Sentences with phrase «mass objects form»

We now realise that the way these very low - mass objects form depends on their environment,» team member Amelia Bayo from University of Valparaíso in Chile, said in a statement.

Not exact matches

They form when stars collapse, leaving behind a black hole with dense mass that exerts gravitational force on the objects around it.

The mergers that formed NGC 1316 led to an influx of gas, which fuels an exotic astrophysical object at its centre: a supermassive black hole with a mass roughly 150 million times that of the Sun.

Previous analyses of the star's spectra suggest the object, which is about 2.5 times the mass of our sun, formed only a few million years ago.

To make matters worse, the magnified object is a starbursting dwarf galaxy: a comparatively light galaxy (it has only about 100 million solar masses in the form of stars [3]-RRB-, but extremely young (about 10 - 40 million years old) and producing new stars at an enormous rate.

Radioactive nuclei act as microcosms for learning about neutron stars, objects that squash more mass than is contained in the Sun into the size of a city, and which are key to understanding how the Universe's heavy elements form.

In each of the collisions, most of the mass stuck together to form a new, larger object, with rest blowing off into space — the amount varying with the size and power of each impact.

Different astrophysicists have employed the method for measurements to objects such as the Orion Nebula cluster, the Taurus star - forming region and high - mass star - forming regions throughout the Milky Way.

Since lit stars can form at masses as low as ~ 0.04 solar mass, provided the metallicity is 3x that of today's value, it may be possible to stellarize such objects provided we could find enough metals to dump in them.

The Heterodyne Instrument for the Far - Infrared (HIFI) on the Herschel Space Observatory observed three deeply embedded protostars in the low - mass star - for... ▽ More «Water In Star - forming regions with Herschel» (WISH) is a key programme dedicated to studying the role of water and related species during the star - formation process and constraining the physical and chemical properties of young stellar objects.

As determined by the International Astronomical Union, any celestial object with a mass greater than 13 Jupiters should be considered a star.But according to Jonathan Fortney, an exoplanet and brown dwarf theorist at the University of California, Santa Cruz, this definition leaves a lot of researchers cold because it doesn't take into account how the object was formed.

Thousands of new and used shoelaces are arranged to form the iconic first words of the Declaration of Independence, physically representing the relationship of a singular person within the larger society through the use of these quotidian, mass - produced objects.

Ramberg's subject was the body, in particular the female form, construed as a collection of parts — hands, hair, torso, and stand - in objects — and rendered with a discerning sense of line, shape, mass, color, and pattern.

Short for «popular art,» it featured common household objects and consumer products like Coca - Cola and Campbell's Soup cans, as well as forms of media — such as comics, newspapers, and magazines — recognizable to the masses.

Other well know names represented include Cy Twombly and Richard Diebenkorn at Susan Sheehan Gallery, a Jim Dine solo show at Pace Gallery, Sam Francis at Manny Silverman Gallery and lastly Michael DeLucia, a former assistant to Jeff Koons, whose sculptural work is engaged with appropriation and the exploitation of objects of mass production in the search of a final abstract form, who is in a two person show with Al Held at the Van Doren Waxter / Eleven booth.

Mining cheap stores, markets, and city streets, Batchelor accumulates mass - produced items, disused domestic objects, and scrap industrial materials — including lightboxes, neon tubing, and plastics — which he repurposes to create colorful, often luminous, structures and forms.

The show will be of «readymades», of sorts: The mass produced multiple in the form of the cuboid metal frames, and what Griffiths refers to as the «fabricated found object» in the form of the tarpaulins covering them; these being singular, touched, expressive yet understated surfaces.

The space will feature a series of sculptures that take the form of workbenches with mirrored surfaces displaying miniature sculptures and small objects from mass - produced baby sneakers to prehistoric silverfish rendered as 3D prints.

For more than two decades, Jessica Stockholder has been fashioning a new language for sculpture and installation art, one that applies a painter's sense of form, pattern, texture and color to three dimensional spaces through the use of a staggering variety of media, from heavy duty construction material to mass - produced commercial products and even live horticulture.Her sculptural and architectural interventions spread themselves over the spaces they occupy; planes of vivid Technicolor hues abut precisely arranged and patterned objects and assemblages of unlikely materials combine and bloom amidst the colorful chaos.

Cast in varied, bright colors and presented in the gallery's storefront window on glass shelves, the Brancusi-esque formal properties of these quotidian objects reveal themselves; a «pure,» universal form which, when endlessly repeated via mass production, is intended to ensure brand loyalty.

Challenged by the hybrid forms that often appear under the term «installation,» sculpture — that is, discrete objects that deal with issues of mass, gravity, volume, open - vs. closedness, movement, materiality, color, structure, monumentality, etc. — has had a hard time maintaining a meaningful place for itself within contemporary art practice.

In these hollow or multipart objects, which are seemingly intended to fundamentally embody the possibility of constructing a geometric entity, there is — contrary to expectation and by virtue of their differing lengths and diameters and the irregular distribution of their mass - a constant relativization of the congruence of the form with itself.

Alongside images of punk rock icons and nude models, Prince's re-use of Namuth's photos of Pollock, who was himself ultimately performing for the camera, suggests that the modernist invention of forms — art objects, artistic gestures, and artistic personas — has always been infused with certain requisite signifiers that operate wholly in the realm of mass production and mass consumption.

The impressions formed in these molded masses are created by recognizable objects which become obscured in the process of making, they become abstracted even as they remain whole, and what is hidden remains seen.

In 1998, the Los Angeles — based artist produced the first objects of his ongoing «Record Projection» series, a group of small, flashy assemblages crafted from colorful, mass - produced plastic forms — drinking straws, dish scrubbers, stick - on bows, hair rollers, and poker visors, for example — attached to vinyl records that, when set atop spinning turntables, become animated instruments in Williams's expanded cinema — like performances.

While that art object enters a mass market, what remains of the process is a before and after photograph, in a form of life size documentations, and a residue object that I turn into a collaged object.