Sentences with phrase «from background objects»

Its gravity would also have a telltale effect on light passing by it from background objects, say Arlie Petters of Duke University in Durham, North Carolina, US, and Marcus Werner of the University of Cambridge, UK.

Through a technique called gravitational microlensing in which the light from a background object is bent by gravity around a foreground object.

Not exact matches

@justageeker, The Big Bang model is bases on evidence such and the Cosmic Microwave Background Radiation and the «Hubble flow» of all distant objects away from the observer.

Increased vision allows the infant to tell objects apart from backgrounds with very little contrast (such as a button on a blouse of the same color).

The gravitational pull of matter in the cluster bends and twists the light from more distant galaxies, producing a plethora of strange optical effects ranging from distorted arcs to multiple images of the same background object.

So a number of observational projects have taken a different tack, trying to identify small KBOs by monitoring background stars for sudden dips in brightness that might result from a distant object crossing the line of sight between the star and Earth.

But the comet - sized objects for which the researchers were searching are barely distinguishable from the measuring system's background noise.

«Advancing technology has revealed more and more of the Universe to us over the past few decades, and our study shows individual objects that account for about 96 percent of the background radio emission coming from the distant Universe,» Condon said.

These cosmic lenses are massive objects that can bend the path of light passing by them, making sources of light in the background look distorted from the point of view of telescopes on Earth.

Some cell nucleus detections correspond to background objects, arising from autofluorescence and limitations in image quality.

Background A pendulum is an object hung from a fixed point that swings back and forth under the action of gravity.

«The sensitivity and resolution of the VLA, following its decade - long upgrade, made it possible to identify the specific objects responsible for nearly all of the radio background emission coming from beyond our own Milky Way Galaxy,» said Jim Condon, of the National Radio Astronomy Observatory (NRAO).

Exactly how its sensors do this is proprietary information, but the resulting trove of data allows users to focus a fuzzy photograph at any point after taking it, or even to shift the focus at will from an object in the foreground to one in the background and vice versa.

It appears to be moving in regard to background objects as you switch from eye to eye, even though you know it isn't moving at all.

By measuring the shift in an object's position from different viewpoints in the Earth's orbit relative to something fixed in the background, astronomers can use geometry to calculate how far away the object is.

Thanks to the dry, clear atmosphere at the South Pole, SPT is better able to «look» at the cosmic microwave background — the thermal radiation left over from the Big Bang — and map out the location of galaxy clusters, which are hundreds to thousands of galaxies that are bound together gravitationally and among the largest objects in the universe.

The features ranged from 12 to 28 miles away, which meant Olson and Pope could take advantage of a phenomenon called parallax — the shift of nearby objects with respect to more distant background objects.

The cluster is so massive that its powerful gravity bends the light from galaxies far behind it, making background objects appear larger and brighter in a phenomenon called gravitational lensing.

[4] Gravitational lensing magnifies the light from fainter, background objects, allowing Hubble to spy galaxies it would otherwise not be able to detect.

According to Shvartzvald, Yee and their colleagues, OGLE -2016-BLG-1195Lb is the lowest mass world ever discovered through microlensing, a technique in which light from a star that passes in front of a bright background object causes the latter to appear brighter, thus allowing scientists to detect anomalies created by a planet orbiting in the foreground.

Previous large - area searches have been incomplete for L / T transition dwarfs, because these objects are faint in optical bands and have near - infrared colors that are difficult to distinguish from background stars.

Occasionally, when the stars are aligned just right, this warping of the fabric of the universe results in a phenomenon known as gravitational lensing, wherein the strong gravitational field of a foreground object acts as a lens that «bends» light from an object in the background and allows scientists to catch a glimpse of what might otherwise have remained invisible.

Whenever our eyes are open, they are involved in the complex process of transforming light into ideas: distilling foreground from background, recognizing objects presented in a wide range of orientations, and accurately interpreting spatial cues.

Members personalize their minihompy with virtual objects they purchase from Cyworld, and enhance it with up to 10 tracks of background music they can buy and play for visitors.

Certain minecart stages will have players rolling down a spiral path, with the camera making sure to pan over to incoming objects from the background.

As the viewer regards two separate paintings by 16th century Dutch painter Pieter Aertsen, titled The Vegetable Seller (1576) and A Meat Stall with the Holy Family Giving Alms (1551) respectively, each cut to a different fragment of the paintings» surfaces raises questions: what do the artworks depict; what is placed in their foregrounds; what is relegated to the background; and, ultimately, what meanings can be excavated from the artworks» layers and represented objects?

Some background: 3D printing describes a process in which solid 3D objects are created, one layer of material after another, from a single digital file.

Choose from two backgrounds and construct a scene using the objects.

She objects to the «no excuses» approach to education, which expects strong performance from students regardless of family background, saying that the few schools that are able to accomplish the task are unusual places filled with kids from families with especially devoted parents.

Animatron has thousands of available assets, from backgrounds to characters, animated sets, and objects, whereas Animaker has a more limited amount.

This bundle includes the following Task Cards: 12 Google Slides Task Cards: • Inserting slides • Changing slide background color • Adding a slide theme / design • Inserting images • Inserting Shapes • Inserting Word Art • Adding slide transition • Adding object animation • Creating Tables • Shading Tables • Downloading files to Microsoft PowerPoint from Google Slides • Uploading Microsoft PowerPoint documents into Google Slides 20 Google Sheets Task Cards: • Inserting columns • Deleting columns • Deleting rows • Inserting rows • Adding currency • Removing currency • Adding decimal places • Removing decimal places • Adding borders • Changing border color • Adding fill color • Sorting data • Merging cells • Unmerging cells • Creating charts • Customizing Pie Charts — A closer look • Moving charts to new sheets • Changing Chart types • Adding New Sheets • Deleting sheets 12 Google Drawings Task Cards: • Creating Tables • Shading tables • Insert Image • Insert Shape • Shape Fill • Line Thickness • Line Style • Line Color • Sending shapes to back • Bringing Shapes to Front • Rotating Shapes • Changing Shapes 12 Google Docs Task Cards: • Creating Tables • Inserting Page Numbers • Inserting images • Formatting Text (Bold, Italic, Underline) • Shading tables • Word count • Line Spacing • Text Alignment • Inserting Bullet Points • Inserting Numbered Lists • Downloading files to Microsoft Word • Uploading Microsoft Word documents into Google Docs

The art direction of this game fits the imaginative aspect extremely well, as every object in the game, from the background to the borders of the levels, are designed to be normal household objects like graph paper and rulers.

The 3D effects look quite good - objects that are in the background actually have depth and look far away while your character and on screen enemies appear to stand out separate from the environment.

Specifically, a predetermined character or predetermined object such as a background, a person etc. is provided (rendered) in a three - dimensional space such as the virtual game space, and a two - dimensional image that is viewed from the virtual camera (viewpoint) is generated.

From the loading screens to the background objects in every level, Joe Danger 2 is just filled with faces grinning at you.

Just like Injustice, MKX has interactable objects from the stage backgrounds that can be used to vault off of for extra distance or corner escapes and some objects can be used to attack your opponent with.

And then there is the way even the most haphazard level looks so professionally made; background objects will spring up as you change the foreground to make it all look seamless, and every object fits together flawlessly from a visual perspective no matter what you do.

In the sixth video of the Feminist Frequency Tropes Vs. Women in Video Games series, Anita Sarkeesian expands upon the ideas from her last video — «Woman as Background Decoration» — and remarks on how female bodies are often seen both as sexual objects and as victims of male violence.

The producer, Atsushi Inaba, said that the team wasn't quite sure about making the game black and white, because there were a lot of problems, like differentiating objects from the background, but as the pieces joined together, the excitement began to grow.

Set against minimal backgrounds, the objects are divorced from any visible cultural context.

They detach themselves from the background, to assert paint as pure color and an object in itself.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reobjects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reObjects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reobjects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

Foreground: Mammoth's Tusks, 2010, Wood, 340 x 160 x 130 cm; Background: Covered Unidentified Object, 2010, Golden Silk Nanmu, 266 x 100 x 49 cm, Image from Rockbund Art Museum

Brand New Gallery departs from these assumptions to present Beyond the Object, a group show appositely conceived to combine works by artists with disparate backgrounds and from different generations, inevitably forced to confront themselves with production, exploring the interaction between composition and form which radically becomes an archetype endowed with its own language.

Lauster positions these iconic objects alongside snarls of razor wire — a type of high - tension wire with sharp - edged blades made from steel tape — and barbed wire against a white background.

Cwynar's new photographs comprise studio portraits of Tracy, a friend of the artist, with superimposed found objects and images; recomposed illustrations of suits of armor; a set of Avon presidential after - shave bottles from the 1970s minus their heads; and a studio photograph of a hot pink peony on a green background.

Time appears to slow down in Vieux's paintings like it does for the lover in Death Valley — they visualize cinematic representations of time warping worm - holes while objects from an exploded modernist home fall slowly through the air, psychedelic guitar vibrating in the background.

Building on her background in experimental filmmaking, Vogt's visually dense videos combine both still and moving images, digital and analog technologies, and playfully incorporate drawings and objects from her previous projects.

Safavi combines multi-layered cultural and art historical references in the form of objects, materials and pictures transporting them from the resources of her own multicultural background, her travels and her ethnological research.

Conjuring a range of references, from studies for Soviet agitprop posters to semiabstract landscapes to concrete poetry, they fill in the background of his reticent, radical objects with a kind of illuminating white noise.