Sentences with phrase «objects in the pictures as»

Your toddler can follow along with a story and point to objects in the pictures as you name them.

Not exact matches

In an imaging system, the entire picture or document is treated as one whole object.

One of the features Apple is exploring is the ability to take a picture and then change the depth of the photograph or the depth of specific objects in the picture later; another would isolate an object in the image, such as a person's head, and allow it to be tilted 180 degrees.

Looking at education in terms of the exclusive dominance of the subject - object relationship; they either picture it as the passive reception of tradition poured in from above — in Buber's terms, the «funnel» — or as drawing forth the powers of the self — the «pump.»

As Hunt himself pointed out, nearly every object in the picture is imbued with a symbolic significance.

Henceforth, nature and the world are a picture in which whatever is, is set up as a fixed system, an object «that is set up by man, who represents and sets forth.»

As for the picture to which Mr. Westcott objects becauseit was taken in 1956: it is a fine likeness of Mr. Denny and some of hislongtime supporters, all Californians and today all top - level aides in theUSLTA.

As you say the name of an object in a funny way, your child will figure out the word and draw a picture to represent it.

Step 3: Touch simple pictures and talk softly as you label and talk about the objects in the book.

By most recent estimates, however, there are probably another two or three objects in the Kuiper belt as large or larger than Pluto, which will further complicate the picture.

Einstein objected to this because he believed strongly that physics should provide a picture of nature «as it is in itself.»

In a recent study my colleagues and I showed people 2,800 pictures of common objects, such as backpacks and toasters, for three seconds apiece.

In regards to this, Professor Ohta commented, «This is a big step towards getting the big picture of galaxy evolution as the objects connecting especially bright galaxies in millimeter / submillimeter waves and normal galaxies were detected with ALMA.&raquIn regards to this, Professor Ohta commented, «This is a big step towards getting the big picture of galaxy evolution as the objects connecting especially bright galaxies in millimeter / submillimeter waves and normal galaxies were detected with ALMA.&raquin millimeter / submillimeter waves and normal galaxies were detected with ALMA.»

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.

This may explain why partial advertising bans are ineffective and comprehensive bans on all forms of tobacco marketing are effective.As early as 1911 psychology of marketing theorist Walter D Scott said, «[t] he man with the proper imagination is able to conceive of any commodity in such a way that it becomes an object of emotion to him and to those to whom he imparts his picture... should be a practical psychologist and know the human emotions and sentiments...».

Jackson starred in Universal Pictures» THE SKULLS, and more recently in Rose Troche's acclaimed drama THE SAFETY OF OBJECTS, the HBO Films version of Moises Kaufman's groundbreaking play THE LARAMIE PROJECT, and in Regent Films» AURORA BOREALIS, as a troubled young man opposite Donald Sutherland.

Also featured in the pictures, Evans as the arrogant poseur love rival Gaston alongside Josh Gad as bumbling assistant Le Fou, plus just a few of the enchanted, servants - turned - into - objects characters that includes Cogsworth, voiced by Ian McKellen, Mrs. Potts (Emma Thompson), Ewan McGregor's Lumiere and Gugu Mbatha - Raw's Plumette.

FBI supervisor John Morris's wife, who is reported to have objected to having Bulger at her home (as Marianne does in a particularly dramatic scene in «Black Mass»), is also not in the picture.

Research has shown that these types of inquiry activities — where students are asked to analyze a piece of concrete data such as a picture or an object in order to generate ideas for writing — are an effective instructional practice for improving the writing of adolescent learners.

10 topics (Numbers to 10, Football theme, Food, Classroom Objects, Colours, Clothes with Christmas theme, Cafe, Maths, Places in the Town, etc.) presented as noughts & crosses grids with a row of 0's and X's at the sides - you click then move them to the chosen picture.

INCLUDES 1 Hands - On Standards Math Teacher Resource Guide Grade K with 43 lessons TOPICS Counting and Cardinality Counting On Counting 0 - 5 Number shapes Groups of 6 - 10 Estimate and count Arranging sets of objects Representing numbers with objects Comparing groups Equal groups More and fewer More than, less than, same as Order of numbers Operations and Algebraic Thinking Joining problems Using the plus and minus sign Separating problems Sums and differences to and from ten Decomposing numbers Number and Operations in Base Ten Compose and decompose numbers 11 - 19 Measurement and Data Nonstandard measurement of height Sorting by height and length Estimating and measuring length Sort by one or two attributes Determine the sorting rule Geometry Left and right Top, middle, and bottom Positions on a line Relative locations Inside and outside Before and after Plane shapes and real - life objects Geometric pictures and designs Attributes of plane shapes Cubes and spheres Exploring shape attributes Shape attributes riddles

This is a pure matter of geometry, which you can verify by using a device of the painters for measuring the picture size of an object: Take a pencil in your fist, hold it at arm's length, and mark off on it with your thumb so much space as is necessary to cover the object.

It's a dual - lense set - up that allows you to do things such as measure the distance between objects in a photo, refocus a picture after shooting it and apply filters to different layers of your images.

Despite the recent opening of the Amex Centurion Lounge at Miami Airport, the Admirals Club was pretty busy (probably because the Amex Lounge is quite a distance away near Gate D12) so it wasn't that easy to get decent pictures — I do my best not to get too may people in the photos as you never know who's going to object.

But as for the rest, they range from kill all enemies in a given area, jump on an electrical transformer and quickly get to the next one nearby to re-activate it, finding a hidden package based on a picture and taking pictures of different objects and situations.

Playing on a modern HDTV through composite results in a muddy, washed - out picture, and makes it difficult to distinguish certain objects from the terrain, such as your chopper when it's flying over grass.

You get a stylized portrait of you (or an object of your choice) hung as a painting in Crypt Run's in - game museum (picture requires approval).

While the 100 shrines in the game are built for short applications of lateral thought and controls mastery, with Link's various powers such as Stasis (the ability to halt time's flow on certain objects; check out the halting of the stone ball in the above picture), where the game slips more back into The Legend of Zelda's traditional longer - form dungeons is with the game's plot - critical Divine Beasts, huge titan - like machines that while once created to beat Ganon, have now been taken over by him and are causing chaos in Hyrule's various regions.

One of the most puzzling minor sidelights of Courbet's composition is the significance of the little boy scribbling a picture, a later insertion whose presence has been accounted for both as a mere space filler - to balance the still - life objects on the left - hand side — and as a personification of the newly awakened interest in the art of children associated with the Swiss artist Rodolphe Topffer.15 Yet here again a Fourierist interpretation best accounts for this figure.

In contrast to works that incorporate found everyday objects, such as the «Combine» paintings of Robert Rauschenberg or the Dada collages of Kurt Schwitters, Almquist's experimental paintings extend his picture plane into three dimensions with constructed elements of disjointed, dream - like imagery.

Serving as conversational hubs, these social objects are personified by the pictures we publish to Flickr, the videos we upload on YouTube, the events posted in Upcoming.org, the wall posts shared in Facebook, the tweets that fly across Twitter, the links bookmarked in Delicious, the votes cast in Digg, the places we check into on Foursquare, the documents published in Docstoc, reviews posted in Yelp, communities built around themes in Ning, a thought shared in a blog post or a blog comment, etc..

Yet the object would also perform as a compositional element in some of these still lifes acting in the service of a picture rather than as its focus, reduced to schematic line and shape by the eye of the camera or the swipe of charcoal.

Others of note include the aesthetically dynamic and conceptually dense Bobby Jesus» Alma Mater b / w Reading the Book of David and / or Paying Attention is Free by Frances Stark combining a hip - hop soundtrack with transcribed conversations and take home flyers; Taryn Simon's Birds of the West Indies features the cars, weapons and women of the James Bond franchise pictured as they are now, meaning that while the objects appear as they did in the films, the women bear the effects of age (some are well into their 60s and 70s), which effectively distances them from the roles they had played by reinforcing the reality and humanity that separates them from the objects amongst them.

The Pictures Generation of the 1980s — when I was in college and graduate school — were the people who were as freaked out about the consumable object as they were about visual screens.

He began to produce works which emphasized the picture - as - object, rather than the picture as a representation of something, be it something in the physical world, or something in the artist's emotional world.

As an artist she has exhibited extensively both in the US and abroad and has been included in exhibitions including Made In L.A. 2014, Hammer Museum, Los Angeles; the 12th Biennale de Lyon, France; New Pictures of Common Objects, MoMA PS1, New York and The 6th White Columns Annual, New York, amongst otherin the US and abroad and has been included in exhibitions including Made In L.A. 2014, Hammer Museum, Los Angeles; the 12th Biennale de Lyon, France; New Pictures of Common Objects, MoMA PS1, New York and The 6th White Columns Annual, New York, amongst otherin exhibitions including Made In L.A. 2014, Hammer Museum, Los Angeles; the 12th Biennale de Lyon, France; New Pictures of Common Objects, MoMA PS1, New York and The 6th White Columns Annual, New York, amongst otherIn L.A. 2014, Hammer Museum, Los Angeles; the 12th Biennale de Lyon, France; New Pictures of Common Objects, MoMA PS1, New York and The 6th White Columns Annual, New York, amongst others.

Born from the riotous energy of the 1970s, the contemporary movement known as the Pictures Generation was defined by a rebellious approach that turned away from object - based Minimalism and ushered in a new era of image - based art making.

Space is organic and time is non-linear — a group of different objects moving through the picture plane at various rates of speed, in opposite directions, some gliding slowly and others whirring as if in a blender.

These include paintings, portraits and text - based works inspired by the Palm Island Riot and the stunning 3D installation of competition surfboards, adorned with traditional combat shield designs from North Cairns on the face and excerpts from a James Baldwin's article («Unnameable Objects, Unspeakable Crimes», 1966) on the obverse, through to two extraordinary and enormous drawings «Lynching I» and «Lynching II» which, placed either side of the large picture window, eloquently emphasise the dark side of Sydney's pre-eminence as the starting point of colonisation in this country.

Collection, as Walter Hopps observed, is probably the first of Rauschenberg's works to evince all the characteristics of a Combine, that hybrid of painting and sculpture that the artist developed in the 1950s.1 Yet, despite the challenge to conventional categories posed by its collage and the addition of objects that transgress the limits of frame and picture plane, Collection stands primarily as a reflection on the contemporary status of painting.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

Having garnered an international reputation as one of the leading artists to emerge from the New York Pictures Generation of the 1970s and 1980s, Simmons has thoughtfully and methodically moved through her various photographic series, such as Early Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with humaObjects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with humaobjects animated with human legs.

The photographic object often involves an intersection of process and invention, as does the practice of photography itself, and in traditional photography both the process and the invention are «transparent,» in that they are understood to be a means to an end, namely, to produce a picture as a representational object.

In addition to exhibiting numerous works (pictured above), Peter Sacks was invited as a guest panelist for the discussion Artists» books in the 21st century: cult objectIn addition to exhibiting numerous works (pictured above), Peter Sacks was invited as a guest panelist for the discussion Artists» books in the 21st century: cult objectin the 21st century: cult objects?

In Sticky Pictures, Werner makes visible the source material of her paintings — not only the subject in the photograph, but also the photograph itself; the material quality of the printed image, its traces of weathering, handling and use, its physical presence as an object lying on the corner of a table or hanging loosely on a wall, in a space that might be a studiIn Sticky Pictures, Werner makes visible the source material of her paintings — not only the subject in the photograph, but also the photograph itself; the material quality of the printed image, its traces of weathering, handling and use, its physical presence as an object lying on the corner of a table or hanging loosely on a wall, in a space that might be a studiin the photograph, but also the photograph itself; the material quality of the printed image, its traces of weathering, handling and use, its physical presence as an object lying on the corner of a table or hanging loosely on a wall, in a space that might be a studiin a space that might be a studio.

Using pictures shot on his iPhone during California excursions as a starting point, Schonziet acts on his interest «in being in a place, turning that place into a digital image, turning this previously small digital image into a machine made and very large physical object and then finally to manipulate the image or to dominate the image with a man - made gesture.»

Installed among a number of large, monochromatic pictures, now known as the White Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 and 1952.

From 1988 to 2005 a programme of restoration within the Museum was carried out under Peter Thornton and then Margaret Richardson with spaces such as the Drawing Rooms, Picture Room, Study and Dressing Room, Picture Room Recess and others being put back to their original colour schemes and in most cases having their original sequences of objects reinstated; Soane's three courtyards were also restored with his pasticcio (a column of architectural fragments) being reinstated in the Monument Court at the heart of the Museum.

A child of the Pictures Generation, he looks for subject territory in objects that function as fine art functions while remaining outside of a fine art context.

Looking at these pictures it is easy to catch some fundamental aspects that recur throughout the exhibition: performance, sculpture, painting, objects, film and photography converge, all equally plausible mediums for expressing her bodily and material position in the world as an artist, woman, worker, lover.