Sentences with phrase «often see an object»

We often see objects on Disk Detective that consist of an otherwise dust - free star that just happens to be in front of (or behind) and unrelated blob of interstellar dust.

We often see objects that we can not pick up, although you can see them flashing.

Often we see your objects frontally with no perspective orthogonals.

Not exact matches

Indeed, those who have argued that the figure of the emperor is a sustained concern of any part of the New Testament have often found themselves the object of ridicule and their interest regarded as, at best, somewhat eccentric (an example of this can be seen in R. P. Martin's remarks about Karl Bornhäuser's Jesus imperator mundi in the former's Carmen Christi).

Seen alternately from the conceptual perspective of existentialism, this mode of being in the world is what is called «bad faith» or «inauthenticity»: the attempt, often profoundly successful, to act as if one were a thing, an impenetrable object — the self that «need be no more original than a stone» (PR 159).

It's why you often see young babies pick up toys, books, and other objects and immediately put them in their mouth.

Toddlers can often be seen grouping objects together by size, color, and other similar features.

But his problems were not quite as extreme as seen in Klver - Bucy; he could often recognize the general category that an object belonged to («it's an animal») albeit not the specific exemplar (he might say «dog» instead of the correct «goat»).

This meant that she often saw just one object at a time.

Something that we often see in the landscape of stores with a gorgeous curation of unique objects and clothing is a very austere and sort of standoffish attitude, as if the store and the products themselves are so beautiful that they are extremely exclusive.

Patton Oswalt, in his email, said «Leonard Maltin's «Guide» was the object I saw most often clutched in the hands of the film freaks in the revival cinemas I visited all through the 90's.

There is no waypoint system used within stages and it's often hard to see highlighted objects (if there even are any at the time).

The mirrors make it easy to see objects that are often in blind spots in other car mirrors.

In a compound object (like «Sally and me»), we see authors often overcorrect to say «I» when they should really say «me.»

This is helpful when a foreign object is suspected but can not be seen with a routine X-ray because the object is often times the same density as the surrounding tissue and can not be seen otherwise.

Often dogs will bump into objects in a dimly lighted room; a room in which a person can see well enough to avoid the object.

A foreign object in the stomach is often easily seen in an x-ray.

Due to the frequent storms and strong currents around Cape Otway we often see unusual objects washed up on the shoreline.

Abilities: Both Chip & Dale would have the ability to lift items as that is what they have done in the classic cartoons with Donald Duck and in the Video Game as they often are seen lifting huge heavy objects above their head and also use this as a weapon.

In the sixth video of the Feminist Frequency Tropes Vs. Women in Video Games series, Anita Sarkeesian expands upon the ideas from her last video — «Woman as Background Decoration» — and remarks on how female bodies are often seen both as sexual objects and as victims of male violence.

Example AC3 has the same characters and buildings, you will often see them doing ther same thing as the guy next to them, thats becasue they are not seperate object but the same objects with a vitrual clone.

Contemporary sculptors interested in working with physical materials, as Maychack is, often take as their source material the recesses and underpinnings of architectural space, whether it is the moldings of a room (see Francis Cape), the sprayed girders of an underpass (Karlis Rekevics), or the negative spaces in and about actual objects (Rachel Whiteread).

Revitalizing the traditional genre of still life, Janet Fish creates impressive pieces that reveal the formal and conceptual potentials of the unexpected and often ironic blend of different common objects seen in changing lights.

Meet the artist / curator: Ashley Jude Jonas By Eva Buttacavoli Photo: Ashley Jude Jonas, «Buffalo Husband» As artistic practices have expanded beyond the boundaries of the production of objects, often incorporating historical context, editing and interpretation — work typically associated with the curator — we are seeing a blurring of the boundaries between the artist and -LSB-...]

Herrera, like many others, often sees household objects from Gorky's childhood in the shifting outlines.

In this exhibition, Zoe Leonard, whose conceptual works often deal with organizing ways of seeing objects and cataloguing history, reflects on a very personal sentiment, described as «statelessness as both an individual experience and a shared social condition.»

Willingly evoking feminine attributes often seen as negative (soft, wet, sensitive, emotional), Sullivan brings us intimate portraits of her mother, re-makings of her mother's art, imagined self - portraits, as well as incorporating a variety of personal objects such as casts of fingers and the artists hand along with items she recently inherited.

Originating from a rich studio practice, Drew's multilayered sculptures, which are often composed of found objects, wood and fabrics, can be seen as exercises in formalism rooted in the very experience of looking.

As artistic practices have expanded beyond the boundaries of the production of objects, often incorporating historical context, editing and interpretation — work typically associated with the curator — we are seeing a blurring of the boundaries between the artist and the curator, and the evolution of a hybrid practice, the artist / curator.

The new Australian Pavilion opens with an exhibition by Fiona Hall who, like Sarah Lucas, often transforms everyday objects, in this case to explore issues of globalisation and environmental decay (see interview, pp. 36 — 37, May 2015).

Abstraction is often seen as a modernist way to create an autonomous object, an object that does not ostensibly refer to the external world but functions instead by means of its own formal properties.

I often take an object (usually a physical model of the design) and turn it upside down, change the colour, or hold it up to a mirror to change the way I see it, these simple methods often lead to a better idea about what the thing could be.

Yet they often showed objects fractured, or broken, as if seen from more than one point of view at once.

Often I will get information from people or things that I see, a phrase, or how one object relates to another.

If it is often barely noticeable and therefore hard to describe, this movement is everywhere: in the gravitational force that moves the hydrocal when poured, in the light that continues to affect and alter our sense of an object's surface, and in the passage of time that prevents us from seeing an object exactly the same way twice.

Even if I've gone to see all the objects I'm going to put in a show, and even if I know the space I'm working in really well, which is often, there's always a handful of moments where the object comes out of the crate and it simply refuses to behave in the way I have argued in the catalog essay.»

The result is an uncanny object, a face reminiscent of ones often seen behind the glass of museum vitrines, yet utterly new.

Here, he began making wood sculpture using found objects, often stencilling painted words onto them: see, for instance, Moon (1960, Museum of Modern Art, New York).

The subjects he chose were oftentimes objects which are often seen, but are usually too commonplace to be closely noticed.

We often see painted representations of sexualized female figures the artist photographed in his studio as well as depictions of objects and interiors he copied from various sources.

We see this often in the climate debate: many figures, from Cook and his 97 %, through to John Gummer restyled as Lord Deben, pronouncing on «deniers» and what they deny, without ever actually taking any notice of what was being «denied» — the consensus without an object.

Just as we saw on the Galaxy S8, the processing during low light shots is considerably better than day time, and often pictures of the same objects during the day and at night will result in better overall detail in the lower lit one.