Sentences with phrase «objects against a background»

To find moving objects against a background of stars, astronomers take two or more pictures of the same patch of sky at different times.

Not exact matches

Long before Einstein, Mach had advocated a «truly relative» theory, in which objects were positioned only in relation to other tangible objects — Earth relative to sun, pub relative to farmhouse — and not against any abstract background grid.

But despite the name of his famous concept — the theory of relativity — Einstein's universe still required a background against which particles and objects could be located in both time and space.

The word simply meant «wanderer» and referred to the seven prominent celestial objects that moved against the background of stars.

When you see the satellite as a line against a background of stars, it is due to the object's motion in the sky during a long exposure.

This image processing most likely evolved because it allowed animals to perceive objects more quickly, especially against murky backgrounds.

Study subjects examined the location of objects on a computer screen against a background of an underwater ocean scene.

The cheerful, bright images are beautifully designed and contrast well against stark white backgrounds, making it easy for young children to point as they add up objects, animals, and kids.

Depending on your character, certain objects can be picked up and thrown, structures can be used as a means to boost yourself out of the corner, or you can smack your opponent against the background for combo opportunities.

In some stages, you'll be playing as a silhouette against a bright background and still the strong art style in the game ensures you can still make out every object and enemy despite only seeing their silhouette and animations.

Set against minimal backgrounds, the objects are divorced from any visible cultural context.

Not only do the works in this exhibition expound on Thiebaud's signature motifs — objects and figures limned in color against ambiguous backgrounds, and inventive city and landscape scenes — they also convey the range of process, ingenuity and specificity that distinguishes each of Thiebaud's works.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reobjects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reObjects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reobjects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

For Cynthia Greig «s project, «Representations,» the artist whitewashes objects with ordinary white house paint before using charcoal to outline the items, then photographing the transformed objects against a white background.

Lauster positions these iconic objects alongside snarls of razor wire — a type of high - tension wire with sharp - edged blades made from steel tape — and barbed wire against a white background.

Her most recent body of work is a series of images that depict Caucasian female hands interacting with specific objects against a beige background.

But more often, her work is deeply visually pleasurable, isolating images or objects — a dress, a classical statue, a bowl — against colorful monochrome backgrounds for analysis, like forensic evidence, or brain - food canapés on a tray.

His early work features broad, calm rectangles in the manner of the American Color Field painters, but Hoyland's distinctive contribution has been to break with the modernist insistence on a flat surface and to put perspective back into abstract painting: his mature work is characterised by depth and texture, in which strange objects float in the foreground or middle distance, against an often mysterious background, in a way that is oddly reminiscent of Miro.

A painter, sculptor, and printmaker, Sultan is regarded for his ongoing large - scale painted still lifes featuring structural renderings of fruit, flowers, and other everyday objects, often abstracted and set against a rich, black background; but he is also noted for his significant industrial landscape series that began in the early 1980s entitled the Disaster Paintings, on which the artist worked for nearly a decade.

«Parallax» is what you call the way stationary objects seem to move against their background if you look at them from different angles.

Setting these objects against a striking background gives them a contemporary twist that results in a startling impact.

Instead, the video ends with Herzog zooming out from Segers's pieces, calling attention to them as objects by placing them against a white background, their edges finally visible.

Against this background, he creates installations that expand through space, consisting of textiles, wood, everyday materials and found objects.

Set against a black background, the objects speak to a moment for celebration that was overshadowed by one of opacity and bewilderment.

The objects, often simple and otherwise not worthy of much thought, are painted in the finest of detail against photos of unlikely environments collaged into the backgrounds.

In his paintings, drawings, sculptures, graphics, collages and assemblages he combined different techniques with handwritten texts and words and set real everyday objects against undefined backgrounds.

Later works include exuberantly satirical works of the 1960s, many featuring the vaguely autobiographical figure described by critic and artist Anne Doran as a «nattily dressed and deeply ridiculous Everyman in mad pursuit of liberty, poetry, and sex»; the pornography - inspired «X-Rated Paintings» of the early 1970s; the «Noun» paintings of the same period (each depicting a single everyday object against a bright, patterned background); the schematic, figurative canvases made in homage to Copley's Surrealist idol Francis Picabia; and the story cycles and morality tales from the 1980s and 90s, including a painting from the installation project The Tomb of the Unknown Whore.

The largeness of Sultan's compositions, huge pieces of fruit, flowers, dominoes and other objects, set against the stark, unsettling tar - black, eight - foot square background, dominate the viewer.

«Allowing light to pass through the dewlap makes the colors of the dewlap much easier to detect and to distinguish against other objects in the background, which means the signal is easier to see by potential mates and rivals,» explained Leal.