Sentences with phrase «only moving image»

Only moving images, ie.

Not exact matches

As a mirror image of a legal commodities business, the Sinaloa cartel brings to mind that old line about Ginger Rogers doing all the same moves as Fred Astaire, only backward and in heels.

But to have the computer lines and terminals, specialists in image analysis, specialists in food production, geology, land management, ocean ecology, investment specialists, and, finally, to own the worldwide satellite facilities to move the information instantly — such capability can be achieved only by very large, multinational corporations.

So you have Theology of the Body or the arguments of natural law versus the word — image association of Macklemore — that's not likely a ripe conversation — and Macklemore has a lead of 48 million views and a culture moving in his direction, not only in its beliefs but in its vocabulary.

By piling complex image upon complex image, Hopkins drives toward the «inscape» or particularity of the bird's majestic flight and brilliant death; that is, the most indirect path is the most direct, or to put it differently, the only way to express radical particularity is through a plethora of images juxtaposed to one another, sparking the imagination to move toward a synthesis which, while not logical, is, taken as a whole, suggestive of a particularity.

Arsenal could move him to chairman in place of sir kes chips, only pay his expenses and he could also operate as some sort of ambassador improving the image and off field activities of the club.

His close control and the image of Jimmy moving while defenders and goalies just appeared to stand still reminds me only of Messi in the modern game.

Moreover, the light sails that survive the 20 - year voyage would pass through the Centauri system in a flash, moving so fast they would have only seconds to capture high - quality close - up images and other data from Proxima b and any neighboring planets that may be there.

This allows you to not only move digital images around with a swipe, but also to place real - world objects on the surface and also be recognized.

In response, engineers at the Monterey Bay Aquarium Research Institute have developed image - analysis software to detect activity, so the camera records only when something is moving past it.

For now, Smalley's team can only make simple outlines about a centimetre across — the particle can't move fast enough to trick our eyes into seeing a persistent image larger than that.

In 2007, he was the only non-US film critic to be invited by the Museum of the Moving Image and The New York Times to participate on a week - long seminar on Film Criticism.

The collection abounds in not only samples of what peak athleticism was thought to look like over the course of a century, but in displays of various conceptions of bodies in motion and coming into being as compelling subjects for the moving image.

The only branch of the world - renowned arts complex Lincoln Center to shine a light on the everlasting yet evolving importance of the moving image, this nonprofit organization was founded in 1969 to celebrate American and international film.

Facile, but good in a pinch; apply it to Todd Haynes's fascinating I'm Not There and suddenly there's the thought that the film is an autopsy of film - as - history to this moment — an analysis of how the moving image has become in this century the only real way we access history as a people, as well as of how the image, eternally malleable within the image - maker, has now become malleable within a mainframe.

With spotty acting, superficial developments, and rules that seem to be made up as the film moves along, Dead Silence is strictly only of interest to audiences who are all about scary images set to ominous music, caring far less about a good storyline to follow or characters who do or say things that might be plausible to anyone who experiences them in real life.

It's hard to tell in the fast - moving image, but it sure does look like the man plowing through a wall is, in fact, Officer K. It's not the only suggestion that Ryan Gosling is playing a Replicant, either.

He supports the assessment that those «colleges who merge or are considering such a move, will only see their reputations and positive public image sustained or enhanced on the back of high quality standards.

AVAILABLE INTELLIGENT AROUND VIEW ® MONITOR -LSB-[2069]-RSB--LSB-[2070]-RSB- Several of the Pathfinder's competitors offer a camera system that provide a 360 degree composite image but only Nissan includes Moving Object Detection, which can provide visual and audible alerts if it detects something moving around the veMoving Object Detection, which can provide visual and audible alerts if it detects something moving around the vemoving around the vehicle.

To ensure complete safety while driving, the front seat passenger can continue to watch a moving image while the vehicle is in motion thanks to clever dual view technology that ensures the driver can only see the control screen.

Although the displays need power only when they're redrawn, the redraw itself is much slower than an LCD screen, which makes the technology unusable for faster moving images, such as animation effects and video.

Our only complaint was how slowly we had to move to construct the image.

And the majority of the creators only had examples of «slide shows» in their portfolios — no moving images, no 3d, lots of attempts to look like a cheap Hollywood movie trailer — this all got me thinking...

Words are powerful, but when you only have sixty seconds to make an impact, moving images are far more efficient.

In order to move the WhatsApp to your SD Card, your phone must be rooted.But rooting your Android phone voids the phone warranty.In this post, I will share how to move the WhatsApp SD card on Android phones.By this method, only the media files, that is images and videos, will be moved to MicroSD card, not the entire App.

Where in a printed book words and images exist at fixed points on a page, words in an e-book must be free - flowing, able to move and change based not only on the device but on the reader's whim.

Imperfect OCR is only the first challenge in the ultimate goal of moving from collections of page images to extracted text - based books.

Although the solemn procession is only held on one day, the events of the Festival of Senhor Santo Cristo occur over a period of a week and involve a ritual of moving the image between the main church and convent nightly, ultimately culminating in the procession, which is televised within the Azores and to the Portuguese diaspora.

The reveal consisted only of a cinematic, but contained a number of images that could hint at the direction the third installment in the series is taking, including a procession of decrepit, hooded figures moving slowly...

By the time War on Wheels was slated to debut in 1991, the roller derby television series Rollergames had ended its first and only season, and young Americans had moved on, priming themselves for a future brimming with pogs and Image Comics.

The cutscenes in the game have been redone and are fully animated, with the original game only having moving still images.

Moving on, Infinity Ward has posted something interesting on their Twitter page, showing an image of what looks to be the recently unveiled Xi3 Steam Box — only this time it has Infinity Ward's logo on it.

Moving Image New York March 3 — 6 Moving Image New York is the only fair focusing on solely video - based work.

It was only inevitable, then, that someone would do an exhibition that surveys the trend toward bringing moving images out of the theater space and creating more immersive experiences.

Metabolism and Communication, Zentrum fur Kunst und Medientechnologie, Center for Art and Media, Karlsruhe, Germany 2003 Love, Magazin4 Vorarlberger Kunstverein, Bregenz, Germany Patty Chang, Tracy Emin, Naomi Fisher, Paul McCarthy, The Moore Space, Miami, FL (performance, April 26) Water, Water, curated by Lilly Wei, The Rotunda Gallery, Brooklyn, NY Awakenings, Center for Curatorial Studies at Bard College, Annandale - on - Hudson, NY Feminine Persuasion, The Kinsey Institute and the School of Fine Arts Gallery, Indiana Univeristy, Bloomington, Indiana 2002 Videos in Progress, The RISD Museum, Providence, Rhode Island Le Plateau Frac Ile - de-France (performance only, November 7), Paris, France Mirror, Mirror on the Wall, MASS MoCA, North Adams, MA The Body Electric: Video Art and the Human Body, Cheekwood Museum of Art, Nashville, TN Americas Remixed, La Fabbrica del Vapore, Milan, Italy (performance / exhibition) Extreme Existence, curated by Klaus Ottmann, Pratt Manhattan Gallery, NY (performance / exhibition)(catalogue) Moving Pictures, Guggenheim Museum, New York Fusion Cuisine, Deste Foundation Centre for Contemporary Art, Athens, Greece (performance / exhibition), (Catalog available) Time Share, Sara Meltzer Gallery, NY Le Studio, Yvon Lambert, Paris, France Oral Fixations, curated by Sandra Firmin, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Panorama, curated by Carmen Zita, Room Interior Products, NY Superlounge, curated by Andrea Salerno & Mari Spirito, Gale Gates, Brooklyn, NY About the Mind (Not Everything You Always Wanted to Know), Video Cafe, organized by Hitomi Iwasaki, Queens Museum, NY Mirror Image, curated by Russell Ferguson, UCLA Hammer Museum, Los Angeles, CA Traveled to: Bard College, Center for Curatorial Studies Museum, Annadale - on - Hudson, NY Perspectives: Artists of Chinese Descent in New York, Queens College Art Center, NY Traveled to: Firehouse Art Gallery, Nassau Community College, Garden City, NY, March - April 2003 2001 Bodily Acts, curated by Jennifer L. Gray, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Circus Maximus, BeganeGrond, Center for the Contemporary Arts, Utrecht, Holland Group Show, Hamburg Kunstverein, Germany (performance) Mimic, Gale Gates et al., Brooklyn, NY Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum Voor Actuele Kunst and the Bijloke Museum, Gent, Belgium (performance / exhibition) Looking for Mr. Fluxus: In the Footsteps of George Maciunas, Art in General, NY La Hijas de la Tierra (The Daughters of the Earth), IODAC Museum of Contemporary, Spain Panic, Julie Saul Gallery, New York Video Jam, Palm Beach Institute of Contemporary Art, Lake Worth, Florida (brochure) 2001 Art + Performance + Technology, in conjunction with the 19th International Sculpture Conference, Wood Street Galleries, Pittsburgh, PA (performance) WET, Luise Ross Gallery, New York Trans Sexual Express Barcelona, Centre d'Art Santa Monica, Barcelona, Spain Smirk: Women, Art, and Humor, curated by Debra Wacks, Firehouse Art Gallery, Nassau Community College, New York 2000 Uncomfortable Beauty, Jack Tilton / Anna Kustera Gallery, New York Cross Female, Kunstlerhaus Bethanien, Berlin, Germany (performance / exhibition): Traveled to: Kunst - und Kunstgewerbeverein Pforzheim, Germany (April / May 2001) The Art of the Screen Saver, Stanford Art Museum / Cantor Art Center, Stanford, CA Traveled to: ICA, London, England (Feb - March 2002) Steamroller, performance festival organized by Galerie MXM, Prague, Czech Republic (Catalog available) Soma, Soma, Soma, The Sculpture Center, New York Performance Festival, Kunstpanorama, Lucern and USINE, Geneva The Standard Projection: 24/7, Standard Hotel, Los Angeles Deja vu, Art Miami 2000, Miami Beach Convention Center, Miami Beach Galerie Fons Welters (two person exhibition with Atelier van Lieshout), Amsterdam ID / y2k, Identity At The Millennium, Castle Gallery, College of New Rochelle, NY 1999 - 2000 Illusion Delusion Denial, 450 Broadway Gallery, New York Mug Shots, Center for Visual Art and Culture, University of Connecticut, Storrs, CT. 1999 IDENDITAT, hat man doch zu viel, Ort halle fur kunst, Feldstr.

The mural features a new image from her series, Nebraska Paintings, a body of work that moves closer to the representational imagery only implied in earlier pieces, but which captures the wide open spaces and big sky of the artist's native state.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

With still and moving images of land and cityscapes, and in taxidermy and fabricated figures, the exhibition not only examines today's concerns about the Anthropocene and damage to the environment, but how nature meets technoculture and how the new natural is both organic and manufactured.

This reflected not only the move towards non-figuration but also influenced the approach to real life, social issues and images of modern life.

Only two in the series of roughly 30 black - and - white images are from actual «rooftop» negatives; the rest were shot after he moved the project indoors.

With 24 solo presentations and 300 artworks spread throughout 15,000 square feet of raw space, as well as an immersive series of off - site special projects with artists such as Jeremy Deller and Michael Rakowitz, these images are only a snapshot of what The Moving Museum produced in Dubai.

Pipilotti Rist commented, «My work «Tender Roundelay» is a research project and experiment about how, and if, the moving electronic image can also unite people when often it rather separates us or forces a group to look in only one direction.

While Quindar's sound varies, moving from spaced - out synthy jams to acoustic strumming, futuristic house beats to humorous lilting tones, a constant is the feeling of what it might be like to gaze out the space station window looking down at the earth hundreds of miles below — though it's only during Quindar's live performances that this feeling can come to full fruition, when projections of archival video and images, created by Jeremy Roth, play on stage.

Its compressed reading can only be had while moving through the gallery, following the blurred and stretched images on the walls.

2011Out of Focus Photography, Saatchi Gallery, London, UK (catalogue) Second Nature: Abstract Photography Then and Now, deCordova Sculpture Park and Museum, Lincoln, MA «Render: New Construction in Video Art», California Museum of Photography, University of California, Riverside, CA The Only Rule is Work, Galerie Waalkens, Finsterwolde, Holland Painters Painting, Atlanta Contemporary Art Center, GA Eslov Wide Shut Part II, Mallorca Landings, Mallorca, Spain Movable Facture, Vivo Media Arts Centre, Vancouver, B.C., Canada (catalogue) A Useful Looking Useless Object, Sierra Metro, Edinburgh, Scotland Sound + Vision: Crossroads, Plug - In, ICA, Winnipeg, Canada Effects & Affects: The Alphabet, Fumetto Festival, Lucerne, Switzerland You Killed the Underground Film or the Real Meaning of Kunst bleibt... bleibt... & The Sisters, (Group show with Bettina Koester, Wilhelm Hein and Jennifer West), Lost Property, Amsterdam Update no. 2, White Columns, New York (catalogue) Another Kind of Vapor, White Flag Project, St. Louis, MO Contour 2011, 5th Biennial of the Moving Image, Mechelen, Belgium Adult Contemporary, Kavi Gupta, Berlin How Soon Now, Rubell Family Collection, Miami, FL (catalogue) California Dreamin, Arte Portugal Biennial, Lisbon, Portugal Home Show Revisited, Contemporary Arts Forum, Santa Barbara, CA (catalogue) Abstract Moving Image, Taka Ishii Gallery, Tokyo, Japan One Person's Materialism is Another Person's Romanticism, Remap 3, Athens Greece

The striking images not only document New York City moving towards a more bike - friendly culture; they create the ultimate style guide for anyone who pedals their way through life.

The moving images of Flower and Corpse Glitch only enhance this effect, which teamLab likes to call «Ultra Subjective Space.»

Going beyond the retrospective character of a selective look back, tendencies should be shown, with a focus on the contemporary tendencies of the last 20 years, that demonstrate the broad spectrum of the medium and more specifically illuminate a period in which the significance of the moving image has continuously increased, not only in the exhibition segment, but on the art market as a whole.

2011 Images of the Mind, Deutches Hygiene - Museum, Dresden DE; Moravian Gallery, Brno, CZ The View from a Volcano: The Kitchen's Soho Years 1971 - 86, The Kitchen, New York, US The Quintet of the Astonished, Everson Museum, Syracuse, US G - d Only Knows Who the Audience Is, CCA Wattis Institute for Contemporary Arts, San Francisco, US Real Virtuality, The Museum of the Moving Image, Astoria, New York, US Passion in Venice, Museum of Biblical Art, New York, US Open Ears 2011, CAFKA, Open Ears Festival, Kitchner, Ontario, CA Influential Element: Exploring the Impact of Water, Long Beach Museum of Art, US Film Fridays Series (Screening), The Warsity Center for the Arts, Southern Illinois, US The Artist's Museum, Museum of Contemporary Art, Los Angeles, US Exchange Evolution, Long Beach Museum of Art, US Videosphere: A New Generation, Albright - Knox Art Gallery, Buffalo, New York, US Time and Place, Kunsthalle Detroit, Michigan, US Watch This!

Then as our community moves progressively forward, we can all still be relieved to know that Miami is still on its way to transcending its past as just another dumbed down tourist destination — promoting that less thoughtful decaying visual aroma that we still get a whiff of now and then... that kind of old Miami putrid commercialized smell that turned so many despondent and sour and caused the international arts communities to view Miami's indifference to an international discourse as but a memory, constantly recuperating the South Florida pastiche... a past that if you need reminding of you need only take a trip to Key West to know what kind of image Miami is still fighting against — the land built on coral and swamp, but filled with cheap and shallow tawdriness, like acid in your contemporary, progressive face, eyes of mundane kitschy campiness saddening and maddening, dumbed down affection that solicits and sells itself to another kind of cultural neanderthal — the accidental drunken tourist who seeks passive mediocrity and the same in other kindred spirits -LSB-.]