Sentences with phrase «other objects in the image»

Other objects in the image are mitochondria (red) and nucleus (blue).

«I'd note the chromatic aberration on the poles and other objects in the image, a small point of contention in GTA V. Chromatic aberration has become increasingly prevalent in modern triple - A games as of late.

Not exact matches

In the 1800s, Norman Macleod, in the midst of his exuberance for the vistas of Banaras, referred to «that ugly looking monster called God», and Sherring wrote of «the worship of uncouth images, of monsters, of the linga and other indecent figures, and of a multitude of grotesque, ill - shapen, and hideous objects.»&raquIn the 1800s, Norman Macleod, in the midst of his exuberance for the vistas of Banaras, referred to «that ugly looking monster called God», and Sherring wrote of «the worship of uncouth images, of monsters, of the linga and other indecent figures, and of a multitude of grotesque, ill - shapen, and hideous objects.»&raquin the midst of his exuberance for the vistas of Banaras, referred to «that ugly looking monster called God», and Sherring wrote of «the worship of uncouth images, of monsters, of the linga and other indecent figures, and of a multitude of grotesque, ill - shapen, and hideous objects.»»

But he goes on: «When these images clash — as in The Fascist octopus has sung its swan song, the jackboot is thrown into the melting pot — it can be taken as certain that the writer is not seeing a mental image of the objects he is naming; in other words he is not really thinking.»

To this useful image Marian Evans contrasts Dr. Cumming's God, who «instead of sharing and aiding our human sympathies is directly in collision with them; who instead of strengthening the bond between man and man, by encouraging the sense that they are both alike the objects of His love and care, thrusts himself between them and forbids them to feel for each other except as they have relation to Him.»

Such a world rests upon the evidence of similarity, the correspondence of certain images and patterns with others, and the argument that such consonance implies a common form or structure in which similar objects participate.

Some object because they are breastfeeding, while others have images of five year old kids that are addicted to their pacifier burned in their minds, believing that it is too habit forming and hard to break.

For each pair of successive images, the algorithm generates multiple hypotheses about which objects in one correspond to which objects in the other.

Many other interesting objects are also captured in this wide - field image.

Many other unrelated objects are also visible in this wide - field VST image.

C3Vision picks that up and applies it to pattern - recognition software, which in turn flips through thousands of other satellite images to cull suspect objects or movements on its own.

The images of 288P, which is located in the asteroid belt between Mars and Jupiter, revealed that it was actually not a single object, but two asteroids of almost the same mass and size, orbiting each other at a distance of about 100 kilometres.

In the early 2000s, when looking for other objects in a nearby galaxy, he and his colleagues captured an image filled with the echoing light of three known supernovaIn the early 2000s, when looking for other objects in a nearby galaxy, he and his colleagues captured an image filled with the echoing light of three known supernovain a nearby galaxy, he and his colleagues captured an image filled with the echoing light of three known supernovas.

Because his device uses no binocular disparity the viewer isn't forced to attempt such impossible feats of focusing — instead, they can focus naturally on any object in the image, using other cues such as size to «decide» what depth the object occupies.

These could then be matched to objects in other images, enabling you to locate what you want not by entering words but by submitting a photo of the object itself or something related.

But when it has been working, the 10 - metre Keck Telescope, in Mauna Kea in Hawaii, has impressed astronomers with images and spectra of objects too faint to be detected by other telescopes.

The Gemini «speckle» data directly imaged the system to within about 400 million miles (about 4 AU, approximately equal to the orbit of Jupiter in our solar system) of the host star and confirmed that there were no other stellar size objects orbiting within this radius from the star.

«While some of the other objects in Riddle of the Image would have been cost the same as a farm or country home, the Westminster Abbey altarpiece would have cost no more than eight cows or about # 5 in 13th century money.

The underlying technology is used in facial recognition and other types of image - based object recognition applications.

Second, both objects appear to be true point sources in the images, which is evidence that they are real, physical objects in space as opposed to optical glints, stray reflections, or other instrumental signatures in the instrument.

Other discoveries in the Milky Way detailed in the special edition include the sharpest image yet of a gamma ray source — a nearby supernova remnant — which will enable researchers to study this object at finer scale than before — and three new «gamma ray shells» that are possibly examples of a new type of supernova remnant.

This cloud is the bright Milky Way patch slightly above the center of our image; among many other Deep Sky objects (clusters and nebulae) one can find 10 more Messier objects in this image.

This telescope and its NACO instrument has discovered more directly imaged exoplanetary systems and planetary mass objects than any other telescope in the world.

Directed by Stephen van Vuuren and narrated by LeVar Burton of Star Trek fame, In Saturn's Rings is a large - format look at NASA's Cassini mission to Saturn, made using over 7.5 million real high - resolution images of the planet, its moons, and other astronomical objects, carefully assembled and presented using classical multi-plane animation techniques.

Posters and other images or objects on walls or in the rooms are great to capture students» attention.

With the notable exceptions of The Oxford Companion to the Book (2010) and Bettley's The Art of the Book (2001), most literature in the fields of book history and topics concerning the history of writing and digital textuality, including studies of books as artistic objects and of the material page make no mention of comics at all, in spite of the fact they do refer to other forms of multimedia or text - and - image publications such as collage books and illustrated books.

In other embodiments, the range image included in the guide image may also serve as the object placed in the virtual space (e.g., the game spaceIn other embodiments, the range image included in the guide image may also serve as the object placed in the virtual space (e.g., the game spacein the guide image may also serve as the object placed in the virtual space (e.g., the game spacein the virtual space (e.g., the game space).

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

The objects made by Lins — a Bell telephone, a VKhUTEMAS model, a table built to the specifications set out by Enzo Mari in his open - source manual Autoprogettazione of 1974 — are at the same time models for some other form of artistic production: things beyond the categories of craft, art, design, sculpture, image, capitalist consumerism, or communist nostalgia.

Social objects represent the content we create in social media, including images, videos, blog posts, comments, status updates, wall posts, and all other social activity that sparks the potential for online conversations.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenImages (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenimages of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

By repeating objects and images, Cole comments on consumer culture and his works can be found in museums such as the Metropolitan Museum of Art, MoMA, the Whitney Museum of American Art, the Walker Art Center, Philadelphia Museum of Art and many others.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reobjects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reObjects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reobjects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

Artists are a perceptive, eclectic group, and through their studios you get to see the various characteristics of different artists: some appear cluttered and homely, others clean and sterile; some have books strewn about, others bottles; in some, the sound of music drifts through the air... Art should be about more than just aesthetic images or objects.

Works known to be in the public domain are marked as such, and the Hood Museum of Art strongly encourages students, faculty and other visitors to use museum images of these objects for educational and personal purposes.

In conjunction with the exhibition, the CMA produced a «box set» containing a newly pressed EP, an exhibition catalogue, and an anthology of texts and images edited by Christopher Williams, among other objects.

Historical and contemporary works of art, videos, machines, archaeological artefacts and iconic objects, like the giant inflatable cartoon figure of Felix the Cat — the first image ever transmitted on TV — inhabit an «enchanted landscape» created in Nottingham Contemporary's galleries, where objects seem to be communicating with each other and with us.

In very different ways Michael Dean, Anthea Hamilton, Helen Marten and Josephine Pryde all create situations and tell stories, via sculpture, photographs and other kinds of images, manufactured objects, the found, the handmade and the borrowed.

While her earlier work looked at art museums as places for worship or contemplation — in the vein of cathedrals or pilgrimage sites — and artworks as objects of faith, her recent works, such as Deposit III (2015), give more importance to painting as an actual object in its own right: «It allowed me to leave bi-dimensionality, unhang [painting] from the wall and naturally add other supports of images (video, mirrors, printed matter, found paintings) and link them to a same genealogy.»

Ryan Trecartin, Aleksandra Domanović, Timur Si - Qin, Simon Denny, Jon Rafman and Katja Novitskova, among others, explore a de-subjectivised approach to image, space and object production in a world abstracted by over-production.

The images, objects and materials she uses either already have or actually acquire in her work this double condition of actuality and ideality, and they manifest the tension which keeps us permanently bound to one and desiring the other.

These works (augmented with paintings in part one of Reverse Repeat) occupy nodes of a continuum, at one end of which are objects, at the other end of which are images.

In the latest installment of the Everchanging Appearance series, the artist has randomly stacked and overlapped the materials to cause the images to dissolve each other, causing the objects that were once still faintly recognizable in their «reflections» to completely disappear beneath the surface of the picturIn the latest installment of the Everchanging Appearance series, the artist has randomly stacked and overlapped the materials to cause the images to dissolve each other, causing the objects that were once still faintly recognizable in their «reflections» to completely disappear beneath the surface of the picturin their «reflections» to completely disappear beneath the surface of the picture.

Sometimes Wood also experiments with the idea of collage, superimposing objects over others or simply playing with the distortion of images by creating the illusion of separate or fragmented painted canvas surfaces brought together in one, such as in Still Life Collage, 2015.

The character has appeared in Leckey's work a number of times — it's a reference to the first electronic image of an object ever, which was none other than a plastic version of the cartoon character Felix the Cat.

My approach to composition is to photograph objects gathered in pre-existing display settings such as museums and shop windows, in other words «readymade» still life groupings, from which I can isolate an image which will often incorporate incidental reflections and chance juxtapositions of objects.

www.adamfilek.com Paige Sabourin lives in Montreal Quebec and makes objects, images and installations with photographs, textiles, and help from other people.

In these and other ways, the exhibition subtly probes the essential nature of painting, distilling a simultaneity of object and image and emphasizing the time - based aspect of creation and reception.

Other works in the collection include an important series from the 1980s entitled Concentric Bearings which explores different images of objects turning in space.

She creates intricate collages and assemblages, often monumental in scale, from found objects, appropriated images, text, and other elements.