Sentences with phrase «only objects in the room»

Bill Haddad's office is not characteristic of your typical psychologist: Housed in a windowless building that is highly secure and routinely debugged, the only objects in the room are a computer and a couple of pictures.

Not exact matches

Surrounded by these objects, in a dark curtained room suffused with the musty odor of old books, the visitor feels privy not only to the dwelling place but also to the brain of one of the 20th century's most influential thinkers.

However, a dark room in which a person can see only the object removes many of the brain's tools for judging distance.

Ridiculously conceived, one can only laugh at how the film is set - up, with gratuitous car chases chock full of spontaneous explosions, muscle - bound pretty boys, and rooms in deserted buildings which seem to be used for little more than storage for dangerous objects for Seagal to use in hand - to - hand combat.

Exploration is only meaningful if rewarded with discovery, and when you do stumble upon an object with which your girl can interact — like an old building facade littered with spent rifle shells — you are granted not just an item to collect for your basket and potential rooms to unlock in Grandmother's house, but a short line of pop - up text that gives insight into your chosen avatar's thoughts, feelings and personality.

There isn't much room for fancy design in an auto - scrolling game with three lanes and only three objects, though.

[43][44] In all but two of the series» games, one of these endings is a joke ending in which the main protagonist comes in contact with unidentified flying objects: there is no joke ending in Silent Hill 4: The Room, and the only joke ending in Downpour is a surprise party for the player featuring characters from previous instalments of the franchisIn all but two of the series» games, one of these endings is a joke ending in which the main protagonist comes in contact with unidentified flying objects: there is no joke ending in Silent Hill 4: The Room, and the only joke ending in Downpour is a surprise party for the player featuring characters from previous instalments of the franchisin which the main protagonist comes in contact with unidentified flying objects: there is no joke ending in Silent Hill 4: The Room, and the only joke ending in Downpour is a surprise party for the player featuring characters from previous instalments of the franchisin contact with unidentified flying objects: there is no joke ending in Silent Hill 4: The Room, and the only joke ending in Downpour is a surprise party for the player featuring characters from previous instalments of the franchisin Silent Hill 4: The Room, and the only joke ending in Downpour is a surprise party for the player featuring characters from previous instalments of the franchisin Downpour is a surprise party for the player featuring characters from previous instalments of the franchise.

As a child, creates an elaborately decorated environment in his room, drawing images on the walls, painting red fleurs - de-lis all over the woodwork and furniture, and building a structure of crates filled with jars and boxes of found objects to divide the room that he shares with his only sibling, Janet, born in 1936.

With over two centuries of objects that have been kept in boxes and in rooms, stacked and passed down without regard for usefulness or beauty yet marked with names and dates and data only for posterity's sake.

At the time, while I recognized in the installations in which Tonoshiki threw together and brought into dynamic coexistence waste lumber from demolished houses, driftage from the ocean, abandoned televisions and other domestic waste, and scrapped vehicles on the one hand and natural outdoor settings or orderly exhibition rooms in art museums on the other, a common spirit with the cyber-punk-like junk aesthetic that was then reaching its peak (see the work of Seiko Mikami, for example), the only thing I sensed Tonoshiki was stressing — particularly given that he had been influenced by the social sculpture of Joseph Beuys — was probably that the concept of «reversal» could be found in the act of almost violently recycling useless objects that had served their function and were merely waiting to be disposed.

His work has also been the subject of important group and solo shows throughout the span of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum of Art and Design, New York (2013); superhuman, Central Utah Art Center, Ephraim (2012); Reenactor, Williams Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper, New Museum, New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem, New York (2009); Corbu Pops, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Only Skin Deep, International Center of Photography, New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in New York, and Mason Gross Art Galleries at Rutgers University in New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute of Contemporary Art at Maine College of Art, Portland (2002); eRacism: White Room, Thread Waxing Space, New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out of Actions: Between Performance and the Object, 1949 — 1979, Museum of Contemporary Art, Los Angeles (1998).

ARKit will use that data to not only analyse a room's layout, but also detect horizontal planes like tables and floors and serve up virtual objects to be placed upon those surfaces in your physical room.