Sentences with phrase «image than the vision»

Not exact matches

As of last year, Google's Cloud Vision AI was as good as or better than a human at recognizing the contents of images (so was Microsoft's AI for that matter).

Confessional postmodernism, with its emphasis on images and narrative — which are more evocative and efficacious than concepts, touching deeper recesses of our psyches — fleshes out what tends to be rather abstract in the process - relational vision which, on the other hand, provides the former with a cosmological complement.

They are more like a metaphor than a simile, for a metaphor provides «an image with a certain shock to the imagination which directly conveys vision of what is signified.»

If we are going to lead well with men, we need to be committed to God's vision of men and women coming together to bear God's image — something we do much better together than apart.

(2) «Confessional postmodernism, with its emphasis on images and narrative, which are more evocative and efficacious than concepts, touching deeper recesses of our psyches, fleshes out what tends to be rather abstract in the process - relational vision which, on the other hand, provides the former with a cosmological complement» (90).

Once again, though, we must ask ourselves how we know when our visions are simply projections of childish wishing, rather than images more truly revelatory of mystery.

At this point it may be tempting to call Smith's vision «cinematic,» as more than a few professorial types in the past have staked a claim on his lyrics for literature, but this ignores the unbridgeable gaps between aural, written, and moving - image art — and he remained stubbornly a man of rock»n' roll.

That Indy hasn't lost a step is an increasingly prominent facet of Crystal Skull, typified by a sequence in which he leaps into a car full of Russian soldiers and easily cold - cocks them all, though this vision of herculean strength has far less impact than a preceding image of a more vulnerable Indy jumping from a speeding car onto the back of a motorcycle and almost disastrously missing the mark.

Available technology features include a wireless charger for cell phones and a rearview mirror that displays a camera image with a wider field of vision than a conventional mirror.

A unique feature is a rearview mirror that displays a camera image with a wider field of vision than a conventional mirror.

The display has Diamond Pixels (see below) and Sub-Pixel Rendering with 518 pixels per inch (ppi), providing significantly higher image sharpness than can be resolved with normal 20/20 Vision at the typical viewing distances of 10 inches or more for Smartphones, so the display appears perfectly sharp.

The display has Diamond Pixels (see below) and Sub-Pixel Rendering with 577 pixels per inch (ppi), the highest on any consumer display, providing significantly higher image sharpness than can be resolved with normal 20/20 Vision at the typical viewing distances of 10 inches or more for Smartphones, so the display appears perfectly sharp.

The display has diamond pixels (see below) and sub-pixel rendering with 518 pixels per inch (ppi), providing significantly higher image sharpness than can be resolved with normal 20/20 vision at the typical viewing distances of 10 inches or more for smartphones, so the display appears perfectly sharp.

Although their cover image is a bit more restrained than my vision, I like to think that when that girl turns around we might see a resemblance.

EXHIBITIONS / SCREENINGS / READINGS (* solo or two - person) Apparatus for a Utopian Image 2.0, Center and Foundation for Contemporary Arts, Prague, 2018 CV, YYZ Artist's Outlet, Toronto, 2017 * Artist's Rendering (DISTRESSED, RELAXED), AXENÉO7, Quebec, 2017 * You can tell that i'm alive and well because I weep continuously, Knockdown Center, New York, 2017 Apparatus for a Utopian Image, Elizabeth Foundation for the Arts Project Space, New York, 2016 Self - Titled (Materials for a 21st Century Room — or SWAMPED, EXHAUSTED, HESITATING), 8 - 11, Toronto, 2016 * Self - Titled (w / Aryen Hoesktra & Shane Krepakevich), Modern Fuel, Ontario, 2016 Local Tide (curated by PARALLELOGRAMS and Francesca Capone), S1, Portland OR, 2016 Double Visions, Elizabeth Foundation for the Arts Project Space, New York, 2015 From Line to Constellation, Granoff Center, Providence, 2015 Maximum Sideline: Postscript, Proxy, Providence, 2015 Use Values, SPRING / BREAK Art Show, New York, 2015 An Earthquake at the Race Tracks, Museo de la Cuidad, Santiago de Querétaro, Mexico, 2014 Classroom, NY Art Book Fair, PS1, New York, 2014 Almost Everything, Eric Arthur Gallery, Toronto, 2014 Milieu, Skol Centre des Arts Actuel, Montreal, 2013 * More Than Two (Let It Make Itself)[w / Josh Thorpe], The Power Plant, Toronto, 2013 Cultural Fluency, BRIC Rotunda Gallery, Brooklyn, 2013 Sediment, G Gallery, Toronto, 2012 Survive.Resist, CAFKA Biennial, Kitchener - Waterloo, Canada, 2011 On Printed Matter, [w / Josh Thorpe], Printed Matter, New York, 2011 * Around YYZ [w / Josh Thorpe], YYZ Artist's Outlet, Toronto, 2010 - 11 * House Broken, Flux Factory, NY 2010 Reading the Garden [w / Josh Thorpe], Toronto Sculpture Garden, Toronto, 2010 * Titles, Art Metropole, Toronto, 2009 On Convenience [w / Josh Thorpe], Convenience Gallery, Toronto, 2009 * Vehicle [organized by WayUpWayDown curatorial collective], Nuit Blanche, Toronto, 2008 ERI 3: Eyelevel Re-Shelving Initiative, Eyelevel Gallery, Halifax, 2008 AT WORK, Toronto Free Gallery, Toronto, 2007 Rip Current, Eyelevel Gallery, Halifax, 2007 Tales from the Cyclop's Library, Third Space Gallery, Saint John, 2007 Unsurprising Geographies [w / Andrea Williamson], Eyelevel Gallery, Halifax, 2006 Alectric 3, Alectric Audio [online exhibition] 2006 a / s / l, Anna Leonowens Gallery, Halifax, 2006 * RESIDENCIES Interrupt 3, Brown University, Rhode Island 2015 SHIFT, Elizabeth Foundation for the Arts, New York, 2014 - 15 Artist - in - Residence, Workspace, Lower Manhattan Cultural Council, 2013 - 14 Visiting Scholar, NYU Advanced Media Studio, 2013 - 14 The Decapitated Museum, The Banff Centre, 2012 Making Artistic Inquiry Visible, The Banff Centre, 2008 AWARDS Canada Council for the Arts, Research and Creation, 2018 - 19 Banff Centre, Residency Scholarship — The Decapitated Museum, 2012 Foundation for Contemporary Art, Emergency Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2009 University of Toronto, Graduate Fellowship, 2007 - 09 Social Sciences and Humanities Research Council, Canada Graduate Scholarship, 2007 - 08 Banff Centre, Residency Scholarship — Making Artistic Inquiry Visible, 2008 University of Toronto, David Buller Memorial Scholarship, 2007 NSCAD University, Simon Chang and Phyllis Levine Foundation Scholarship, 2006 New Brunswick Arts Board, Arts Scholarship, 2005 WRITING «Panorama of Our,» Plot, Claudia Weber, ed., 2015 «Anodyne: or X of Demarcation,» Rearviews II, Xenia Benivolski & Danielle St - Amour, eds., 2014 «On Printed Matter» Artefact:, C Magazine C122, 2014 «Lana Turner Has Collapsed!

Tompkins's appropriation strategy, which informs her categorization as a photorealist, is more than a blind sampling of culture; each image is carefully selected and manipulated according to her unique vision.

Additionally, the International Center of Photography (ICP) and Photo London will present a new version of the installation Unwavering Vision, an interactive multimedia presentation by Alan Govenar, Jean - Michel Sanchez, and Julien Roger, incorporating more than five thousand images dealing with social change from the ICP's permanent collection.

It is centered on three of Rosenquist's monumental room environments: Horse Blinders (1968), which has undergone detailed conservation by Museum Ludwig between 2015 and 2017; Horizon Home Sweet Home (1970), which demonstrates the illusive nature of the image and of vision with the performance of dry - ice fog within the vibrantly colored and mirrored panels of the room; and the monumental three - painting - suite, The Swimmer in the Econo - mist (1997 - 98) that extends more than twenty - seven meters and is on loan from the Guggenheim Museum, New York.

Rather than sharpening vision, the kaleidoscope tends to disorganize and diffuse it, recomposing the perceived images of our surroundings by reflecting arbitrary patterns and rotational symmetries.

«Our computer vision systems now are even better than humans at image recognition.»

Google jump - started its 2017 I / O conference around AI and machine learning, and one computer vision technology it highlighted is Google Lens, which lets the camera do more than just capture an image — it gives greater context around what it is that you're seeing.

A dual - lens camera on a smartphone rather than a single large sensor makes depth sensing in images easy and provides the user with a deeper field of vision in images.

Night vision goggles display the world in green because the human eye is more sensitive to green than any other color, and a monochromatic green image offers the most accurate monochromatic view for the user.