Sentences with phrase «from nearby objects»

But a presbyopic lens can no longer change to focus peripheral rays from nearby objects.

The group could have a leader doing the «talking;» the dolphins may have identified each other using echolocation (the clicks the dolphins send out that echo back from nearby objects), and the whistle was more of a ritual; or the groups may have been together previously and already known each other.

Not exact matches

The doors are fitted with radar sensors that protect them from damage from cars or objects parked nearby.

In the beginning, babies need their parents for everything but eventually they learn object permanence and know you are nearby, they learn to sing to themselves, they grow attached to special plush animals, or can» read» books to help themselves fall asleep... all techniques learned from their parents.

Their attention will likely be more focused on nearby objects, but they should be able to recognize objects or people from across the room.

Also, be on constant lookout for nearby objects your child might be able to reach from a standing position in the crib: curtains, window blind pulls, pictures, or wall hangings are all possibilities.

A dozen protesters from Orange County attended the hearing and later waited for Percoco outside a courthouse bathroom and followed him to a nearby subway, objecting to his alleged acceptance of payoffs to help grease the wheels for a gas - fired power plant in Wawayanda in Orange County.

Stone tools like flint knives and ground stone axes and pottery have been recovered from nearby Cornish Barrows, but gold objects and ornaments of exotic material were also occasionally deposited in them.

It could be a «microquasar» — a black hole feeding on gas from a nearby star — but the X-rays typically emitted from such objects are absent.

A strange green blob in the nearby universe may be a «light echo» from a long - dead quasar — an extremely bright object powered by a colossal black hole.

The system was robust and not affected by electromagnetic waves from nearby mobile phones or from the motion of nearby steel objects.

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.

Fingers pointed to a massive object nearby called the Kleinmann - Low (KL) nebula protostar, which is about 15 solar masses in size, and is still growing by gulping gas from the disc of gas surrounding it.

But he objects to JMA's five volcanic alert levels, which range from normal (Level 1) to stay off the mountain (Level 3) to evacuating nearby residents (Level 5).

From this it builds up a radar - like picture of nearby objects that warns pilots when they come too close to wires or trees.

Christian Knigge, Professor in Physics and Astronomy at the University of Southampton, worked with colleagues from around the world to study one of the most important, but least understood processes in astronomy — accretion, where the mass of an object grows by gravitationally collecting material from nearby.

The electrons could come from a nearby astrophysical object, such as a pulsar, that lies within 3000 light years from Earth.

Reconstructing the object's motion, my research suggests it probably came from the nearby «Pleiades moving group» of young stars, also known as the «Local Association.»

What I'm trying to find are very faint objects that reflect and re-emit the light from a host star nearby.

Initial data came from the TRENDS (TaRgetting bENchmark - objects with Doppler Spectroscopy) high - contrast imaging survey that uses adaptive optics and related technologies to target older, faint objects orbiting nearby stars, and precise measurements were made at the W. M. Keck Observatory on the summit of Mauna Kea, Hawaii.

Dogs who are prevented from engaging in exciting activities sometimes direct biting, shaking, tearing and chewing at nearby objects.

- each vacuum handle is equipped with two main buttons - the top button is for charging your flashlight blast - the bottom is for sucking up ghosts - a special button located apart from the controller lets you throw a stun bomb - starts with a tutorial from Professor E. Gadd - use flashlight blasts to stun ghosts and destroy small enemies - use the vacuum to collect coins / objects nearby and suck in ghosts - on - rails FPS - when you charge your flashlight you can feel the controller's vibrations building up and die out with the flash - when you grab a ghost in your vacuum stream you feel the pull when he switches directions or break free - when you suck up coins, a mechanism inside the controller pounds the inside - game gives you options as to which room you would like to investigate next - sometimes you have to clear certain rooms before moving on

- 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».

A lot of thought was put into the physics of how the ODM Gear works, from it realistically grabbing onto nearby objects to latching onto parts of Titans.

The controls are appropriately mapped to the DualShock 4 controller with the control scheme consisting of pressing X to jump or double tapping X quickly to double jump; pressing O to build LEGO objects or interact with an object or holding O to perform a Spinjitzu attack; pressing triangle to switch from controlling one character to a nearby character or holding triangle to enter the character wheel; pressing square to perform an attack or holding square to perform a ranged attack; pressing R1 or L1 to cycle through to the next or previous character; pressing L2 or R2 to perform a dodge roll; changing the direction of the left analogue stick or alternatively pressing up, down, left or right on the d - pad to move your selected character; changing the direction of the right analogue stick to pan the camera or pressing R3 to centre the camera; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

Seizures may also cause loss of consciousness or convulsions that can lead to injury from falling down or striking nearby objects.

The controls are well mapped to the DualShock 4 controller with the control scheme consisting of pressing X to jump; pressing O to interact with an object or to cast a spell from the spell wheel, build, use or activate; pressing triangle to switch from controlling one character to a nearby character, holding triangle to show spell wheel; pressing square to cast magic, holding square to aim; pressing L1 or R1 to cycle through the spell wheel; pressing L2 or R2 to cycle through characters during freeplay mode; changing the direction of the left analogue stick or alternatively pressing up, down, left or right on the d - pad to move your selected character; changing the direction of the right analogue stick to move the camera; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

But as for the rest, they range from kill all enemies in a given area, jump on an electrical transformer and quickly get to the next one nearby to re-activate it, finding a hidden package based on a picture and taking pictures of different objects and situations.

At first the sight of the first few rooms full of flames can be a little overwhelming, especially when the fire you have just spent thirty seconds or so tackling reignites thanks to a ball of flame that has been flung from another, nearby object that is burning away wildly.

The lack of any light bar and vibration implementation is quite surprising as the light bar could have produced an increasingly darker tone of red as a threatening situation looms to work in harmony with the visual effect of the HUD during such occurrences, while the DualShock 4 controller could have vibrated during any bumps and scrapes or perhaps even specifically the nightmarish hallucinations that Michonne endures along the way as well as the impact from the usage of any weapons such as her sword or a nearby object here and there to fend off walkers.

The controls are well mapped to the DualShock 4 controller with the control scheme consisting of pressing X to jump or double tapping X quickly twice to roll when playing as an on - foot character or pressing X to flight evade when piloting a ship; pressing O to interact with an object or to use the Force, build, use or activate; pressing triangle to switch from controlling one character to a nearby character; pressing square or R2 to perform an attack, holding square or R2 to aim; pressing L1 or R1 to cycle through characters; pressing L2 to dodge roll when playing as an on - foot character or pressing L2 to boost when piloting a ship; changing the direction of the left analogue stick or alternatively pressing up, down, left or right on the d - pad to move your selected character or ship; changing the direction of the right analogue stick to move the camera; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

Sound effects consist of punching, kicking, grappling and a variety of fighting moves as they are aimed, blocked or landed, crunching impacts from super moves and painful screams and groans, especially when a super move has inflicted such damage upon a character, while destructible environments are reflected when a fighter throws an object towards an enemy or a fighter is driven into a nearby object, alongside climactic cinematic music which perfectly compliments the voice - overs and sound effects.

Ambient Occlusion (AO) adds contact shadows where two surfaces or objects meet, and where an object blocks light from reaching another nearby game element.

Initiated in the 1990s and spanning four continents, Reality Hacking consists of over 300 interventions to date, including such varied works as RH No. 320 (Snow Monsters)(2015), a constellation of twelve marble snowmen in various stages of melting that occupied the plaza outside of the Flatiron Building in New York City; RH No. 202 (2002 — 2003), a composition performed by the Ensemble for New Music Zurich based on a recording the artist made of a glass shelf filled with crystal objects crashing down a flight of stairs; RH No. 200 (2002), an artificial doughnut - shaped island built at the delta of a river in Switzerland using rocks and earth from the construction of a nearby tunnel; and RH No. 244 (2007), a snowman installed at the southernmost point of the African continent.

Nearby styrene and plaster casts are reminiscent of a classically decorated carved reliefs, hand - crafted objects and industrial artifacts that reference a multitude of symbols, linguistic particles from antiquity to the present day — iconography that exists within the urban landscape but are repurposed here within the formal confines of the art viewing space.

Like the nearby phrase «An Object Self - Defined» from the work «Self - Defined Object [green]», 1966, the artist forms the relationship between words and art object, short - circuiting its separation, language and art, language in art, language as, or is art, the work professes to form a dialectic that results in a relationship to philosophical thObject Self - Defined» from the work «Self - Defined Object [green]», 1966, the artist forms the relationship between words and art object, short - circuiting its separation, language and art, language in art, language as, or is art, the work professes to form a dialectic that results in a relationship to philosophical thObject [green]», 1966, the artist forms the relationship between words and art object, short - circuiting its separation, language and art, language in art, language as, or is art, the work professes to form a dialectic that results in a relationship to philosophical thobject, short - circuiting its separation, language and art, language in art, language as, or is art, the work professes to form a dialectic that results in a relationship to philosophical thought.