Sentences with phrase «objects out of images»

And it's launched new creative tools like its Scissors cut - and - paste feature, Magic Eraser for Photoshopping objects out of images and augmented reality World Lenses that insert make - believe 3D objects into your Snaps.

Not exact matches

Programmers have, rather, fed the computer a learning algorithm, exposed it to terabytes of data — hundreds of thousands of images or years» worth of speech samples — to train it, and have then allowed the computer to figure out for itself how to recognize the desired objects, words, or sentences.

A second basis for the sensa myth is the fact that we do use mental images to fill out perceptual objects; e.g., I am aware of the visual profile of an event.

He makes out of the spoils of battle an ephod, an object in the paraphernalia of a priest (not an image, as a later editor in verse 27 would have it).

Books like Priddy's First 100 Words will never go out of fashion in Montessori homes - the clear realistic images on plain backgrounds, of every day objects, is just perfect.

We've been intent on losing the fixed frame of the photograph, enabling the viewer to focus on particular objects or figures that they single out within the depths of the image.»

Phinney adds that the naturally bright, washed - out look of the images cinches the trick — the loss of detail makes objects seem even more model - like.

Fiber optics allow simultaneous spectrographic readings of as many as 100 objects in the field of view; a fourth correcting mirror rapidly tips and tilts back and forth to cancel out image «wiggling» caused by turbulence in Earth's atmosphere; new CCD image receptors can tip and tilt electronically.

Such rules include perspective (parallel lines appear to converge in the distance), stereopsis (our left and right eyes receive horizontally displaced images of the same object, resulting in the perception of depth), occlusion (objects near us occlude objects farther away), shading, chiaroscuro (the contrast of an object as a function of the position of the light source) and sfumato (the feeling of depth created by the interplay of in - and out - of - focus elements in an image as well as from the level of transparency of the atmosphere itself).

Computers that can reason about images may be able to pick out distinct features of a person, place or object from photograph archives

The mass distribution in a galaxy acts rather like a lens shaped like the bottom of a wineglass, and produces multiple images of background objects, with images stretched out into arcs and rings.

We intend that this space will include not only objects, pieces of engineering, documents and images, but also large - scale projections of archive films; the stories of Jodrell Bank's role in the space race and discoveries out in space.

Making an extra effort to image a faint, gigantic corkscrew traced by fast protons and electrons shot out from a mysterious microquasar paid off for a pair of astrophysicists who gained new insights into the beast's inner workings and also resolved a longstanding dispute over the object's distance.

The object stands out as extremely bright inside a large, chemically rich cloud of material, as shown in this image from NASA's Spitzer Space Telescope.

The MOD function helps enhance the driver's situational awareness by providing visual and audible warnings (front or back range object detection) if the system detects large moving objects within the displayed image in situations such as when pulling out of a parking space.

Moreover, these condensed images contain a surprising élan vital ---- in no small measure because of the the tightly sprung curves of the window grillwork, radiating out from the still life like abstract signs or the inner force of the objects.

The objects made by Lins — a Bell telephone, a VKhUTEMAS model, a table built to the specifications set out by Enzo Mari in his open - source manual Autoprogettazione of 1974 — are at the same time models for some other form of artistic production: things beyond the categories of craft, art, design, sculpture, image, capitalist consumerism, or communist nostalgia.

He often cuts his images out of linoleum tile, filling the incisions with tar or plaster to create his decorative, monochromatic silhouettes of ordinary objects like buttons, dominoes, and lemons.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenImages (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenimages of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

Hamilton, who is nominated for this year's Turner Prize, creates installations full of unexpected images and objects: blown - up photographs of John Travolta's face, Perspex cut - outs of women's legs, a giant golden bum clasped by two hands, kimonos, rice crackers, pineapples.

In both of these image collections, I imagine the ambiguity of what purpose possesses these objects to be in direct correlation to the dispossession of their instrumental worth: out - stripped in efficacy by pixilated information and equipment far more interface directed.

Rakowitz's handwriting annotates various archival objects and images from the two break ups in four wall mounted glass cases (one for each Beatle), transparently struggling with the best way to overlay the two stories and tease out some kind of comparison.

Ideas relating to the concept of folds play a crucial role in the artist's practice as his work is highly adept at drawing out libidinous subtleties of images and objects using minimal gestures.

He works from photographs and drawings, creating collage - like compositions, and then experiments with different ways of drawing out the aspects that interest him — whether highlighting the surface detail or distant object, or by painting a version of the image as a blocked - out negative of flat colour.

Each painting contains a central object that acts to «trigger collective memory» and which builds a psychology within the image that makes it distantly familiar, yet still out of place.

Gorchov comments: «These are paintings... The objects, for me, are in service to the image... I call them sculptural paintings; they come out of the wall, they enter your physical space.

I don't start out with an image in mind, nor a set of objects, nor a narrative line... but I do begin early on to imagine a time of day which determines the length or absence of shadows and the light in this world.

It also comes out of an interest in quilts and textiles where you have these image / objects but... the object itself when you put it on the wall is contending with real gravity.

Each in its own way is an attempt at eking out some ineluctable truth whether that kernel of knowledge be hidden in the history of language, the development of images as objects, the failure of various artistic tropes, or the duplicity of an object that serves both form and function and neither simultaneously.

Distorting the image is a process of improving the image, for instance, adding objects over it, or adding bright colors to make the image pop and stand out.

After a number of successful shows, including his sell - out solo exhibition at Madder139 in London, he now lives and works in Glasgow where his painting practice oscillates between sculptural form / object / image and performance.

The objects in the image seem preternaturally still, pushed off to the left side of the frame: a liquefied elastic globule seems to pull down or just barely rest at the very corner of a marble slab, above it there is a chunk of what looks like concrete with rebar sticking erratically out of it that in turn appears to be floating upwards.

Margarita Myrogianni presents a photographic diptych of a still life with newspaper used as an object while at Tjorg Douglas Beer's collages a puppet is surrounded by images of celebrities, actors, pop star, dictators and war criminals that he has cut out of newspapers.

In a 1989 statement, Ghirri said his images, «become our impossible landscape, without scale, without a geographic order to orient us; a tangle of monuments, lights, thoughts, objects, moments, analogies from our landscape of the mind, which we seek out, even unconsciously, every time we look out a window, into the openness of the outside world, as if they were the points of an imaginary compass that indicates a possible direction.»

The idea of painting as object, hotly considered at that time, took on even greater depth with this work as it seemingly beamed out images of colors and shapes.

The intensive labour that goes into my animations is perversely used to produce images of objects and experiences that we normally go out of our way to avoid seeing and experiencing.

Inspired by everyday objects and disposable items, his prints frequently include images that would not look out of place in a cookbook, juxtaposed with unsettling or inappropriate sentences.

The title of the exhibition is borrowed from a poem by Mei - Mei Berssenbrugge, a poet who refers to her works as «collages,» inasmuch as they're composed by culling a collection of texts, images and physical objects to form a map, which she eventually smooths out grammatically to create a «linguistic surface.»

Their gift charts the course of the most adventurous art movements since the 1950s, primarily in the United States, beginning with the work of Jasper Johns, Robert Rauschenberg, and Cy Twombly, who began to forge a path out of Abstract Expressionism toward Pop Art with the use of images, materials, and techniques from mass media and found objects.

Just as the spectator introduces a sense of animation with his reflection and interrupts the stillness of the image, he or she gets the impression that objects on a shelf are at their very fingertips — all they seemingly need to do is reach out.

This exhibition features large sculptures by Victoria artist Nick Brdar, involving cut - out and modeled images of bodily segments grafted on to structures and discarded consumer objects.

The way the ball's glow spreads out over the frame, seemingly over the top of nearby objects like the roofline, suggests it is occurring on the image sensor and not in the atmosphere.

One example is real - time scene and object recognition, which uses AI to identify what's being captured — like stage, person, or even dog, as CNET notes — and adjust the camera to get the best image out of it.

The low light performance of the V30 + is pretty average as result often turn out to be a little grainy and the camera app is also little laggy in low light environments — the large aperture does pull in more light and makes even objects in dark areas visible, but this benefit is offset by the amount of noise that creeps into the images.

Selective Focus A camera feature that makes objects stand out by blurring the part of the image you don't want to focus on.

The post explains that when each pixel or subject in the image is assigned one of these labels, it also helps in figuring out the outline of the objects concerned, which is crucial in Portrait mode.

Google Lens, Google's new object and image recognition feature debuting on the Pixel 2, is roilling out to users of last year's Pixel and Pixel XL through a server - side update in the latest release of Google Photos.

Google Lens, Google's new object and image recognition feature debuting on the Pixel 2, is roilling out to users of last year's Pixel and Pixel XL thr...