Sentences with phrase «in viewer perception»

This slip in viewer perception reminds of the shifting intricacies embedded in collective consciousness.

Not exact matches

A review of several such studies found that viewing fictional medical TV programs had a negative influence on viewers» health - related knowledge, perceptions or behaviour in 11 % of studies, a positive influence in 32 % of studies, and mixed influence in 58 %.

Thus, it seems to me that the elite world has followed the popular world in reducing everything to the sensory perceptions of the hearer or viewer.

We want to... get to the subconscious... and certainly seduce the viewer into a new perception of... what occurred in Texas that day.»

Perception is reality and the reality is the viewer is being bombarded by the propaganda of one side in the emerging war.

Martin has collected these images in a new book, Hyper Nature, which he says in the foreword «provides the viewer a new perception of biodiversity that shines light on the most humble and prolific of nature's creations.»

That's the implication of a Dutch study into how expectations affect viewers» perceptions (Computers in Entertainment, vol 7, article 40).

You're Dead, for example, they found that about 65 per cent of the frontal cortex — the part of the brain involved in attention and perception — was responding in the same way in all the viewers.

Eldet is an upcoming gay 18 + visual novel / dating sim game taking place in a late medieval fantasy setting, including locations based loosely on Andalusia A 3D phone is a mobile phone or other mobile device that conveys depth perception to the viewer by employing stereoscopy or any other form of 3D depth

Though its conclusion says more about Brian's perception of the relationship than the truth of it (see The Reveal for more), 5 To 7 beckons its viewers to enjoy its two - hour indulgence in a same way he and Arielle do theirs — without making a big deal out of it.

Just as in his previous logic - defying staples Being John Malkovich and Eternal Sunshine of the Spotless Mind, Charlie Kaufman once again bends the viewer's perception of reality in his latest offering, Synecdoche, New York.

The performances are strong, especially that of star Claire Foy, but Jonathan Bernstein and James Greer's screenplay doesn't develop into much more than a fairly standard psychological horror in which the viewer's perception of reality is constantly being challenged.

Known for his thought - provoking images, Magritte used such ordinary objects as green apples, bowler hats and pipes in unfamiliar contexts, giving new meaning to familiar things and challenging the viewer's perception of reality.

«The juxtaposition of natural and man - made features in combination with the skewing of scale, proportion, and material, helps in creating an altered perception — forcing the viewer to look closer.»

The patterns she creates suggest spatial ambiguities and shifting structures which work on the viewer's perceptions in subtle ways.

In his artist statement, Harris says that his work «teases the viewers» perceptions and expectations, resignifying cultural cursors and recalibrating the familiar with the extraordinary.»

As in all of her work, Donovan spends months or even years searching for a method of assembly that allows the simple and immutable characteristics of the chosen material to generate complex, emergent phenomena which keep the viewer cycling between perception of the parts and the whole between the forms themselves and the light that surrounds and divides them.

In addition to the flags, Johns's interest in reformulating recognisable signs and symbols as artworks has seen him use targets, maps, numbers and alphabets to encourage the viewer to take a more active role in perception and to look afresh at «things which are seen and not looked at, not examined»In addition to the flags, Johns's interest in reformulating recognisable signs and symbols as artworks has seen him use targets, maps, numbers and alphabets to encourage the viewer to take a more active role in perception and to look afresh at «things which are seen and not looked at, not examined»in reformulating recognisable signs and symbols as artworks has seen him use targets, maps, numbers and alphabets to encourage the viewer to take a more active role in perception and to look afresh at «things which are seen and not looked at, not examined»in perception and to look afresh at «things which are seen and not looked at, not examined».

Compositional elements: space, light, form, and in particular color, are essentials in his works, «combining with the perception of the viewer to create an individual and particular experience.»

The site specific installation will engage the viewer in her perception of the experience of the wild nature of the forest, referencing concepts of conservation and the environment.

Mikhailov and Teller put the viewer in a position of realizing the nature of perception by emphasizing the process of re-contextualization.»

Exploring the ideas of boundaries, identity and nation in his artistic practice, Aditya Novali challenges the perception and mind of the viewers.

Bruce Nauman, Robert Morris and Teresita Fernández define perception, the physical and temporal relationships that a viewer encounters in relation to an artwork, setting the stage for interpreting a parallax as a prism that reflects the many facets of observation as conflict.

Å 1/2 ilvinas Kempinas is best known for his perception and space - altering installations, which invite the viewer to participate in the art event as it unfolds.

Featuring everyday objects placed in unusual contexts and juxtapositions, his art challenges the assumptions of human perception and force the viewer to reconsider things usually taken for granted.

The sense of graphic, almost diagrammatic execution in these works is certainly traceable in the Face Paintings, in which the dense topography of intersecting lines creates a destabilized sense of depth, playing with the viewer's perception of three - dimensionality.

Although deeply autobiographical, Brent's work questions the viewer's own perceptions of home and family, and in this way, speaks to a profoundly universal experience.

These works, in monumental size and scale, engulf viewers with their expansive, painterly surfaces that depict moments of intense observation in the landscape — what Katz describes as «flashes» of perception or «quick things passing.»

Working in multi-media, New York - based artist Erin Shirreff's work encourages the viewer to see objects in new ways: unsettling spacial and sensory experience by creating sculptural works specifically for the camera that confuse perception; layering still photographs in video to present a new experience of the Moon or James Turrell's great unfinished Roden Crater work (2009); exploring myriad interferences of glare and shadow at play on a computer screen; and presenting only one façade of a familiar Tony Smith work in an outdoor commission, Sculpture for Snow.

Ultimately, Wakefield supports the exhibition's title as the viewer understands the shift in the perception of objects based on circumstances.

For this exhibition, Fernandez will present 3:37 p.m. (2001), a wall installation composed of hundreds of acrylic cubes in seven colors of the light spectrum, a reductive representation of a rainbow captured at a specific moment in time, 3:37 p.m. Fernández's work is characterized by an interest in perception and the psychology of looking, so she encourages the viewer to conjure up his or her own personal associations with the landscape, which in turn become part of the meaning behind the work.

In one series of photographs, smears and grime on the pane emphasise the perception of space, another series has been printed over, in order to question the viewers spatial awareness, whilst the works Henley and Mimi have been printed behind netting, a material commonly used to screen a window panIn one series of photographs, smears and grime on the pane emphasise the perception of space, another series has been printed over, in order to question the viewers spatial awareness, whilst the works Henley and Mimi have been printed behind netting, a material commonly used to screen a window panin order to question the viewers spatial awareness, whilst the works Henley and Mimi have been printed behind netting, a material commonly used to screen a window pane.

Likewise, the virtually rendered work of Snow Yunxue Fu thrives to guide the viewers into a metaphorical higher dimensional world, where the artwork becomes necessary physical symbols for the viewer's physical perception in relation to the greater reality.

Begging for honesty, truth, and critical thought a dialog is created and as such may provoke within viewers a conscious or unconscious shift in perception.

In keeping with He's dynamic and experimental practice, the works shown at Qiao Space are rooted in the artist's interest in sensory perception and in developing visual devices to influence and disrupt the viewer's reactions to his worIn keeping with He's dynamic and experimental practice, the works shown at Qiao Space are rooted in the artist's interest in sensory perception and in developing visual devices to influence and disrupt the viewer's reactions to his worin the artist's interest in sensory perception and in developing visual devices to influence and disrupt the viewer's reactions to his worin sensory perception and in developing visual devices to influence and disrupt the viewer's reactions to his worin developing visual devices to influence and disrupt the viewer's reactions to his work.

A central figure in the California Light and Space movement, Robert Irwin (b. 1928) has been creating installations and works of art for over six decades that challenge viewers» perceptions of the world around them.

This time the rooms of the gallery, in fact, its entire architecture will distort the viewer's perception, making internal appear external, forcing the public to focus on something that is frequently overlooked.

Entering a dark room alone, the viewer stands in the shadows until light slowly allows the perception of a blue mirage, which nearly fills the far wall.

The works selected create a perception shift in the viewer's imagination, stimulating reactions ranging from uncertainty, hesitation, and critique to admiration, irony, and meditation...

She redirects perceptions in everyday experiencea chance encounter of a rainbowand layers the viewers response with the many emotional and philosophical associations that light embodies.

The engagement with postmodern dance gave rise to a significant constant within his sculptural works: The investigation of an inclusion of the viewer which focuses on the temporal perception of sculpture by means of bodily movement through space, and which furthermore directs the view from the institutional space out onto social aspects in the real world.

Mediengruppe's captcha directly asks viewers whether they are human or machine — whether they are present and aware, or automated and mechanical, in their perceptions.

Tensions between the scale of the work and the apparent intimacy of the scene depicted heighten already complex narratives about connection, perception and representation that, implicit in the relationship between artist and subject, are extended to the viewer as a series of propositions and provocations.

Challenging the limits of perception, the work invites viewers to experience each other and the space in numerous, shifting, fractal reflections.

In this book (more a stand - alone artist's project than a traditional catalog) Stettner compiles photographs that play with light and shadow, surface and depth, to challenge the viewer's perceptions and create alternate visual worlds.

The image, in the sense of a formal, recognizable gestalt, is attacked to the point that it separates from its material instantiation, leaving the viewer in a state of confusion between projection of form and perception of formless matter.

This year's program will incorporate a range of artistic forms — sculpture, painting, craft, new media, and performance — all of which demand a shift in the viewers» perception of the «SUR.»

It makes no difference whether we are face - to - face with one of his large format images, in which he allows the pigments dissolved in epoxy resin to run slowly down the picture carriers in satiated, glistening vertical stripes; or whether we study those works in which small drilled craters disclose many apparently archeological layers of paint, or find ourselves in one of his site - specific, all - over paintings that cover the walls, floors and ceilings, their iridescent stripes of color subduing entire architectures and permanently altering the viewer's perception.

In recasting the functionality of standard materials, including light, the works in Between Spaces challenge the viewer's perception of domestic material conventionIn recasting the functionality of standard materials, including light, the works in Between Spaces challenge the viewer's perception of domestic material conventionin Between Spaces challenge the viewer's perception of domestic material conventions.

The interactive dialogue between the viewer and the surrounding environment plays an essential role in the perception of the exhibited works.