Sentences with phrase «image forms called»

He contributed greatly to the understanding of stereoisomers, molecules that come in two mirror - image forms called left - and right - handed, with different chemical properties.

Jack Kassewitz also works on a project called Cymaglyph which analyzes the sound vibration made in the water when the dolphins speak to each other and maps it to an image form called «picture words»

Not exact matches

While the images (and entire site) contribute to creating a feeling of love, the specific language used in the call - to - action form contributes to the feeling that, just by signing up, you're starting your journey to find your next soul mate.

A call to action is the text, banner, form, or image on a web page (or email) asking a visitor to literally take an action — read more content, join an email list, sign up for a webinar, buy a product, etc..

In time it came to involve art forms of all kinds, (heiroglyphics, drawings and carvings, images, tools, etc.) and for all purposes (ranging from what we would call economic (making a living) to what we could call religious (giving him a sense of meaning in life)-RRB-.

Is you god «an image in the form of corruptible man and of birds and four - footed animals and crawling creatures» and of ancient organic pond soup (sometimes called ancient pond scum)?

I received many, many messages from readers offering counter-evidence to my complaint in the form of notable contemporary writers who do engage faith matters in their fiction, and indeed Image journal has developed a list of what it calls «the Image Top 50 Contemporary Writers of Faith» in response to the essay.

As a product of an Anglo - Saxon liberal Baptist tradition we have been taught to «believe in Jesus», and all the various forms of proclamation to which we have been subject have served to produce for us what we would call a «faith - image» of this Jesus.

Tomorrow, the probe will spend its last full day in space snapping images of its greatest hits: Saturn and the rings, Titan, a small moon forming within the rings informally dubbed «Peggy,» the moon Enceladus, ring ripples called propellers and finally, the location of its own demise.

On September 13 and 14, Cassini took a last look around the Saturn system's greatest hits, taking a color mosaic image of Saturn and the rings, a movie sequence of Enceladus setting behind Saturn, Titan and tiny moonlets in the rings that pull the icy ring particles around themselves to form features called propellers.

DEEP DEVELOPMENT Diamonds (dark grey) begin to form from minerals containing iron and magnesium (white) and from carbon - oxygen compounds called carbonates (light grey) in a scanning electron microscope image.

Fluorescently labeled, positively - charged peptides (red) are attracted to negatively - charged RNAs (invisible in this image) forming droplets that simulate cellular structures called liquid organelles.

What is surprising in this method is that the mathematics of shape, in the form of what differential - geometers call the curvature flow, is coupled with techniques that originated in the numerical solution of partial differential equations to deblur and denoise an image.

The Hubble Space Telescope passed its 20th anniversary of reaching orbit on April 24, an occasion marked with the release of a new image from the venerable observatory, depicting a star - forming region of the Milky Way some 7,500 light - years away called the Carina Nebula.

A form of machine learning called deep learning is one of the key technologies behind recent advances in applications like real - time speech recognition and automated image and video labeling.

Gilbert developed a new way to image the growing portions of coral skeletons to see what the forming structures were made of, which she calls component mapping.

Such an image, called a Gabor patch, consists of a series of contrasting lines that form an abstract — and visually arresting — shape.

Hasegawa: This image shows a planet forming disk around a young star called HL Tau, clearly revealing narrow concentric rings separated by gaps.

The second vortex study, led by Mawet, presents an image of the innermost of three rings of dusty planet - forming material around the young star called HD 141569 A.

The arcs you see at the center of this Hubble Space Telescope image are created by the light of distant galaxies, distorted to form what's called an «Einstein ring.»

Just have a look at the image below form, it shows how primal movements, here they call it fundamental movements form the foundation for complex movements.

As with her previous work, Lynne Ramsay leaves her cinematography and editing to do any heavy lifting that the narrative calls for, the richest and most telling moments always coming in the form of an image rather than a line of dialogue.

UCLA has formed a partnership with the school, now called Horace Mann UCLA Community School, that includes an effort to change the school's image, and plans to expand so that the campus eventually will serve grades 6 to 12, and potentially elementary grades as well.

The punk revolution In January 1977, a little - known punk fanzine called Sideburns published the now famous Three chords — Now form a band image you see here.

In January 1977, a little - known punk fanzine called Sideburns published the now famous Three chords — Now form a band image you see here.

Rum and cokes were called nica libres instead of cuba libres — the Revolution in Nicaragua had been like a little sibling, formed in its elder's image.

I realized I needed an education in marketing and business so I went to school for a few years and after that I landed an internship at another game studio called Image & Form (the SteamWorld games) and that eventually led to my job as a PR & Marketing Manager at Zoink Games.

True artists will always be free in their submission only to one cause - not fame or celebrity, not a career, not pieces of paper from universities, but to that of whether that colour can possibly be right, whether in saturation it is discordant with the image intended, whether a composite form is distractingly discordant to the whole, (as well exemplified in the Angel of the North), not the political agenda of Liberalism in all things - to do as one likes privately or publicly so call it art «because I say it is», or to be «relevant» to a «handout dogma» by revered establishment figures of any description: nothing, as Sickert put it, that follows a «finicky programme of social pieties», and again as he says, quite rightly, defining art as «what I do» - in essence a rigid and confining agenda of a politicised mind.

Her more recent series Ill Form & Void Full (2010 - 2014), explores the tension between material and image, as Letinsky extracts elements from already existing imagery in magazines of food and domestic wares, calling attention to the constructed nature of all photographs.

While they are called paintings, these wall - mounted works are composed of layers of laser - cut birch wood ply and MDF, milled, perforated and painted so that evocations — of colour, form and image — seem to shift and dissolve as the viewer moves in front of them.

But if current fantasies of flexibility and connectedness have accelerated new means of rendering and displaying old goods, then I appreciate the reproduction of these images — sourced from forms of production and consumption oriented toward disappearance — as having emblazoned their foundational supports with instabilities that call ahead a reservation for their successors to the width of closing portfolio folds.

In the 1980s, Sherman and her cohort in New York, including Jack Goldstein, Sherrie Levine, and Robert Longo, formed what has been called the «Pictures Generation» on account of their critical appropriation of everyday images of consumer and media culture.

Sherman and her cohort in New York in the 1980s, including Jack Goldstein, Sherrie Levine, and Robert Longo, formed what has been called the «Pictures Generation» on account of their critical appropriation of images of consumer and media culture.

In New York City in the 1980s, she and her cohort, including Jack Goldstein, Sherrie Levine, and Robert Longo, formed what has been called the «Pictures Generation,» artists who critically appropriated images from consumer and media culture.

We're not sure what exactly to call Lena Henke's printed - on boxes of transparent plastic — in the traditional of Donald Judd's «specific objects,» they hang on the wall but are clearly sculptural, and they use photographic images, but in abstracted forms.

In the art world, this technique is called «appropriation» and is the one of the most popular forms of image critique existing today.

While the artists allied with this understanding of institutional critique were certainly central to our thinking, we recognized that those dedicated to appropriation as a strategy — to borrowing forms and images in order to reveal how they operate within our culture — were making similar calls for changes to the structures and definitions of art.

After forming and then promptly disbanding the satirical art movement Capitalist Realism, founded with fellow German artists Sigmar Polke and Konrad Leug, Richter would go on to explore the nature of image making, testing the limits of what might be called a photo, and what might be considered a painting.

Nitehawk programmer, Caryn Coleman, has launched a screening program called Art Seen, formed to cultivate the relationship between artist moving images and the cinematic space.

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

«For Motherwell, the process of making collages has always been associated with directness and discovery... In the process of automatic drawing the artist discovers new forms by allowing his hand free play, calling forth images and feelings that exist below the level of consciousness.

By invoking the extreme mediation of experience and meaning, Brown's work provocatively calls into question the power of image, as well as the appeal of surface over the substance of cultural forms.

Today, what we call «realism» takes myriad forms; more likely a stepping off point to a deeper understanding of historic images, and a reflection of the artist's point of view.

There's a painterly affiliation with the so - called flatness of form in Alex Katz's research, together with a Warholian legacy of image making.

The so - called «exit from the image» — the renunciation in the 1960s and 1970s of traditional forms of painting and sculpture — is to be seen in the material art of Franz Erhard Walther and Reiner Ruthenbeck.

Ground and figure are the main components of each work, yet the artist's painterly execution calls attention to his manipulation of color, form, and composition to create an image that transcends traditional portraiture.

My interest in masquerade drew me to a lot of ethnological collections and so - called «primitive» art when creating these works — stark expressions and minimal information forming a face - like image — and this, along with an interest in the German expressionists, helped to inform my process.

Robert Rauschenberg is best known for the «combine,» a hybrid form of painting and sculpture that integrates humble materials, found images, and paint to bridge what he called «the gap between art and life.»

The former was painted with such furious expressionist ethos, a flux of images that called forth half B - 52 bombers, half atrocious, abominable, aggressive, insect - like creatures, anthropomorphic terror of deconstructed forms.

Together they continuously form and un-form what could be called the «images» that make up the piece and give sense to the enigmatic sculptural scenography that forms their backdrop.