Sentences with phrase «objects around you change»

Your name stays the same objects around you change, 2014.

5) Your name stays the same objects around you change (Black Stone) marks the artist's introduction to a letterpress.

Here are five things you should know about artist Sara Magenheimer, and her 2015 work Your name stays the same objects around you change (Black Stone).

Not exact matches

As business managers, we should keep an eye on how these smart objects change the consumer's expectations around user experience and engagement.

When your child is under 4 months you can change their crib position, place a light in their room or talk to your baby as you move around to encourage them to focus on different objects.

But as soon as they start grasping for things, even on the changing tables or whether laying down or you're playing with them you wan na start looking around for small objects that they can pick up and put in their mouth and they can possible choke on.

Loose change, batteries, rubber bands, or other little objects left around the house are choking hazards to your baby.

Metamaterials can change the speed and direction of the waves in bizarre ways, and researchers have used them to funnel light around objects in the first generation of invisibility cloaks.

For one thing, they explain changes seen in an unusual object discovered in 1974, thought to be a binary pulsar, in which two neutron stars (one of them a pulsar) orbit closely around one another.

This means that the whole orbit will change orientation around the central object.

Meanwhile, new technologies allow engineers to dream beyond designing glorified mechanical arms: So - called «swarm bots» work together like army ants to move relatively heavy objects; a fire hose — cum - snake robot can slither across the floor before putting out a blaze; and Nissan is developing an avoidance system to prevent car crashes based on bees — which use their compound eyes to see nearly all the way around themselves while buzzing about, changing direction when they sense something in their path.

Radiocarbon dating works by measuring how much the fraction of carbon - 14 versus non-radioactive carbon in an object has changed and therefore how long the object has been around.

Such an (entirely theoretical) device would somehow allow an object to change mass and inertia at will, and potentially to travel faster than light by «altering the spacetime metric» around itself.

They've already identified four other explosions they think are in the same category, and they write that better understanding of what's occurring in this class of objects could change what we know about how black holes affect the world around them.

The comet appears to have undergone visible changes, including the changes in the size and number of surface features such as smooth patches, pits, and craters, and the loss of ice vaporized by the Sun or blasted off its surface by the Solar Wind into its tail as well as failing back on the object like snow, so that it appears to shrink, on average, by 25 to 50 centimeters (9.2 to 19.7 inches) with each orbit around the Sun.

She has the drugs removed from her stomach at the hospital but she has already absorbed enough that she can somewhere take in all information around her and remember it, as well as instantly change her appearance and move objects and people with mind control.

School grounds should be inspected for potential hazards such as: • Verandah poles outside doorways, in thoroughfares or in situations where students are unlikely to see them, especially while running; • Steps and changes in level which are poorly proportioned, difficult to see or lack handrails; • Fencing, gates and railings which students climb and which have structural problems, sharp protrusions, splinters or other hazards; • Trip hazards at ground level — protruding drainage pit covers, irregular paving, cracks or tree roots in thoroughfares, broken off post or other remnants of old structures; • Loose gravely surfaces on slopes and where students run; • Slippery patches which may stay damp in winter; • Rocks which students can fall onto or throw around; • Embankments which students can slip down or which have protruding sharp objects; • Blind corners in busy areas; taps and hoses which are positioned where students play or walk; window glass at low levels through which students could fall; • Holes, cracks or exposed irrigation fixtures in ovals; • Trees or shrubs with poisonous parts, sharp spikes or thorns or branches at eye level; • Splinters and deteriorating timbers in seats, retaining edges and other wooden constructions; • sSeds or other areas with hazardous chemicals or machinery to which students have access; rubbish skips which students can climb into or around, or which place students at risk when trucks enter the school; • Areas within the site used for car parking when students are present; and, • Sporting equipment such as goal posts or basketball rings which have structural or other design or maintenance problems.

Listen carefully around the brake booster (the large round object more or less in front of the driver in the engine compartment), I suspect that there is a leak that is causing the idle mixture to change, probably too lean as air is being pulled in when the brake is applied.

You're moving physical objects around and that takes physical time, not like LCD displays that change the state of electrons.»

In order to identify the Distributable Object as it moves around, changes to the identifier and last modified time only occur when making changes to the content and metadata.

Can the dog do the behavior (say holding an object) when sitting, standing, laying down, turning around, changing from one position to another etc?

Some exercises that will be covered are, heeling on both sides with change of sides while moving, hula hoops, tunnels, easy buttons, mats, targeting, positioning around an object and Find It game.

These Remix segments take the form of what are essentially videos that you can rewind, pause, play and fast - forward at will, with interactable objects scattered around the memory that change how events play out.

The player adjusts time backwards and forwards to change how the pair manipulate the world around them and how objects move through time.

As the game goes on the levels become larger and new mechanics get introduced, such as shortcuts that let you hop across the map and objects that can be moved around, potentially changing patrol routes or letting you sneak around.

The controls are appropriately mapped to the DualShock 4 controller with the default right handed control scheme consisting of pressing R2 to fire right weapon; holding L2 to aim down iron sights or pressing L2 to fire left weapon when dual - wielding; pressing R1 to throw a grenade or holding R1 to display the weapon wheel; pressing L1 to lean around cover; pressing square to reload ammunition or interact with an object; pressing triangle to cycle through to the previous weapon; pressing X to jump; pressing O to crouch; pressing up on the d - pad to toggle dual - wield; pressing left or right on the d - pad to toggle left or right weapon upgrade respectively; pressing down on the d - pad to receive an objective waypoint marker; changing the direction of the left analogue stick to move; changing the direction of the right analogue stick to aim; pressing L3 to sprint; pressing R3 to perform a silent takedown or throw a hatchet; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

- get Public Works tasks from Isabelle - early on you'll have to build a school - choose the outside look from a selection of options then work on the inside - inside includes work on benches, lockers, tables and more - later you'll work on a hospital, cafe, a shop and more - the hospital tasks you with working on multiple rooms - use the stylus to drag and drop items into the playing field - tap the object to change the perspective and move them all easily to somewhere on the grid - drag the characters around as well - tapping on the D - Pad lets you change the camera angle - move around with the Circle Pad and interact with others by pressing the A-button - the plaza is where old and new animals are gathered - a speech bubble above a head denotes requests - once you've wrapped up the development of a property, a scene will play where the animals interact with the property - animals will say specific things when they are in stores / school or comment on things that are placed around the house - throw in your own favorite characters by purchasing amiibo cards - scan them and they will enter the house or scene - cards also give requests from characters before you even meet them in the game - some characters are exclusive to the cards - put data back on the card and give that information to the friend

The controls are easy to master as they are as responsive and intuitive as the first Destiny with the default control scheme consisting of pressing R2 to shoot; pressing R1 to perform a melee attack; pressing L2 to aim down the weapon's sights; pressing L1 to throw a grenade; pressing L1 and R1 to perform a super ability; pressing X to jump; double pressing X to engage thrusters in order to reach greater heights; pressing O to crouch; pressing square to reload; holding square to interact with an object; pressing triangle to change weapon; pressing up on the d - pad to wave; pressing right on the d - pad to dance; pressing down on the d - pad to sit; pressing left on the d - pad to perform a customised movement; changing the direction of the left analogue stick to move your character; pressing L3 to sprint; changing the direction of the right analogue stick to look around your surrounding environments; pressing R3 to highlight a player; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

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.

Using the Brush from the other Epic Mickey games, Mickey can change the world around him by painting or erasing objects and creatures on the touch screen.

The control scheme consists of pressing X, triangle, square or O to perform actions, start a conversation with a Fable 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 L2 to show selectables or to perform fight actions; pressing up or down on the d - pad to cycle through your inventory; mashing certain face buttons such as X, triangle, square or O when in one - on - one fights with Fables as the buttons are randomly generated each time you play; changing the direction of the left analogue stick to move Bigby as he walks around to explore the environment; 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 Fable; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

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.

They could ultimately change how players have to design their railways, around different objects and room layouts.

The controls are well mapped to the DualShock 4 controller with the control scheme consisting of pressing X, triangle, square or O or alternatively by pressing up, down, left or right on the d - pad to perform a particular action, 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; there are certain face buttons, such as X, triangle, square or O that you have to button mash when in one - on - one encounters with walkers as the buttons are randomly generated each time you play; changing the direction of the left analogue stick to move Lee around cover in a tight situation or walking around as you explore the environment and find people; 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; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

The controls are appropriately mapped to the DualShock 4 controller with the control scheme consisting of pressing R2 to shoot base ammo or throw an item; holding R2 to craft base arrows; holding L2 to aim or submerge in water; pressing R1 to shoot special ammo; holding R1 to craft special ammo; pressing L1 to heal; pressing X to jump or climb; pressing square to interact with objects, use a climbing axe for grip on tough terrain, throwing a grapple axe or reloading; pressing O to scramble, roll, drop or swim; pressing O when aiming to dodge; pressing triangle to perform a melee attack or finisher; pressing up on the d - pad to select bow or cycle special arrows; pressing left on the d - pad to select a shotgun; pressing right on the d - pad to select a rile; pressing down on the d - pad to select a pistol; pressing L3 to sprint or shoulder swap when aiming; pressing R3 to focus on Lara's survival instinct or zooming when aiming; changing the direction of the left analogue stick to move; changing the direction of the right analogue stick to adjust your aim or look around the environments; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

Thankfully, the console versions will have a context specific interface that changes depending on what action is available around a certain item or object.

Early in the game the puzzles involve actions such as flicking a switch or pulling an object, but the more you progress the more complex they become and change the environment around you - for instance, the turn of a cog will turn your whole world upside down and timing is very much of the essence!

Consider the function or change the function of the object by creating a new layer to its structure by drawing in, around, or through the object.

Alexander Calder: Performing Sculpture brings together around 100 works and shows how Calder turned sculpture from a static object into a continually changing work to be experienced in real time.

As the panels and objects revolve around the room, they become actors moving across an ever - changing backdrop.

I think that as we develop ideas around using found objects or specific materials to make commentary I would prefer to see these things go through a state of change.

In his own words — he sees a material or an object as having a balloon of information around it, this having said, it is clear how any change in form changes the balloon in question.

Despite the massive changes that the field of contemporary art has undergone in the past several decades, that saw the dematerialization of the art object and onset of experiential events, most art institutions continue to be oriented around static, object - based exhibition formats.

When sharing more about her process of making the works on view, Mendieta said, «Time passing and change are undeniable aspects of the world around us... Often artistic creation results in the production of art objects.

Subject to Change centers around seven artists who use traditional photographic processes to revive lost or discarded everyday objects.

More recently, Gisela Colon, who has been recognized in ArtForum as a next generation light and space artist, has created «irregularly shaped wall mounted acrylic orbs... scarab - like objects achieve their iridescence via the play of natural light, yet the sculptures appear to change color as one moves around them, as if lit by multihued bulbs.»

Ruhwald engages with ceramic history and plays around with object categories: «Change a simple parameter, and have the object behave in a different way.»

2000 The Work Shown in this Space is a Response to the Existing Conditions and / or Work Previously Shown Within the Space III, Neuger Riemschneider, Berlin, DE Sequences, Galerie Roger Pailhas, Marseille, FR La Frontière, Recit d'Expériences, one of several exhibitions collectively entitled «Réseau Galleries / Multilangages de l'Art», Institut d'Art Contemporain - FRAC Rhône - Alps, Villeurbanne / Collège de Prévessin - Moëns (Ain), Academie de Lyon, FR TransAct - Platform for Transitional Activities in the Cultural Field, «Museum in Pro-gress» in cooperation with «Art Pool», Vienna, AT Shoot: Moving Pictures by Artists, Malmö Konsthall / The Cinema Spegeln / Restaurant Hipp, Malmö, SW; Living Art Museum, IS, as part of Kyikar Myndir show, Reykjavik, IS Never Exhibited: Works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annandale, New York, US Copyright / Copywrong, Ecole Régionale des Beaux - Arts de Nantes, Nantes, FR Thirtieth Anniversary Benefit Silent Auction, White Columns, New York, US Two by Two for Aids and Art, Dallas Museum of Art, Dallas, Texas, US Dust and Dirt, De Witte Zaal in cooperation with SMAK, Ghent, BE L'Elemento Verbale Nell» Arte Contemporanea, Galleria Martano, Torino, IT; Galleria Martano, Milan, IT Sentimental, Galerie Yvon Lambert, Paris, FR Die Natur der Dinge, NRW - Forum Kultur und Wirtschaft, Düsseldorf, DE Pure, one of several simultaneous exhibitions around UK, collectively entitled On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, ES

The curators with the ten architectural teams for Venice Takeaway, in the main gallery space housing the Research Emporium which presents the films, objects, photography and writing from the teams on their trips around the globe in search of new ideas to change British architecture.

The bottom left hand constituent of Six Forms must be turned around to provide the left hand side of the middle section of the unified object, while the orientation of that at bottom right need not change.