Sentences with phrase «on viewer perceptions»

Romm falsely asserts that I misrepresent findings from recent papers examining the impacts of Fox News on viewer perceptions and the impact of Climategate on wider public opinion.

Not exact matches

A review of several such studies found that viewing fictional medical TV programs had a negative influence on viewers» health - related knowledge, perceptions or behaviour in 11 % of studies, a positive influence in 32 % of studies, and mixed influence in 58 %.

Martin has collected these images in a new book, Hyper Nature, which he says in the foreword «provides the viewer a new perception of biodiversity that shines light on the most humble and prolific of nature's creations.»

Although additional studies would need to be conducted to see how much commercial presenters influence child viewers, Powers, associate professor of media arts, sciences and studies at Ithaca College, argues that commercials could have a significant impact on how children develop self - perceptions.

Eldet is an upcoming gay 18 + visual novel / dating sim game taking place in a late medieval fantasy setting, including locations based loosely on Andalusia A 3D phone is a mobile phone or other mobile device that conveys depth perception to the viewer by employing stereoscopy or any other form of 3D depth

It won two jury awards at Sundance, and arguably an appreciation for Nick Cave the artist would influence any viewer's perception of 20,000 Days On Earth, but what really affects ones viewing of this film is entering into it and viewing it as a documentary disguised as a fictional film, or a fictional film disguised as a documentary.

This late - breaking twist, which reveals how many strings Ruth has been pulling (I should probably say no more), unquestionably puts a new spin on viewers» perception of her; thing is, though, the very nature of said revelation precludes its factoring into the performance.

We will share with you results from research investigating the effects of photograph and video conditions on viewer interest and perceptions that, combined with practical advice from organizations around the region, form a set of best practice recommendations you can take back to your organization and immediately put to use.

The patterns she creates suggest spatial ambiguities and shifting structures which work on the viewer's perceptions in subtle ways.

As a consequence, his abstract compositions place a great emphasis on physicality, light and space, opacity and translucence; they encourage the viewer's heightened perception.

The viewers» experience becomes a meditation on perception's whim.»

Working in multi-media, New York - based artist Erin Shirreff's work encourages the viewer to see objects in new ways: unsettling spacial and sensory experience by creating sculptural works specifically for the camera that confuse perception; layering still photographs in video to present a new experience of the Moon or James Turrell's great unfinished Roden Crater work (2009); exploring myriad interferences of glare and shadow at play on a computer screen; and presenting only one façade of a familiar Tony Smith work in an outdoor commission, Sculpture for Snow.

Ultimately, Wakefield supports the exhibition's title as the viewer understands the shift in the perception of objects based on circumstances.

In one series of photographs, smears and grime on the pane emphasise the perception of space, another series has been printed over, in order to question the viewers spatial awareness, whilst the works Henley and Mimi have been printed behind netting, a material commonly used to screen a window pane.

This additional layer of optical vision and perception only occurs when the viewer finally gets closest to a particular sculpture, an experience that deepens Horn's decidedly complex meditation on intimacy, contemplation, and human interaction.

This time the rooms of the gallery, in fact, its entire architecture will distort the viewer's perception, making internal appear external, forcing the public to focus on something that is frequently overlooked.

The engagement with postmodern dance gave rise to a significant constant within his sculptural works: The investigation of an inclusion of the viewer which focuses on the temporal perception of sculpture by means of bodily movement through space, and which furthermore directs the view from the institutional space out onto social aspects in the real world.

Lydia Okumura (b. 1948, Brazil) actively challenges viewers to question their perception of space through sculptures, installations and works on paper that blur the line Read More»

Lydia Okumura (b. 1948, Brazil) actively challenges viewers to question their perception of space through sculptures, installations and works on paper that blur the line between two and three - dimensions.

These works call on viewers to explore relationships and responses to art, and to consider the physicality of sensory perceptions as well as the way in which different forms, textures, and materials prompt certain psychological associations.

With such progression come ideas of space, duration, viewing, and the necessary destabilization of this triad — a process of unsettling that is made all the more urgent by the museum's «cultural confinement,» to dust off Robert Smithson's handy term — a concept acknowledged by Eliasson even as he updates it to speak to the long - established and more or less pervasive institutional insistence on blinding viewers to their own perceptions.

Ivo Ringe, California, 2008 Oil, pigments on canvas, 54 x 66 cm May 8 - 23, 2009 Ivo Ringe creates a reductive, non-objective picture plane in his paintings, where the viewer's sensory perception may directly unfold.

The light fixtures, some bulbs turned on, others turned off, can be perceived as pure abstract sculptures, dependent on the viewer's perception of light, shadow and reflection.

Wall often presents his pictures are large transparencies in lightboxes, which have a sculptural presence and impact on the viewer's perception of detail and depth.

Eliasson's «Colour motoric entrance» is a sculpture constructed with mirrors and colored filters that changes depending on the viewer's perception.

A refinement of Hard Edge Painting, Op - Art was a type of non-objective art which employed black and white geometric patterns to create a variety of optical effects on the viewer's physiology and psychology of perception.

Minute variations in tint and transparency invite viewers to ponder the variability of color perception while also underlining the longstanding emphasis on the materiality of paper in Tillmans's oeuvre, forcing for a moment attention away from the content - driven preoccupations of the medium.

Currently on view at LA's C.A.V.E. Gallery, Vesod and Morten Andersen's two - person show «Remix Every Second» is an exploration of the ways the two artists can distort viewers» experiences and even perhaps make them reflect on their perceptions of reality.

Best known for her performances, installations, and videos, Mori's works focus on alternative interpretations of self and the exploration of space, spirituality, technology, and the various factors that influence the viewer's perception of identity.

Painting two or three soft - edged, luminescent rectangles, stacked weightlessly on top of one another, floating horizontally against a ground, he sought to transport the viewer to new realms of emotion and perception.

SC Gallery + Art Management proudly presents AnnaTaratiel OVNI's latest mural painting in Bilbao.Anna Taratiel (Barcelona, 1982) Her work evokes internal landscapes and presents metaphorical reflections on her surroundings, expressed through geometrical abstraction, provoking emotions and heightening the viewer's perception through the intense relationship, compositional, conceptual and technical, that she maintains with space and colour.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

As in his previous works, for example the series milch (2000) and wellenwanne lfo (2012), he sees the installation as an experiment that takes up reflections, disturbances, and interferences on a surface, thereby confronting the viewer with various questions about his own perception and the creative process.

For the exhibition Sitting on a branch, Wieser has created a photographic wall piece that shows the grand interiors of a building, and alters the viewer's perception of space.

For this new adaptation of the work, Dalal transforms the gallery space into a site - specific installation that invites viewers to reconsider the ways in which memory can be triggered by the senses while having an impact on new experiences and shaping perception.

Conversely, the installation Guidepost to the Eternal Space (2015) invites audiences to gather amidst an environment in which white polka dots on a red background cover walls and structures, forming an outlandish landscape, confusing viewers» perception and spatial orientation.

The exhibition focuses on Tuttle's profound influence on art in and beyond New York, showcasing his humble usage of commonplace materials such as fabric, wood, Styrofoam, and rope used to effect the viewer's perception by reflecting the fragility of the world.

These works were thematically focused on a play of light, using patterns and shadows to distort the viewer's depth perception.

Thus, just like in the montage of attractions, André Hemer's aesthetically charged and layered visions — on both a physical and visual level — are made out of complex digital images transposed onto canvas and punctuated via a manual and pictorial action, that defy while at the same time exert a compelling pull towards the viewer's perception.

The show includes a selection of paintings and work on paper, with the accent placed on the exploration of language and perception as a means of activating the viewer.

Joel Shapiro has built his sculptures out of wood, wire, and cast bronze, relying on space and the position and proximity of the viewer to play with perception.

Fusing together form, process and perception, her stages take the same gradual curves and twists of the brush, the knife, and the sewing machine, and extend it out into physical space, both introducing a similar meandering pathway to the viewer's experience of the works, and simultaneously drawing a connection to the weeds» presence «below,» the idea that the ground we walk on is extended over that of natural earth.

The exhibition comprised three galleries — one each for Irwin, Bell and Wheeler — in which each produced a work based on controlling the viewer's perception of space and light.

At the centre of his art, which integrates nature, perception and philosophy, stands the human being: the artist calls on each individual viewer to engage, directly and critically and to confront his position within the natural order and the universe.

Sleepwalkers was both inspired by, and offered in opposition to, the densely built midtown environment; it integrated itself onto the surfaces on which it was projected, and it challenged viewers» perceptions of architecture and public space.

Though ephemeral, the fullest expression of color arrives in the strategic placement of diffraction grating film decals on the gallery windows, conjuring of the visible light spectrum and illustrating the viewer's visual perception as limited to these colors.

His white - on - white paintings encompass complex intuitive geometries and richly luminous, albeit subtle, fields of colour; they draw the viewer into a deep exploration of perception and painterly process.

Drawing on the simple yet profound advice given by his father — «Let the world take a turn» — Gander encourages the viewer to sit back and watch, to observe, and allow for a natural course of action, as time has power: to heal, transform, shift perceptions and elicit change.

Sometimes regarded as L.A.'s unique contribution to contemporary art in the»60s and»70s, Light & Space art focuses on the viewer's bodily consciousness of perception.

The exhibition overturns the traditional model of the anniversary exhibition, however, by focusing on the relationship between artist and viewer through a series of thematic exhibitions that explore the potential of art to alter our perceptions.