fact they do refer to other forms of multimedia or text - and - image publications such as collage books and illustrated books.

For the moment, it seems like Dell is winning in this particular arena, but the rest of the tablet looks pretty decent as well — boasting a screen resolution of 2560 × 1600, RealSense digital photography technology (that is able to create a depth map of an image, giving a rudimentary understanding of object positions located across 3D space instead of only a 2D plane), and an Intel Z3500 quad - core CPU (running between 1.33 GHz to 2.33 GHz depending on the model).

Many of the students I encounter hunger for something «real», something that doesn't involve digital technology, and printing can be the perfect thing for future designers, typographers, and artists to engage with - they're forced to connect with the physicality of building images, respect space as real space, and the actuality of objects.

Three main strategies recur: the appropriation of existing images and objects, the staging of new situations, and digital manipulation.

How are the status and meaning of an artwork — whether an Ancient Greek statue, a digital photograph, or a painting by an itinerant portraitist — altered through the creation of facsimiles, through exhibition, or through the conversion of the object into image or code?

Caroline Kha's found images of landscapes and natural settings are transcribed from photographic reproduction and digital images, while Biddy Peppin represents everyday objects subtly infused with emotional symbolism.

Her recent paintings — gleaned from debased images of consumer objects, shopping spaces, and humble patterns — employ digital appropriation and reveal her playful, yet deceivingly serious manner.

Available on Mondays through June 4, 2018 Staff will visit classrooms within a 25 - mile radius of the Nasher Museum to lead an engaging discussion with tactile objects and digital images from current and past exhibitions.

Taking form as objects, images and installations, his current works examine our relationship with screen - based technologies, focusing on the convergence of digital experience and physical embodiment.

In his first solo show in Philadelphia, Wynne will present a collection of his hand - crafted objects against a backdrop of digital images and wall scale quotes crafted in glass.

This can involve production of spatial exhibitions, texts, images, films, programming, objects, and digital spaces.

Israel and Daignault will discuss digital image archives, the online experience of art, subversive politics in art making, the complication of the index, the fascism of algorithms, Felix Gonzalez - Torres, Vietnam, the death of the object, and art approaching the singularity.

Each work consists of colorful plastic, re-drawn digital photos, found images, objects, shelf - like projections and painted elements, reflecting American politics, immediate experiences, and the poetics of everyday life.

Atkins updates Maurice Blanchot's paradox of the corpse — as the thing that both is and is not the dead person — for the HD - era: the more «real» and minutely detailed the digital image, the more remote and alien the object seems.

Working with photography as an expanded field, Jason Lazarus will trace multiple projects that rely on found images and text, including his installation T.H.T.K. (Rochester), on view in A Matter of Memory: Photography as Object in the Digital Age.

Image Objects provides a diverse overview of how art is exploring digital culture, fabrication, and image circulation, and will continue until 20 November Image Objects provides a diverse overview of how art is exploring digital culture, fabrication, and image circulation, and will continue until 20 November image circulation, and will continue until 20 November 2015.

His practice evolves from the constant feed of information in our daily lives — the interplay between digital image and actual object.

Painting as image, painting as object, painting as a response to photography and to film (and now, of course, to CGI and other kinds of digital imagery).

Repeat to Fade at Mendes Wood Gallery in São Paulo (Brazil) is a group exhibition that deals with the transparency of information and the intangibility of image and object in the digital age.

His artwork — moving image, painting & drawing, sculpture & objects, text, digital media — has exhibited at the Museum of the Moving Image, NYC; the Serpentine Gallery Marathon, London / Internet; the Museum of Contemporary Art, Chicago; Doc Films at the University of Chicago; Threewalls» 12th Annual Gala; the Ann Arbor Film Festival; Galeria Ze dos Bois, Lisbon, Portugal; The Wrong — New Digital Art Biennale; bubblebyte.org; the Off and Free Film Festival, Seoul, South Korea; the Axiom Center for New and Experimental Media; and at Brown University's Granoff Center for the Creative image, painting & drawing, sculpture & objects, text, digital media — has exhibited at the Museum of the Moving Image, NYC; the Serpentine Gallery Marathon, London / Internet; the Museum of Contemporary Art, Chicago; Doc Films at the University of Chicago; Threewalls» 12th Annual Gala; the Ann Arbor Film Festival; Galeria Ze dos Bois, Lisbon, Portugal; The Wrong — New Digital Art Biennale; bubblebyte.org; the Off and Free Film Festival, Seoul, South Korea; the Axiom Center for New and Experimental Media; and at Brown University's Granoff Center for the Creativdigital media — has exhibited at the Museum of the Moving Image, NYC; the Serpentine Gallery Marathon, London / Internet; the Museum of Contemporary Art, Chicago; Doc Films at the University of Chicago; Threewalls» 12th Annual Gala; the Ann Arbor Film Festival; Galeria Ze dos Bois, Lisbon, Portugal; The Wrong — New Digital Art Biennale; bubblebyte.org; the Off and Free Film Festival, Seoul, South Korea; the Axiom Center for New and Experimental Media; and at Brown University's Granoff Center for the Creative Image, NYC; the Serpentine Gallery Marathon, London / Internet; the Museum of Contemporary Art, Chicago; Doc Films at the University of Chicago; Threewalls» 12th Annual Gala; the Ann Arbor Film Festival; Galeria Ze dos Bois, Lisbon, Portugal; The Wrong — New Digital Art Biennale; bubblebyte.org; the Off and Free Film Festival, Seoul, South Korea; the Axiom Center for New and Experimental Media; and at Brown University's Granoff Center for the CreativDigital Art Biennale; bubblebyte.org; the Off and Free Film Festival, Seoul, South Korea; the Axiom Center for New and Experimental Media; and at Brown University's Granoff Center for the Creative Arts.

All camera formats utilized, and include digital images, 35 mm slides, 4x5 transparencies and portfolio prints of collections including: paintings, works on paper, artist's books, sculpture, installation and performance pieces, furniture, ceramics, jewelry and crafts, architecture, period interiors, decorative fine art, objects, rare books, manuscripts etc. as well as period gardens and landscapes.

On the surface, the recent and new works in Noh's solo exhibition Information About the Outside World appear as attractive collages of fragmented digital images, mixed materials, and decontextualized objects.

In this enclosed cosmos, Henrot presents what seems to be her very own universe, including found images, objects such as books, educational CDs, digital tablets, coloured feathers and a snow globe, some of her ink drawings and sculptures, as well as a polymorphous set of undulating aluminium shelves that run across the walls.

However, Maygarden's new body of work responds to the immersion of the digital experience and the consequential shift in how one perceives and experiences images; unique, handmade objects have been replaced by digital images that are ever accessible, infinitely replicated, intangible and disposable.

Exploring varying scales and chronologies, from the history of the universe to the universe of the artist's studio, the exhibition becomes a model for information storage and retrieval — rolled and stacked images become objects, and objects from museum collections are substituted with Ebay purchases and scrolling slideshows on digital picture frames.

Demonstrating the breadth of Henrot's output, this exhibition comprises an architectural display system, found objects, drawing, bronze and ceramic sculpture, digital images and sound.

In Room for Laarni, what «floats through space and thought» is no longer a place or an object, but billions of digital images, their chaotic communication of desires and our attempts to locate ourselves within them.

The Digital Age: Hacking, Remix and the Archive in the Age of Post-Production The recent rise of digital technology has marked another turning point in mashup culture, with exponentially more images, sounds and objects being made and Digital Age: Hacking, Remix and the Archive in the Age of Post-Production The recent rise of digital technology has marked another turning point in mashup culture, with exponentially more images, sounds and objects being made and digital technology has marked another turning point in mashup culture, with exponentially more images, sounds and objects being made and shared.

- Artist Statement; Working mainly with an inkjet printer and the ultimate format of painting, my practice is based on questioning the relationship between painting and digital image and their status of being an object in the current media condition.

Whether it is the use of traditional painting mediums, digital technologies, or other techniques, I am in search for modes of image - and object making that question the meaning, process, and definition of contemporary abstraction.

Bader appropriates film, music, text, digital images, and found objects, creating complicated hierarchies of cultural production that mine the intersection between the real and the fictive, and frequently employ double - entendres and wordplay.

Tim Portlock and Shuli Sadé have created digital and mixed media works that transform the visible through technology; the painters Michael Bartmann and Bruce Garrity have used color and form to create vibrant and engaging images; the photographer Ken Hohing is revisiting a photographic project from the 1980s documenting Camden to highlight how differently we see photography and its objects; and the designer and photographer Eric Porter inventoried striking visual images that the textures and colors of the city of Camden offer the attentive viewer.

He prints on towels; wraps digital photographs around wood or prints on plastic to create sculptural objects; and sandwiches Forex prints together, cutting the top sheet to reveal images on the print underneath, to list just a few of his techniques.

Many of the «sculptures» included often operated with or within more - two dimensional components — I am thinking here of Jon Kessler's Exodus (2016) and Evolution (2017), configurations far more about the transmutation of object into digital image than it is about the materiality of things; Rafa Esparaza's Figure Ground: Beyond the White Field (2017), a weighty and timely installation on labor, colonialization and identity read through adobe bricks; or Raúl de Nieves» beginning & the end neither & the otherwise betwixt & between the end is the beginning & the end (2016), an installation of five ornate, grotesque, and vibrantly hued sculptures set against a backdrop of eighteen colorful acetate sheets made to resemble stained glass windows.

You can see some of them by clicking the thumbnail images below, or further your exploration by browsing the complete set of digital object labels.

The image / object becomes transformed by means of scale, repetition and reproduction by alternating between digital and physical art - making processes.

Angki Purbandono (b. 1971, Indonesia) specialises in scenography, producing artistic digital images of real objects with an ordinary flat - bed image scanner.

In contrast to James Bridle's notion of the so - called «New Aesthetic» (recently critiqued on AFC), Tap does not pit digital images against «real» objects, but rather explores the temporal materiality of digital compression through the language of paint.

Filling the gallery with a series of his Image Object works, Vierkant's pieces open an extended engagement between the object and its digital referents, ultimately seeking to break down connections between thObject works, Vierkant's pieces open an extended engagement between the object and its digital referents, ultimately seeking to break down connections between thobject and its digital referents, ultimately seeking to break down connections between the two.

How then, do you trust an image — a digital photograph, a snapshot in time of an object, a person or a scene?