Sentences with phrase «images of an object appear»

Rings or distinct multiple images of an object appear when the lens is extremely massive, and such lensing is called strong lensing.

Not exact matches

Such rules include perspective (parallel lines appear to converge in the distance), stereopsis (our left and right eyes receive horizontally displaced images of the same object, resulting in the perception of depth), occlusion (objects near us occlude objects farther away), shading, chiaroscuro (the contrast of an object as a function of the position of the light source) and sfumato (the feeling of depth created by the interplay of in - and out - of - focus elements in an image as well as from the level of transparency of the atmosphere itself).

A computer records these initially unremarkable images and as the data is processed further, little by little, the outlines of an object appear on a screen.

If an object is close enough to Earth, it will appear to «jump» when multiple images taken of the same spot in the sky a few years apart are compared.

They do, however, distort the appearance of the object being studied, requiring sophisticated computer models to reconstruct the image as it would appear in its unaltered state.

1 In the Leaning Tower Illusion, discovered by Frederick Kingdom, Ali Yoonessi, and Elena Gheorghiu of McGill University, two identical side - by - side images of the same tilted and receding object appear to be leaning at two different angles.

Only the Hubble is capable of such precise measurement, and then only of objects which appear in the same deep view image.

The bases of the coronal loops appear as white, feathery objects in the bottom left and top right of this image.

The bases of the coronal loops appear as white, feathery objects on the right and left of this image.

The distorted image of the distant object can appear in three possible ways depending on the shape of the lens:

The large ridges or grooves seen in early images appear to fully encircle Vesta, and the northern hemisphere is believed to have some of the heaviest cratering of known objects in the Solar System (NASA news release and science news; and Astronomy Picture of the Day).

As soon as the medallion appears, so do the digital maneuverings — speeded - up movement, composite images, objects and people morphing into supernatural thingamajigs — that undercut the genuine thrills of the genuine action.

As the application explains it, «light from an object on an object - side of the cloaking device is directed around an article within the cloaking region and forms an image on an image - side of the cloaking device such the article appears transparent to an observer looking towards the object.»

Beshty writes further that DeFeo's object: «would appear in photographs of her home and studio, the images positioned uncomfortably between works of art, studies, and simple documentation, showing the object in its mundane existence, a nod to its modest belonging in the quotidian.

Ji Zhou's oeuvre explores fragmented and whole images, comprised of images of objects and installations that are not what they always appear to be.

Organized around the concept that inanimate objects and inert cultural artifacts are conduits for narrative histories, the program considers how artists use moving images to extend the life of things and materials that would otherwise appear to be stable and resolute.

From a distance they appear abstract, planes of glitter and graphic shapes; a closer encounter reveals pasted images and objects, inscribed texts, names.

Artists are a perceptive, eclectic group, and through their studios you get to see the various characteristics of different artists: some appear cluttered and homely, others clean and sterile; some have books strewn about, others bottles; in some, the sound of music drifts through the air... Art should be about more than just aesthetic images or objects.

As much as Rauschenberg's work of the early 1950s had been championed for its elimination of painterly conventions — no subject, no image, no taste, no object, no beauty, no message — Untitled [glossy black painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process of accretion.19 In 1986, Untitled [glossy black painting] would appear on the cover of Arts Magazine, its identity photographically stilled.20 That was part of the history of this single canvas.

In images when the body does not appear, objects such as dead flowers, a mirror, two clocks, soiled underwear, or a string of lights serve as a series of memento mori, reminding the viewer of the abject frailty and transience of life lived during the plague years of the AIDS crisis.

The character has appeared in Leckey's work a number of times — it's a reference to the first electronic image of an object ever, which was none other than a plastic version of the cartoon character Felix the Cat.

Uncanny both in its subject matter (a singular domestic space with objects pulled from reality and art history), and aesthetics (early computer - generated imagery and computer - appropriated images), flat objects appear to have depth through the use of a colour gradient.

Illustrating how the African archive — broadly understood as an accumulation of representations, images, and objects — appears in selected contemporary lens - based practices, the exhibition stages a dialogue between the distance of the past and the desiring gaze of the present.

On the surface, the recent and new works in Noh's solo exhibition Information About the Outside World appear as attractive collages of fragmented digital images, mixed materials, and decontextualized objects.

Images of everyday things like eyeglasses and cigarette packs appear larger - than - life, creating cinematic inversions of foreground and background in which otherwise unremarkable objects take on a looming (and often sharply comical) significance.Info: David Kordansky Gallery, 5130 W. Edgewood Pl., Los Angeles, Duration: 9/9-21 / 10/17, Days & Hours: Tue - Sat 10:00 - 18:00, http://davidkordanskygallery.com

The objects in the image seem preternaturally still, pushed off to the left side of the frame: a liquefied elastic globule seems to pull down or just barely rest at the very corner of a marble slab, above it there is a chunk of what looks like concrete with rebar sticking erratically out of it that in turn appears to be floating upwards.

At L.A. Louver, a sharply focused show zeros in on LeWitt's capacity to transform abstract ideas into concrete objects that viewers experience as slippery interminglings of drawing, painting and sculpture — while comparing and contrasting such physical entities with idealized images of geometric perfection, which inhabit the mind's eye but never appear in the real world.

The images, music, and text that appear throughout «Future People» come from the archival holdings at the Arts Bank, which include the Johnson Publishing Archive, the Lantern Slide Collection at the University of Chicago (art and architectural history from the Paleolithic to the modern era), the Edward J. and Ana J. Williams Collection (racist objects that the Williamses bought to take off the market), and Frankie Knuckles's record collection.

Heather Cleary decontextualizes mundane objects to create an image embedded with uncertainty through what appears to be a very particular set of instructions of mysterious mathematical or subcultural origin.

Trees in Contemporary Art Altana Kulturstiftung, Bad Homburg Animal Mineral Vegetable Andrew Kreps Gallery, New York Allegory of the Cave Painting Extra City Kunsthal, Antwerp Alchemy NEST, The Hague Size Matters Foundation for Art Fort at Vijfhuizen, Vijfhuizen Picture This SALTS, Birsfelden Halftone: Through the Grid Galerie Max Hetzler, Berlin Beating around the bush Episode # 1 Bonnefantenmuseum, Maastricht Objects in mirror are closer than they appear Lugar a Dudas, Cali RE: Painted S.M.A.K., Ghent video screening 25 Zero, Milan Amnesia Nadácia - Centrum súčasného umenia, Bratislava 2013 Behind Images Garage Rotterdam, Rotterdam (catalogue) Traces Stedelijk Museum, s - Hertogenbosch Agora 4th Athens Biennale, Athens On the Road to... Tarascon, Adrian Ghenie and Navid Nuur Plan B, Berlin Passion de l'Art en Finistère / Collection # 4 Centre d'art contemporain de Quimper (T) HERE Bonnefanten Hedge House, Wijlre Flex - Sil Reloaded Kunst Halle St. Gallen, St. Gallen Casey Kaplan, New York The Image in the Sculpture Centre Pompidou, Paris (curated by Christine Macel and Navid Nuur) Time, Trade and Travel Stedelijk Museum Bureau, Amsterdam Small Gestures MU / Strijp S, Eindhoven Mesures et disparition / Over maat en verdwijning Institut Néerlandais, Paris It wasn't there yesterday Raster Gallery, Warsaw 2012 This Title is an Artwork of Mine Motto Charlottenborg, Copenhagen (curated by Mikkel Carl) The Castle in the Air.

She co-curated the third and fourth editions of PhotoCairo, and her most recent exhibition Objects in Mirror are Closer than they Appear (2013) was on show at the Tate Modern in London and the Contemporary Image Collective in Cairo in 2012 - 2013.

Featuring an image of an object that appears often in Anthea's work - there was a wavey boot the other side of the big bum in her room at last year's Turner Prize.

Objects in Mirror are Closer than they Appear, a collaboration between the Tate Modern in London and the Contemporary Image Collective, Cairo, took place in the small, darkened Tate Project Space tucked away in the corner of the Tate Modern's ground level.

In all of Collier's works emotions initially appear to be withheld, where her approach to the photographic image seemingly echoes earlier manifestations of photo - conceptualism in both style and emotional detachment, presenting the object of investigation as if ready for analysis and deconstruction.

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 phone.

Approaching Op Art, carefully rendered three - dimensional abstract objects (segments) combine together on a grey ground to make an image that is more than the sum of its parts, appearing to generate light as much as reflect it.

Home security brand Brinks is expanding its ARRAY line of smart home products with new outdoor lighting options equipped with cameras and smart deadbolts that let you make sure your door is secure from afar.The ARRAY Smart Light fixtures, which are meant to replace a home's existing outdoor lighting, include built - in cameras with custom lenses and improved camera firmware to offer up reduced shadows and distortion.AI built into the accompanying app is able to tell the difference between people, animals, and inanimate objects like tree branches to deliver smart notifications, and Brinks says there's «virtually no lag time» between when the camera senses motion and an image appears in the ARRAY app.Brinks will offer two versions of the ARRAY Smart Light, including a coach