Sentences with phrase «of objects in the real world»

Not exact matches

The idea behind Aireal is that if you touch or hit an object virtually, you should be able to have some time of real - world reaction to further engage you in the game or program you're using.

The marriage between hardware and software can then be used by app developers to create all kinds of interesting apps, including those that place 3 - D objects in the real world.

When you attend a meeting in VR, you are able to share the same sense of place with multiple others, interact naturally with 3D objects and speak one - on - one with others as you would in the real world.»

Whitehead maintains that, in addition to the «real potentiality» of the given world, there is a «general potentiality» provided by the multiplicity of eternal objects as envisioned in the primordial nature of God's character (PR 65 / 102).

For example, it is a general or pure possibility that I might win the 100 - meter dash in the next Olympic Games, but this is not a real possibility given my creaky joints, advancing years, etc. «Real potentiality» refers to those possibilities for the ingression of eternal objects which still remain after one strikes from consideration the impossibilities which the conditions of a given, factual world eliminate from the horizon of any particular actual entity or set of actual entities arising out of that woreal possibility given my creaky joints, advancing years, etc. «Real potentiality» refers to those possibilities for the ingression of eternal objects which still remain after one strikes from consideration the impossibilities which the conditions of a given, factual world eliminate from the horizon of any particular actual entity or set of actual entities arising out of that woReal potentiality» refers to those possibilities for the ingression of eternal objects which still remain after one strikes from consideration the impossibilities which the conditions of a given, factual world eliminate from the horizon of any particular actual entity or set of actual entities arising out of that world.

The natural structure of Prolog programs allows us to see in an appealing manner how eternal objects and propositions are nested and related to each other and how they can reveal the form of prehensive structure in the real world.

This principle, which views the real subject of the self - experience as standing in real relationships to a real object world, emphasizes again that the self - experience as experience of interaction is correct.

We can never look directly at them, for they are bodiless and featureless and footless, but we grasp all other things by their means, and in handling the real world we should be stricken with helplessness in just so far forth as we might lose these mental objects, these adjectives and adverbs and predicates and heads of classification and conception.

The Baby Einstein story is one of those inspiring stories of a young mother who wanted to be able to share a world of discovery with her baby - exposing her to the surrounding world by using real - world objects, music, art, language, science, poetry and nature in enriching, engaging, and playful ways.

The astonishing ability of many children with autism to rapidly locate concealed on - screen symbols falls apart in an experiment that mimics hunting for objects in the real world.

UC Berkeley scientists have discovered a visual mechanism they call «ensemble lifelikeness perception,» which determines how we perceive groups of objects and people in real and virtual or artificial worlds.

It's quite pretty and it's fun to see how the relevant real world objects (a recorder, a rotunda) are inserted into the environment, but it doesn't come close to the fantasy sequences in Heavenly Creatures and, all in all, seems like a waste of the $ 100 million budget.

Some, of course, will object on principle to the mere act of turning events such as the Iraq War and the 9/11 attacks — two of Greengrass's previous subjects — into pulse - pounding thrills in the first place, arguing that he's exploiting real - world trauma for the sake of shallow entertainment.

Slightly different to VR, AR simulates superimposed, computer - generated artificial objects in the real - world environment (think Pokémon Go) and printed material, enhancing the perception of reality.

In the real world, this kind of accident happens all the time, when cars edge across the center line and hit the corner of an oncoming vehicle, or when cars hit telephone poles and other narrow - ish objects.

Basically, in the real world, we touch physical objects all the time, gaining an immediate response of sensation.

It recognizes objects in the real world, can read QR and barcodes, and allows consumers to easily purchase items with the click of a button.

The story of Mario + Rabbids Kingdom Battle, is that the Rabbids screwed up some poor girl's science project in the real world, a project that combines objects to make something new and more efficient (like a flower that's also a lamp).

As one would expect, the game is mostly shrouded in darkness and a lot of objects emitting light are present in the world, most of all fire which looks like the real thing.

Fortunately the tower is filled with enough light to cast a wide variety of shadows on which you can climb, jump, and otherwise treat as if they were real objects — even if those shadows are arranged somewhat differently than the structures that cast them in the real world.

Where Virtual Reality consists of a completely computer generated world where you interact with virtual objects, Augmented Reality places virtual objects in a real world environment.

Just like any of the other toy - to - life games it has me doing things in the real world, holding physical objects and seeing them come to life in a digital realm.

The latter, if the case of bringing real - world objects into a digital design design space of sorts, is a curious endeavor, especially in print.

Alluring from their pedestals, her concoctions come from the real world of the everyday and carry with them no irony but a comic touch, in the way that the cheap mass - produced perfection of her objects clashes with expensive design and artifacts.

The earliest of these succeed as the seemingly unlikely fusion of Abstract Expressionist painting techniques with objects from the real world and still stand as the crowning achievement in his oeuvre.

As you're moving through this world, you can see this hexagonal object in the distance and you kind of move towards it, and as you approach you're almost flying through this subconscious space, yet it's so real.

In Denys Zacharapolous's words, for Suzan Frecon art continues «to be part of a world in which individuals as well as objects, encounters as well as proximities remain reaIn Denys Zacharapolous's words, for Suzan Frecon art continues «to be part of a world in which individuals as well as objects, encounters as well as proximities remain reain which individuals as well as objects, encounters as well as proximities remain real.

While she draws inspiration from tangible objects or images, von Heyl's paintings are not representations of real things in the world.

Exhibitions include Dos Mundos: Worlds of the Puerto Ricans 1973, Mira, Mira, Mira, Museum of the City of New York 1974, Ten Japanese Artists, 1975; Legacy of James Vanderzee, 1977; Sacred Artifacts: Objects of Devotion, 1982; Disinformation: The Manufacture of Consent, 1985; Repulsion: Aesthetics of the Grotesque, 1987; Foreign Affairs: Conflicts in the Global Village, 1988; Dia De Los Muertos, 1988; Prisoners of Image: Ethnic and Gender Stereotyping, 1989; Mon Reve: Haiti after the Duvaliers, 1989; Artists of Conscience, 1992; Peoples Choice: Komar & Melamid, 1994; Expansion Arts, I, II, III, 1995 - 1998; (Mickey) Mouse: An American Icon, 1998; The Artists as Patron, 1999; Honeymoon Series by Yoshio Itagaki, 2000; Between the Real and the Unreal: Recent works by Simen Johan, 2000, Genochoice an installation by Virgil Wong, 2000.

Rejecting the overblown rhetoric and adamant nonfiguration of Abstract Expressionism, which then dominated the American avant - garde, Neo-Dadists embraced depictions of the real world and strove to integrate art and life through the use of real objects in paintings and sculpture.

Consciously employing commonly used artistic techniques, such as trompe l'oeil, action painting, graphic design, screen printing, and rudimentary drawing, Josh Reames» paintings break down hierarchies of mark - making, art historical references, computer graphics, labels, and everyday objects in a manner drawn from the non-objective «infinite scroll» of images and information we encounter in both the online and real world.

A beautiful and humble object, where neither artist plays the dominant role, thus sits perfectly in the world of concrete poetry for which Finlay was such a catalyst in the 1960s, suggesting real friendship between the two artists skilfully exploited by the publisher.

''... The found object quality of these works draws on histories and practices in painting such as abstract minimalism of the»60s and»70s, quietly positioning an apparent similarity to these real world objects which are rudimentary tools for identification,» according to Karma.

His deft use of materials gathered in and around urban neighborhoods imbues his work with a visceral relationship to the real world, allowing him to challenge viewers» perceptions of familiar objects and experiences.

* Opening: «In the Real World» * Opening: Davion Alston and Jeffrey Paclipan, «Objects of Thought» * Opening and Book Release: Bill Yates, «Sweetheart Roller Rink» Hathaway Contemporary / 6 - 9 pm

Biography: Danish artist Susanne Wellm explores the everyday world in serene color, revealing potential links of real or imaginary stories between objects and persons.

Barlow enjoys juxtaposing these elements with more abstract sculptural forms, in order to tease out the paradoxical nature of sculpture and its relationship to objects in the real world.

Using a mix of bright colors and more muted tones, as well as thin washes and thick layers of paint, Youngblood builds up complex, spatially ambiguous surfaces that in her words «mimic objects, materials, and things from the real world.»

Her signature abstract shapes refer to things in the real world — vessels, bowls, tools, and other objects — each revealing the mark of the human hand while also summoning natural forms and forces.

He exudes pride when the object of ridicule, struggles to find in his place in an undefined world: he's a man, not a boy; too real for the other toys and too strange to be loved by a child.

In the early 1900s, Klee radically broke with a millennia - old tradition in art: the faithful representation of objects and environments from the real worlIn the early 1900s, Klee radically broke with a millennia - old tradition in art: the faithful representation of objects and environments from the real worlin art: the faithful representation of objects and environments from the real world.

The language of photography and art — of categories of objects and materials that I have created in my studio — is reflected to me in the «real world.»

He first considered making copies or facsimiles after remembering how in Peru, copies of museum objects travelled the country as educational tools when the real objects existed elsewhere in the world.

At L.A. Louver, a sharply focused show zeros in on LeWitt's capacity to transform abstract ideas into concrete objects that viewers experience as slippery interminglings of drawing, painting and sculpture — while comparing and contrasting such physical entities with idealized images of geometric perfection, which inhabit the mind's eye but never appear in the real world.

Also included in the exhibition are Swen (1983) and Uplift (1986), sculptures that are painted with colorful patinas that reflect the brilliant tones of her paintings, watercolors and prints, and were directly connected to the real world by the found objects and casts of natural and man - made forms.

In a revolutionary departure from the institutional definition of drawing, and from the reliance on paper as the fundamental support material, artists instead pushed line across the plane into real space, thus questioning the relation between the object of art and the world.

«What I object to fiercely is that we've got this cartel who control the top echelons of the art world in this country and leave no access for painters and sculptors with real creative talent.

Although most Cubist works were still derived from objects or scenes in the real world, and thus can not be considered to be wholly abstract, the movement's rejection of traditional perspective completely undermined natural - realism in art, and thus opened the door to pure abstraction.

Price's chosen film medium gives an almost tangible quality to the clay, enhancing the sense of character and creating intrigue around the objects in the videos, more so than if they were encountered in the real world.

Beginning in 1926, when Magritte first aimed to create paintings that would, in his words, «challenge the real world,» and concluding in 1938 — a historically and biographically significant moment just before the outbreak of World War II — the exhibition looks at Magritte's image - making tactics including displacement, doubling, metamorphosis, the «misnaming» of objects, and the representation of visions seen in half - waking stworld,» and concluding in 1938 — a historically and biographically significant moment just before the outbreak of World War II — the exhibition looks at Magritte's image - making tactics including displacement, doubling, metamorphosis, the «misnaming» of objects, and the representation of visions seen in half - waking stWorld War II — the exhibition looks at Magritte's image - making tactics including displacement, doubling, metamorphosis, the «misnaming» of objects, and the representation of visions seen in half - waking states.