Sentences with phrase «images in a flat way»

We look at tons of images in a flat way, compressed in scale.

Not exact matches

The third group, led by Lulu Qian, a biochemist at the California Institute of Technology in Pasadena, came up with a new way to create flat DNA origami — based images.

The list of accomplishments is far too large to fit within one article, but they include: the first search for extraterrestrial intelligence; creation of the Drake equation; discovery of flat galactic rotation curves; first pulsar discovered in a supernova remnant; first organic polyatomic molecule detected in interstellar space; black hole detected at the center of the Milky Way; determination of the Tully - Fisher relationship; detection of the first interstellar anion; measurement of the most massive neutron star known; first high angular resolution image of the Sunyaev - Zel» Dovich Effect; discovery of only known millisecond pulsar in a stellar triple system; discovery of pebble - sized proto - planets in Orion, and the first detection of a chiral molecule in space.

I loved the way it combines a variety of styles — including some animation that resembles woodcut and some that looks like colorful paper puppets — and the way the animation is made to look flat in flashbacks so the present - day images pop out at us more vividly.

It should be a high resolution image taken with good lighting, in a flattering way.

There are no formal boundaries in his work, instead he is constructing a portrait that goes beyond the flat picture plane, creating shadows and shapes that elicit a new way of looking at the portrait as a response to the way images are treated today.

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.

But for those who make the effort to see the work itself the artist has a neat surprise: the handcuffs are real aluminium, protruding from the flat image in a way that slyly escapes photographic reproduction of the art work.

This piece made in 1997 illustrates the nature of our interactions on the internet today; we can project flattering images of ourselves outward, but in other ways we remain isolated by screens and the infrastructure of the web.

The three - dimensional black spheres that make up this work are in some ways distant relatives of the pixels of that original, two - dimensional photograph, but instead of being transcribed into a flat image as micro dots of ink on paper, here they well up into great waves that crash against the very walls of their original subject matter.

Three exhibitions currently on view in New York City — Stuart Davis: In Full Swing, Carmen Herrera: Lines of Sight, and the Hilma af Klint exhibition that is secreted within The Keeper exhibition at the New Museum — provide object lessons on the necessity of seeing «in person» artworks that in reproduction appear flat and graphic in a way that stays fixed at the level of an image with no scale so that when looking at the images most people, particularly those brought up entirely within the regime of Instagram would not see why they should see the works and, further, might not be able to see the work when in front of it because many people now see exclusively through the lens of their smart phonin New York City — Stuart Davis: In Full Swing, Carmen Herrera: Lines of Sight, and the Hilma af Klint exhibition that is secreted within The Keeper exhibition at the New Museum — provide object lessons on the necessity of seeing «in person» artworks that in reproduction appear flat and graphic in a way that stays fixed at the level of an image with no scale so that when looking at the images most people, particularly those brought up entirely within the regime of Instagram would not see why they should see the works and, further, might not be able to see the work when in front of it because many people now see exclusively through the lens of their smart phonIn Full Swing, Carmen Herrera: Lines of Sight, and the Hilma af Klint exhibition that is secreted within The Keeper exhibition at the New Museum — provide object lessons on the necessity of seeing «in person» artworks that in reproduction appear flat and graphic in a way that stays fixed at the level of an image with no scale so that when looking at the images most people, particularly those brought up entirely within the regime of Instagram would not see why they should see the works and, further, might not be able to see the work when in front of it because many people now see exclusively through the lens of their smart phonin person» artworks that in reproduction appear flat and graphic in a way that stays fixed at the level of an image with no scale so that when looking at the images most people, particularly those brought up entirely within the regime of Instagram would not see why they should see the works and, further, might not be able to see the work when in front of it because many people now see exclusively through the lens of their smart phonin reproduction appear flat and graphic in a way that stays fixed at the level of an image with no scale so that when looking at the images most people, particularly those brought up entirely within the regime of Instagram would not see why they should see the works and, further, might not be able to see the work when in front of it because many people now see exclusively through the lens of their smart phonin a way that stays fixed at the level of an image with no scale so that when looking at the images most people, particularly those brought up entirely within the regime of Instagram would not see why they should see the works and, further, might not be able to see the work when in front of it because many people now see exclusively through the lens of their smart phonin front of it because many people now see exclusively through the lens of their smart phone.