Sentences with phrase «object on screen at»

Priority systems can dictate what sounds play and which are culled and the number of a particular object on screen at one time could dictate whether an individual or group sound is played.

With a reported 5,000 objects on the screen at once, each of the game's levels erupt into gorgeous, firework - like showers - defying gamers to stay focused as they maneuver through torrential storms of a opponent shot.

The amount of objects on screen at once also played a factor in the decision to drop it down.

Not exact matches

In addition to building the first light gun — a gun - shaped controller that allows users to shoot objects on screen — he created the forerunner to Atari's Pong game as well as the colorful electronic memory game Simon, which made its debut in 1978 at Studio 54 and continues to be sold today.

The same technology that converted my thoughts into action on the screen someday could be hooked up to a real - life backhoe, robot surgeon, or microwave oven, placing any of those objects at my mental whim.

Planet Hollywood at Disney Springs features 3 - D interiors that come to life through trompe l'oeil 3 - D technology, an art technique that uses realistic imagery to create an optical illusion that objects exist in the space rather than on the screen.

Although Han acknowledges that multi-touch is «interesting» at the level of gadgets such as Apple's iPhone, the technology comes into its own only when you're able to manipulate objects on a display screen using both hands.

Outfitted with eye - tracking gear, the babies sat on a parent's lap and looked at a video screen that showed pairs of common objects.

At that time, the apes had been taught to recognise images of different objects on a screen.

«A specialized glove enables participants to interact with objects on a computer screen in a series of video game - like tasks,» explained Dr. Barrett, director, Stroke Rehabilitation Research at Kessler Foundation and chief, Neurorehabilitation Program Innovation at Kessler Institute for Rehabilitation.

Additionally, if we ask our visitors to look at an illuminated screen for, say, 15 or 20 minutes while we discuss various objects on the screen, even turning the display to low intensity levels would be enough to severely impact their dark - adaptation and would potentially ruin their views of objects through other telescopes.

Both Miss32 and Miss Nameless had described the Stand - In as attractive, and the girls had insisted on showing me a picture of the Stand - In before texting him, so I knew very roughly what he looked like, but it had literally been a Facebook photo flashed at me on a phone screen, before I objected that it should be a blind date and pushed the phone away.

We've already seen some crazy creations, but the only thing that truly limits the performance of the game is how many objects can be on the screen at any given time.

PC gamers will be able to experience Dead Rising 3 at high PC resolutions with fully optimized visuals for the wide screen, upgraded textures on characters, backgrounds and in - game objects.

Unfortunately, on - screen objects are so fluid that it can be hard to see individual objects at times, such as when there are objects or enemies jumping back and forth between the background.

We've been looking at a system - and have it on some demo cars - that uses a TV screen in the dash and a radar system in back of the car to detect objects you might not see,» he said.

There are moments in this game where I just smile at the screen with everything that's going on lol It's insane that it performs so well with so many objects and explosions I bet directx12 helped this game a lot

The combination of the controller's easily identifiable light source and the Eye are likely primarily used to place objects in the player's hand in realtime on the screen, and also to track the controller at a coarse level to supplement the data sent by the accelerometer and gyro.

Finding a keycard to open a single damn door can have you wandering around the level like an idiot because it barely shows up on the screen, while at other times you might find yourself unable to progress because you missed a movable object whose prompt will only display if your standing in exactly the right two inches of terrain.

- as Captain Olimar is making his way home, an asteroid onslaught forces him to land on a nearby planet - Sparklium is the fuel for Olimar's Dolphin III ship - with the ship's fuel depleted, you have to find items on this planet which can be turned into fuel - collect everything from seeds to large scale treasures - you need 30,000 Sparklium to make your way home - you are eventually required to find a lost ship part at the end of the game - levels are more linear and puzzle based, and include specific goals / goodies to collect - move Captain Olimar with the Circle Pad, while all other interactions use the touchscreen - blow your whistle, throw Pikmin and also touch certain objects - worlds are called Sectors, with six areas altogether - find all the treasure and look for new passageways to complete a sector 100 % - passageways can grant you access to secret spots or additional levels highlighted with the letter X - the first world is called Brilliant Garden, which has lush forest environments - Yellow Pikmin can easily reach the upper screen, where you can sometimes collect goodies and pull down vines - there's a level where you use yellow Pikmin as a source to connect two wires - connecting the wires lets you see enemies and platforms that were hidden in the shadows - Winged Pikmin can be flung at high speeds, and they can pick up Olimar and help him descend down into new areas - in a later level, you need to use red Pikmin to stomp out fire and clear the way for you - Rock Pikmin are the strongest ones of the bunch and can break crystals - blue Pikmin can swim and fight well underwater - the maximum amount of Pikmin you can have in a stage is 20 - blow your whistle to call over the correct Pikmin for a task or puzzle - Ravaged Rustworks offers a unique industrial environment where you climb on pipes - Loney Tower has you climbing to the top of a tower without any help of Pikmin, and instead use pipes and Olimar's jetpack - Valley of the Breeze, found in the Leafswirl Lagoon sector, relies complete on Winged Pikmin - Barriers of Flame is in the Sweltering Parchlands sector - here you «lll be forced to improvise with Yellow and Rock Pikmin to get around fire - every world ends with a boss stage - one boss fight puts you up against a Fiery Blowhog, where you use Red Pikmin to pick up / feed bombs to the boss - beating bosses gives you treasures worth 1,000 Sparklium each - supports amiibo in the Splatoon, Super Mario and Animal Crossing lines - amiibo can be scanned in to grant you access to secret spots - these are one room puzzle challenges where you collect a statue - these bonus rooms will also get you 200 Sparklium every time - you are limited by how many amiibo you can summon to each secret spot - one of the treasures you will find is an NES cartridge for Ice Climbers, which carries the name «Revenge Fantasy».

PC gamers will be able to experience Dead Rising 3 at high PC resolutions with fully optimized visuals for the wide screen, upgraded textures on characters, backgrounds and in - game objects.

The trouble I did have, however, was at one point I couldn't actually see the highlight on one particular object, so even with this tool I struggled to progress — and I think the small screen was mostly to blame for this issue.

Players can tap the R1 button to spring off background walls and land on the other side of the screen, or grab nearby objects and hurl them at their opponents.

Vita is not possible, at least now — we have 1000 zombies on screen and a lot of moving hexagons, dynamic objects, etc..

* A New Way to Experience the Critically - Acclaimed Ghost Recon Series o Eye - popping 3D cutscenes and in - game effects, where enemies and objects appear to be jumping out at you o Use the Touch Screen for quick and easy mini-map navigation * Try to Thwart the Ultranationalists» Evil Plans in a Deep and Credible Tom Clancy Scenario o Explore various environments with an Eastern European flavor o Story mode with 37 missions for more than 30 hours of gameplay o Unlock 20 challenging «skirmish» missions with 3 levels of difficulty * Train and Manage the Best Special Ops Unit o Choose among six unique classes, each with their own special skills: Commando, Sniper, Recon, Engineer, Gunner and Medic o Unlock new skills and equipment by progressing in the game o Equip your ghosts with the most advanced combat gear - and even drones * Challenge Your Friends — Eleven one - on - one duel maps on a single 3DS that let you determine who the real special ops squad leader is.

Running at at a much lower resolution and half of the total number of cars on screen, you would expect Forza3 to «shine» a lot more, yet it utterly pales in lighting, shading, car poly count and amount of objects on screen to GT5 Prologue.

The controls are well mapped to the DualShock 4 controller by updating the controls for every season to that of A New Frontier with the control scheme consisting of pressing X, triangle, square or O to perform actions, start a conversation with a person in your group or to choose a response in a conversation with the buttons being clearly marked towards the bottom of the screen; pressing R2 to run or perform fight actions when defending yourself; pressing up or down on the d - pad to look at your inventory; mashing certain face buttons such as X, triangle, square or O when in one - on - one encounters with walkers; changing the direction of the left analogue stick to move around cover in a tight situation or walking around as you explore the environment during your search to find people and supplies; changing the direction of the right analogue stick to move the cursor around the environment for you to investigate and observe certain objects and items of importance as well as deciding who to start or continue a conversation with or even positioning your aim when you are about to defend yourself from a walker; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

PC gamers will be able to experience the hordes of horror at high PC resolutions with fully optimized visuals for the wide screen, upgraded textures on characters, backgrounds and in - game objects.

The controls are well mapped to the DualShock 4 controller by retaining the improvements from the second season with the control scheme of Michonne consists of pressing X, triangle, square or O to perform actions, start a conversation with a person in your group or to choose a response in a conversation with the buttons being clearly marked towards the bottom of the screen; pressing R2 to run or perform fight actions when defending yourself; pressing up or down on the d - pad to look at your inventory; mashing certain face buttons such as X, triangle, square or O when in one - on - one encounters with walkers; changing the direction of the left analogue stick to move around cover in a tight situation or walking around as you explore the environment during your search to find people and supplies; changing the direction of the right analogue stick to move the cursor around the environment for you to investigate and observe certain objects and items of importance as well as deciding who to start or continue a conversation with or even positioning your aim when you are about to defend yourself from a walker; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

The camera is used at various points to capture real - life images in order to wallpaper different objects and environments, while the microphone allows you to blow on the screen and see the wind you've created affect the environment underneath it.

Using the right stick moves between different objects of interest that are on screen at the same time.

You can count the pixels on any object and count the different colors in the whole game pretty quick and, most distressingly, the background of the battle screen is just blackness with a little sprig of whatever biome you're standing on at the very top.

You start out as one of the smallest objects on the screen, but by merging with objects a size larger, you increase your own size and gravitational pull», and in Dotstream, also getting good reviews at 4CR, «you are a beam of light that is in a race with four other beams of light.

In particular, home versions of arcade games sometimes had problems with flickering and slow down when more than a few moving objects appeared on the screen at once.

Just as grabbing Bullet Bills with Yoshi and firing them back at objects to clear the path ahead seems like the slickest sequence yet, the game suddenly has you grabbing on to stars and playing with the gravity pull while cannons fill the screen with peril.

Not being on the right frame of the vision or being mildly off in what you object to can lead to some quick Game Over screens, luckily the game restarts you back at the exact same spot beforehand.

The facial animations aren't much better than the PS2 generation, voice acting and script are really bad, screen tearing and AA are sub-par at best, object pop - in is some of the worst I've seen in a long time, the game world is empty and so on.

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.

The size of each work is derived from standard screen dimensions of laptops and tablets and each collage is shown at a different angle to the wall therefore creating different reflections and shadows.These started out both as a literal play on the idea of loops of self - reference and from thinking about screens becoming three dimensional objects.

7 October 2010 «Cleveland Museum of Art Acquires Collection of Objects from South Africa and Contemporary Work by Tony Oursler,» Artdaily.org, 24 September «Adobe Launches Adobe Museum of Digital Media» One - of - a-Kind Digital Venue Willl Go Live Oct. 6, 12:01 AM Eastern with Inaugural Exhibition, Valley, by Artist Tony Oursler and Akers, W.M. «Tune In, Turn On: Video Art Screens at Galleries, Festivals and Museums This Fall».

, 300 New York at Chelsea Piers, New York, US French Kiss, curated by Rob Wynne, JGM Galerie, Paris, FR The Shapes of Space (Phase II), curated by Nancy Spector, Guggenheim Gallery, New York, US Held Together With Water: Art From the Sammlung Verband, curated by Gabriele Schor, MAK, Vienna, AT; Istanbul Museum of Modern Art, Istanbul, TR A Theater Without Theater, MACBA, Barcelona, ES MARTa Is Silent - The Art of Silence from Duchamp to the Present, The Mystery of the Etruscans, curated by Jan Hoet and Michael Kröger, MARTa Herford, DE 52nd International Art Exhibition: Think with the Senses - Feel with the Mind, Art in the Present Tense, curated by Robert Storr, La Biennale di Venezia, Venice, IT Guggenheim Collection: 1940s to Now, National Gallery of Victoria, Melbourne, AU Monument of Sugar, curated by Lonnie van Brummelen, Siebren de Haan, Argos Centre for Art and Media, Brussels, BE À propos de Carl Andre..., Espace d'Art Contemporain, Saint Restitut, FR Verzameling Roger En Hilda Matthys - Cole, curated by Joost Declerq, Museum Dhondt - Dhaenens, Deurle, BE On Fait le mur, flux + territoires + frontières = multimedia, Espace de L'Art Concret, Mouans - Sartoux, FR Visiting Card, Brigitte March Galerie, Stuttgart, DE Iceland, curated by Tony Trehy, Bury Art Gallery, Bury, UK Grey Water, Institute of Modern Art, Brisbane, AU The Showroom Talks: I Can't Live Without..., The Showroom, London, UK Beyond the Wall, curated by Haus Lieberman, the Brandenburger Tor Foundation, Nationalgalerie im Hamburger Bahnhof, Berlin, DE A Second Quarter, screening Bodypoliticx, curated by Florian Waldvogel, Thomas Edlinger, Witte de With, Rotterdam, NL Art Protects, Yvon Lambert, Paris, FR 30/40 A Selection Of Forty Artists From Thirty Years At Marian Goodman Gallery, Marian Goodman Gallery, New York, US Herb & Dorothy, New York, US 25 Years Crone Gallery, Galerie Crone, Berlin, DE Pawnshop, e-flux, New York, US Chez Dominique Perrault Architecture, des œuvres de la collection Billarant, Dominique Perrault Architecture, Paris, FR Art & Project Bulletins: 1968 - 1989, Specific Object, New York, US Fiaat Chelsea Piers, New York, US French Kiss, curated by Rob Wynne, JGM Galerie, Paris, FR The Shapes of Space (Phase II), curated by Nancy Spector, Guggenheim Gallery, New York, US Held Together With Water: Art From the Sammlung Verband, curated by Gabriele Schor, MAK, Vienna, AT; Istanbul Museum of Modern Art, Istanbul, TR A Theater Without Theater, MACBA, Barcelona, ES MARTa Is Silent - The Art of Silence from Duchamp to the Present, The Mystery of the Etruscans, curated by Jan Hoet and Michael Kröger, MARTa Herford, DE 52nd International Art Exhibition: Think with the Senses - Feel with the Mind, Art in the Present Tense, curated by Robert Storr, La Biennale di Venezia, Venice, IT Guggenheim Collection: 1940s to Now, National Gallery of Victoria, Melbourne, AU Monument of Sugar, curated by Lonnie van Brummelen, Siebren de Haan, Argos Centre for Art and Media, Brussels, BE À propos de Carl Andre..., Espace d'Art Contemporain, Saint Restitut, FR Verzameling Roger En Hilda Matthys - Cole, curated by Joost Declerq, Museum Dhondt - Dhaenens, Deurle, BE On Fait le mur, flux + territoires + frontières = multimedia, Espace de L'Art Concret, Mouans - Sartoux, FR Visiting Card, Brigitte March Galerie, Stuttgart, DE Iceland, curated by Tony Trehy, Bury Art Gallery, Bury, UK Grey Water, Institute of Modern Art, Brisbane, AU The Showroom Talks: I Can't Live Without..., The Showroom, London, UK Beyond the Wall, curated by Haus Lieberman, the Brandenburger Tor Foundation, Nationalgalerie im Hamburger Bahnhof, Berlin, DE A Second Quarter, screening Bodypoliticx, curated by Florian Waldvogel, Thomas Edlinger, Witte de With, Rotterdam, NL Art Protects, Yvon Lambert, Paris, FR 30/40 A Selection Of Forty Artists From Thirty Years At Marian Goodman Gallery, Marian Goodman Gallery, New York, US Herb & Dorothy, New York, US 25 Years Crone Gallery, Galerie Crone, Berlin, DE Pawnshop, e-flux, New York, US Chez Dominique Perrault Architecture, des œuvres de la collection Billarant, Dominique Perrault Architecture, Paris, FR Art & Project Bulletins: 1968 - 1989, Specific Object, New York, US Fiaat Chelsea Piers, New York, US French Kiss, curated by Rob Wynne, JGM Galerie, Paris, FR The Shapes of Space (Phase II), curated by Nancy Spector, Guggenheim Gallery, New York, US Held Together With Water: Art From the Sammlung Verband, curated by Gabriele Schor, MAK, Vienna, AT; Istanbul Museum of Modern Art, Istanbul, TR A Theater Without Theater, MACBA, Barcelona, ES MARTa Is Silent - The Art of Silence from Duchamp to the Present, The Mystery of the Etruscans, curated by Jan Hoet and Michael Kröger, MARTa Herford, DE 52nd International Art Exhibition: Think with the Senses - Feel with the Mind, Art in the Present Tense, curated by Robert Storr, La Biennale di Venezia, Venice, IT Guggenheim Collection: 1940s to Now, National Gallery of Victoria, Melbourne, AU Monument of Sugar, curated by Lonnie van Brummelen, Siebren de Haan, Argos Centre for Art and Media, Brussels, BE À propos de Carl Andre..., Espace d'Art Contemporain, Saint Restitut, FR Verzameling Roger En Hilda Matthys - Cole, curated by Joost Declerq, Museum Dhondt - Dhaenens, Deurle, BE On Fait le mur, flux + territoires + frontières = multimedia, Espace de L'Art Concret, Mouans - Sartoux, FR Visiting Card, Brigitte March Galerie, Stuttgart, DE Iceland, curated by Tony Trehy, Bury Art Gallery, Bury, UK Grey Water, Institute of Modern Art, Brisbane, AU The Showroom Talks: I Can't Live Without..., The Showroom, London, UK Beyond the Wall, curated by Haus Lieberman, the Brandenburger Tor Foundation, Nationalgalerie im Hamburger Bahnhof, Berlin, DE A Second Quarter, screening Bodypoliticx, curated by Florian Waldvogel, Thomas Edlinger, Witte de With, Rotterdam, NL Art Protects, Yvon Lambert, Paris, FR 30/40 A Selection Of Forty Artists From Thirty Years At Marian Goodman Gallery, Marian Goodman Gallery, New York, US Herb & Dorothy, New York, US 25 Years Crone Gallery, Galerie Crone, Berlin, DE Pawnshop, e-flux, New York, US Chez Dominique Perrault Architecture, des œuvres de la collection Billarant, Dominique Perrault Architecture, Paris, FR Art & Project Bulletins: 1968 - 1989, Specific Object, New York, US FiaAT; Istanbul Museum of Modern Art, Istanbul, TR A Theater Without Theater, MACBA, Barcelona, ES MARTa Is Silent - The Art of Silence from Duchamp to the Present, The Mystery of the Etruscans, curated by Jan Hoet and Michael Kröger, MARTa Herford, DE 52nd International Art Exhibition: Think with the Senses - Feel with the Mind, Art in the Present Tense, curated by Robert Storr, La Biennale di Venezia, Venice, IT Guggenheim Collection: 1940s to Now, National Gallery of Victoria, Melbourne, AU Monument of Sugar, curated by Lonnie van Brummelen, Siebren de Haan, Argos Centre for Art and Media, Brussels, BE À propos de Carl Andre..., Espace d'Art Contemporain, Saint Restitut, FR Verzameling Roger En Hilda Matthys - Cole, curated by Joost Declerq, Museum Dhondt - Dhaenens, Deurle, BE On Fait le mur, flux + territoires + frontières = multimedia, Espace de L'Art Concret, Mouans - Sartoux, FR Visiting Card, Brigitte March Galerie, Stuttgart, DE Iceland, curated by Tony Trehy, Bury Art Gallery, Bury, UK Grey Water, Institute of Modern Art, Brisbane, AU The Showroom Talks: I Can't Live Without..., The Showroom, London, UK Beyond the Wall, curated by Haus Lieberman, the Brandenburger Tor Foundation, Nationalgalerie im Hamburger Bahnhof, Berlin, DE A Second Quarter, screening Bodypoliticx, curated by Florian Waldvogel, Thomas Edlinger, Witte de With, Rotterdam, NL Art Protects, Yvon Lambert, Paris, FR 30/40 A Selection Of Forty Artists From Thirty Years At Marian Goodman Gallery, Marian Goodman Gallery, New York, US Herb & Dorothy, New York, US 25 Years Crone Gallery, Galerie Crone, Berlin, DE Pawnshop, e-flux, New York, US Chez Dominique Perrault Architecture, des œuvres de la collection Billarant, Dominique Perrault Architecture, Paris, FR Art & Project Bulletins: 1968 - 1989, Specific Object, New York, US FiaAT; Istanbul Museum of Modern Art, Istanbul, TR A Theater Without Theater, MACBA, Barcelona, ES MARTa Is Silent - The Art of Silence from Duchamp to the Present, The Mystery of the Etruscans, curated by Jan Hoet and Michael Kröger, MARTa Herford, DE 52nd International Art Exhibition: Think with the Senses - Feel with the Mind, Art in the Present Tense, curated by Robert Storr, La Biennale di Venezia, Venice, IT Guggenheim Collection: 1940s to Now, National Gallery of Victoria, Melbourne, AU Monument of Sugar, curated by Lonnie van Brummelen, Siebren de Haan, Argos Centre for Art and Media, Brussels, BE À propos de Carl Andre..., Espace d'Art Contemporain, Saint Restitut, FR Verzameling Roger En Hilda Matthys - Cole, curated by Joost Declerq, Museum Dhondt - Dhaenens, Deurle, BE On Fait le mur, flux + territoires + frontières = multimedia, Espace de L'Art Concret, Mouans - Sartoux, FR Visiting Card, Brigitte March Galerie, Stuttgart, DE Iceland, curated by Tony Trehy, Bury Art Gallery, Bury, UK Grey Water, Institute of Modern Art, Brisbane, AU The Showroom Talks: I Can't Live Without..., The Showroom, London, UK Beyond the Wall, curated by Haus Lieberman, the Brandenburger Tor Foundation, Nationalgalerie im Hamburger Bahnhof, Berlin, DE A Second Quarter, screening Bodypoliticx, curated by Florian Waldvogel, Thomas Edlinger, Witte de With, Rotterdam, NL Art Protects, Yvon Lambert, Paris, FR 30/40 A Selection Of Forty Artists From Thirty Years At Marian Goodman Gallery, Marian Goodman Gallery, New York, US Herb & Dorothy, New York, US 25 Years Crone Gallery, Galerie Crone, Berlin, DE Pawnshop, e-flux, New York, US Chez Dominique Perrault Architecture, des œuvres de la collection Billarant, Dominique Perrault Architecture, Paris, FR Art & Project Bulletins: 1968 - 1989, Specific Object, New York, US FiaAt Marian Goodman Gallery, Marian Goodman Gallery, New York, US Herb & Dorothy, New York, US 25 Years Crone Gallery, Galerie Crone, Berlin, DE Pawnshop, e-flux, New York, US Chez Dominique Perrault Architecture, des œuvres de la collection Billarant, Dominique Perrault Architecture, Paris, FR Art & Project Bulletins: 1968 - 1989, Specific Object, New York, US FiaAt Marian Goodman Gallery, Marian Goodman Gallery, New York, US Herb & Dorothy, New York, US 25 Years Crone Gallery, Galerie Crone, Berlin, DE Pawnshop, e-flux, New York, US Chez Dominique Perrault Architecture, des œuvres de la collection Billarant, Dominique Perrault Architecture, Paris, FR Art & Project Bulletins: 1968 - 1989, Specific Object, New York, US Fiac!

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.

«a / drift: Scenes from a Penetrable Culture,» curated by Josh Decter, Bard Center for Curatorial Studies, Annandale - on - Hudson, NY, October 26, 1996 — January 5, 1997 «On Paper II,» Schmidt Contemporary Art, St Louis, MO, January 23 — February 20, 1996 «Tangles,» Otis College of Art and Design, Los Angeles, CA, November 2 — December 21, 1996 «Community of Creativity: A Century of MacDowell Colony Artists,» Currier Gallery of Art, Manchester, NH, 1996; traveled to the New York School of Design, New York, NY; Wichita Art Museum, Wichita, KS «The Inner Eye: Art Beyond the Visible,» Manchester City Art Galleries, Manchester, UK, 1996; traveled to the Museum and Art Gallery, Brighton, UK; Glynn Vivan Art Gallery, Swansea, UK; Dulwich Picture Gallery, London, UK; catalogue «Hotter Than July,» Margo Leavin Gallery, Los Angeles, CA, 1996 «a / drift,» Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY, 1996; catalogue «Inclusion / Exclusion: Art in the Age of Post-Colonialism and Global Migration,» Steirischer Herbst 96, Graz, Austria, 1996; catalogue «Art at the End of the 20th Century: Selections from the Whitney Museum of American Art,» National Gallery, Alexandros Soutzos Museum, Athens, Greece, 1996; traveled to Museu d'Art Contemporani, Barcelona, Spain; Kunstmuseum Bonn, Bonn, Germany; catalogue «Burning Issues: Contemporary African - American Art,» Museum of Art, Fort Lauderdale, FL; brochure «Thinking Print: Books to Billboards 1980 - 1995,» Museum of Modern Art, New York, NY, 1996; catalogue «10th Biennale of Sydney: Jurassic Technologies Revenant,» Art Gallery of New South Wales, Sydney, Australia, 1996; catalogue «The Mediated Object: Selections from the Eli Broad Collection,» Fogg Art Museum, Cambridge, MA, 1996; traveled to Forum for Contemporary Art, St Louis, MO «An American Story,» Whitney Museum of American Art, New York, NY, 1996 «Festival Exit,» Maison des Arts de la Culture, Paris - Creteil, France, 1996 «Screen,» Friedrich Petzel Gallery, New York, NY; video catalogue «Prospect «96,» Frankfurt Kunstverein, Frankfurt, Germany, 1996; catalogon - Hudson, NY, October 26, 1996 — January 5, 1997 «On Paper II,» Schmidt Contemporary Art, St Louis, MO, January 23 — February 20, 1996 «Tangles,» Otis College of Art and Design, Los Angeles, CA, November 2 — December 21, 1996 «Community of Creativity: A Century of MacDowell Colony Artists,» Currier Gallery of Art, Manchester, NH, 1996; traveled to the New York School of Design, New York, NY; Wichita Art Museum, Wichita, KS «The Inner Eye: Art Beyond the Visible,» Manchester City Art Galleries, Manchester, UK, 1996; traveled to the Museum and Art Gallery, Brighton, UK; Glynn Vivan Art Gallery, Swansea, UK; Dulwich Picture Gallery, London, UK; catalogue «Hotter Than July,» Margo Leavin Gallery, Los Angeles, CA, 1996 «a / drift,» Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY, 1996; catalogue «Inclusion / Exclusion: Art in the Age of Post-Colonialism and Global Migration,» Steirischer Herbst 96, Graz, Austria, 1996; catalogue «Art at the End of the 20th Century: Selections from the Whitney Museum of American Art,» National Gallery, Alexandros Soutzos Museum, Athens, Greece, 1996; traveled to Museu d'Art Contemporani, Barcelona, Spain; Kunstmuseum Bonn, Bonn, Germany; catalogue «Burning Issues: Contemporary African - American Art,» Museum of Art, Fort Lauderdale, FL; brochure «Thinking Print: Books to Billboards 1980 - 1995,» Museum of Modern Art, New York, NY, 1996; catalogue «10th Biennale of Sydney: Jurassic Technologies Revenant,» Art Gallery of New South Wales, Sydney, Australia, 1996; catalogue «The Mediated Object: Selections from the Eli Broad Collection,» Fogg Art Museum, Cambridge, MA, 1996; traveled to Forum for Contemporary Art, St Louis, MO «An American Story,» Whitney Museum of American Art, New York, NY, 1996 «Festival Exit,» Maison des Arts de la Culture, Paris - Creteil, France, 1996 «Screen,» Friedrich Petzel Gallery, New York, NY; video catalogue «Prospect «96,» Frankfurt Kunstverein, Frankfurt, Germany, 1996; catalogOn Paper II,» Schmidt Contemporary Art, St Louis, MO, January 23 — February 20, 1996 «Tangles,» Otis College of Art and Design, Los Angeles, CA, November 2 — December 21, 1996 «Community of Creativity: A Century of MacDowell Colony Artists,» Currier Gallery of Art, Manchester, NH, 1996; traveled to the New York School of Design, New York, NY; Wichita Art Museum, Wichita, KS «The Inner Eye: Art Beyond the Visible,» Manchester City Art Galleries, Manchester, UK, 1996; traveled to the Museum and Art Gallery, Brighton, UK; Glynn Vivan Art Gallery, Swansea, UK; Dulwich Picture Gallery, London, UK; catalogue «Hotter Than July,» Margo Leavin Gallery, Los Angeles, CA, 1996 «a / drift,» Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY, 1996; catalogue «Inclusion / Exclusion: Art in the Age of Post-Colonialism and Global Migration,» Steirischer Herbst 96, Graz, Austria, 1996; catalogue «Art at the End of the 20th Century: Selections from the Whitney Museum of American Art,» National Gallery, Alexandros Soutzos Museum, Athens, Greece, 1996; traveled to Museu d'Art Contemporani, Barcelona, Spain; Kunstmuseum Bonn, Bonn, Germany; catalogue «Burning Issues: Contemporary African - American Art,» Museum of Art, Fort Lauderdale, FL; brochure «Thinking Print: Books to Billboards 1980 - 1995,» Museum of Modern Art, New York, NY, 1996; catalogue «10th Biennale of Sydney: Jurassic Technologies Revenant,» Art Gallery of New South Wales, Sydney, Australia, 1996; catalogue «The Mediated Object: Selections from the Eli Broad Collection,» Fogg Art Museum, Cambridge, MA, 1996; traveled to Forum for Contemporary Art, St Louis, MO «An American Story,» Whitney Museum of American Art, New York, NY, 1996 «Festival Exit,» Maison des Arts de la Culture, Paris - Creteil, France, 1996 «Screen,» Friedrich Petzel Gallery, New York, NY; video catalogue «Prospect «96,» Frankfurt Kunstverein, Frankfurt, Germany, 1996; catalogon - Hudson, NY, 1996; catalogue «Inclusion / Exclusion: Art in the Age of Post-Colonialism and Global Migration,» Steirischer Herbst 96, Graz, Austria, 1996; catalogue «Art at the End of the 20th Century: Selections from the Whitney Museum of American Art,» National Gallery, Alexandros Soutzos Museum, Athens, Greece, 1996; traveled to Museu d'Art Contemporani, Barcelona, Spain; Kunstmuseum Bonn, Bonn, Germany; catalogue «Burning Issues: Contemporary African - American Art,» Museum of Art, Fort Lauderdale, FL; brochure «Thinking Print: Books to Billboards 1980 - 1995,» Museum of Modern Art, New York, NY, 1996; catalogue «10th Biennale of Sydney: Jurassic Technologies Revenant,» Art Gallery of New South Wales, Sydney, Australia, 1996; catalogue «The Mediated Object: Selections from the Eli Broad Collection,» Fogg Art Museum, Cambridge, MA, 1996; traveled to Forum for Contemporary Art, St Louis, MO «An American Story,» Whitney Museum of American Art, New York, NY, 1996 «Festival Exit,» Maison des Arts de la Culture, Paris - Creteil, France, 1996 «Screen,» Friedrich Petzel Gallery, New York, NY; video catalogue «Prospect «96,» Frankfurt Kunstverein, Frankfurt, Germany, 1996; catalogue

Most designs have involved add - on devices that magnify objects and use the smartphone's screen for examination, but researchers at Pacific Northwest National Laboratory (PNNL) have come up with something even better that doesn't require any bulky extra devices and, best of all, is super cheap to make.

The object of Baby Shaker is to stop the incessant crying of an infant pictured on screen by violently shaking the iPhone, at which point two red «x» marks appear over the baby's eyes.

Holding up a phone and looking at alien robots battling for supremacy on my kitchen table while walking in circles, pinching and zooming on a small screen to move objects limited and cumbersome.

At CES 2016, Google and Lenovo announced the first Project Tango smartphone, a device that can take the dimensions of a room and generate on - screen 3D objects.

Some displays at this price range will have lots of ghosting or blurring when moving objects are on screen, and while the display on the Nokia 6 features some visible blurring, it's not the worst we've ever seen, even for flagship - tier displays.

His GPA was listed at a mediocre 2.7 on his resume, but there was also a link to a YouTube video where he demonstrated a glove input device connected to a program he wrote that was manipulating an object on a screen.