Sentences with phrase «images as a reference point»

The algorithms will then use these images as a reference point to learn about what kind of improvements to make.

Not exact matches

Despite having no visual reference points, after just 70 hours of training, the individuals went from «hearing» simple dots and lines to «seeing» whole images such as faces and street corners composed of 4500 pixels.

To align the instrument with the computer image of the skull, specific anatomical reference points on the patient's face, such as the corner of the mouth, are aligned to corresponding points on the three - dimensional image.

«In wide - field mode, we further aided registration of the images by adding fluorescent beads to the samples as point of reference.»

The laser scanning can both create a topographical map as well project images onto the road as a warning to other motorists or a reference point for parking.

Twitter user Lorcan0c cleverly points to the new image of earth as a reference to this poster from the Pillar of Autumn's bridge in Halo CE.

The flat plane of the field, with its painted boundaries can be seen as a metaphor for the canvas — and in this way the painting becomes self - reflexive and the act of painting itself the true subject of the work, thus demonstrating a clear tension between the image and its reference point.

The panel will explore the timeliness of this recent iteration of digital abstraction, with three artists who variously work through issues such as: how gesture, expression, and authenticity might continue to be possible in a contemporary image - based culture; whether our digital era truly produces an ahistorical condition in which images and marks have no specific reference and no relevant point of origin; how structures of and interfaces with digital technologies have necessitated new models for thinking about memory, distribution, and reproduction, as well as degradation, rupture, breakdown, and the void; and how the ubiquity of the screen in all aspects of life has given rise to a renewed interest in the relationship between two - dimensional and three - dimensional space, with a refreshed focus on tromp l'oeil and «topographical» painting.

In these paintings, images are often cropped and lack a specific point of spatial reference, such as a horizon line, thus inviting a contemplative experience and generating the feeling of immersion in Katz's open - ended pictorial space.

While developing several new bodies of work that encompass video, sculpture, and installation (which debuted in Berlin and Los Angeles in late 2014) Trecartin collected images which functioned as both reference material and conceptual pivot points for these expansive group of works.

The human being free in his choice and with his computer technological possibilities (as a subject and as an avatar) form again and again a reference point when generating forms in the visual (re)- construction of diversity and the digital image of what presents itself as «real.»

While in the past Rafferty used the subject of mid to late 20th century comedy as an immediate reference point, her new pieces employ images of comedians and entertainers in a rather more open - ended way.

And so as a point of reference within the doodle - prone, dimension - swelling domain of Briggs» art I would direct the skeptical spectators» eyes toward the relatively simple Delft - tile crossed with sundial image of Blue Boy, and suggest that it is the baseline against which more aggressively Baroque caprices such as Painting Pirouette, with its bulges and wrinkles and folds, be judged.

The imagery on these intimate prints, a format often used by photographers as a reference tool, is the starting point for the paintings that draw the viewer in with their in nite variety of treatments and exploration combining image and mark.

The Perspex is then mounted above the surface of the canvas so as to become the primary image, while the marks on the canvas, which remain visible, play an important secondary role as fail, background and formal reference point.»

Using photographs and other objects that reference specific bodies of knowledge as starting points for his carefully crafted drawings and sculptures, he then films these images and objects, arranging and comparing both the physical works and the ideas, information and knowledge associated with them.

The show is divided into two categories; artists who approach the topic on a formal level through the use of highly saturated materials; and artists whose work looks at these themes in a more figurative way, using the female image as a point of reference, often investigating the fashion industry.

More than just as a reference point but rather, because he was the most important American architecture photographer of the post-war period and his images of modernist houses built by Richard Neutra, Frank Lloyd Wright and Frank Gehry are artistic icons in their own right, more than 50 photographs by Julius Shulman are included in the exhibition.

While developing several new bodies of work that encompass video, sculpture and installation (which debuted in Berlin and Los Angeles in September and October 2014, respectively) Trecartin collected images which functioned as both reference material and conceptual pivot points for his expansive new bodies of work.

Taking into account the history of painting as a point of departure — from such figures as Fairfield Porter, Henri Matisse, and Alex Katz, to the contemporary Masters of Nicole Eisenman, Laura Owens, and Tal R — the painted image is a work of embodied references.

The artist employs photographic reference images, movie stills, fabricated tabletop «sets» and manipulations of scale as starting points for his technical exploration.

These paintings borrow motifs and images from the works of artists like Ad Reinhardt, Jackson Pollock, Kasimir Malevich, and Barnett Newman, using catalogues, archival photographs, and ephemera as points of reference.