Sentences with phrase «physical object in an image»

Not exact matches

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.

Dynamic Perspective lets you tilt the Fire Phone in different directions to see more information from apps, play games, resize images, scroll through webpages without using your fingertips, and most impressively, move various «layers» of the user interface around as though they were physical objects in front of you.

The long exposures that this technique requires result in images which render not only the physical quality of objects, but also give a seemingly physical quality to the passage of time.

Questioning the relationship between humans and objects (both virtual and physical) his practice reflects upon the way in which cinematic images are indelibly embedded in our perception of history.

Since 1975, you have taken existing materials and presented them on a different plane, encouraging viewers to look at the material or remnant not only as a poetic image, but as a doubling of reality in a physical and cultural sense, as Germano Celant described it in «Object and Display» (2015).

They enable explorations in photography — its ability to translate a three - dimensional object into a two - dimensional image — but also explorations of physical scale.

Means of producing and displaying images are central to his methodology and he unpacks the image as both subject and object, unfolding ways in which fragments of the present can connect with those of the past, the hidden with the visible, and the sentient with the physical.

Viewing becomes a spatial, physical experience that compresses the geologic time implied by the surface details of the stones, a hint of some past process of erosion or eruption, the photographic moment at which each object was recorded and the transitory duration in which the images are presented and seen.

In Sticky Pictures, Werner makes visible the source material of her paintings — not only the subject in the photograph, but also the photograph itself; the material quality of the printed image, its traces of weathering, handling and use, its physical presence as an object lying on the corner of a table or hanging loosely on a wall, in a space that might be a studiIn Sticky Pictures, Werner makes visible the source material of her paintings — not only the subject in the photograph, but also the photograph itself; the material quality of the printed image, its traces of weathering, handling and use, its physical presence as an object lying on the corner of a table or hanging loosely on a wall, in a space that might be a studiin the photograph, but also the photograph itself; the material quality of the printed image, its traces of weathering, handling and use, its physical presence as an object lying on the corner of a table or hanging loosely on a wall, in a space that might be a studiin a space that might be a studio.

She is less interested in the finished work than in how images and objects come into being and in the physical traces that process leaves behind.

Using pictures shot on his iPhone during California excursions as a starting point, Schonziet acts on his interest «in being in a place, turning that place into a digital image, turning this previously small digital image into a machine made and very large physical object and then finally to manipulate the image or to dominate the image with a man - made gesture.»

My recent paintings and sculptures focus on the African - American experience of navigating public spaces while remaining buoyant within them... Working beyond the physical image of the body, objects of buoyancy, and navigation become metaphors for selfhood, resilience, and the sanity required in the turbulent oceans of contemporary America.»

The works are displayed mounted to materials such as aluminum or plexiglass, though rather than using these materials in their traditional mounting methods, the images are adhered to the surface and leaned on shelves or stood on the floor, with exposed sections of their mounting substrate and their freestanding nature highlighting the object qualities of the prints, along with their physical connection to the depicted subjects.

Along with well - selected illustrations of works in different media, the catalogue traces Sillman's early exploration of cartoon imagery and the associative use of colors, her struggle for the unity of the physical legitimacy of the objects and the human body, her equally shared interest in figuration and abstraction, her attempts to reduce images that evoke the ambiguity of singular gestures in flux that are emphatically stable, and her «zines» and recent forays into drawings made with an iPhone.

Caivano's great strength lies in her understanding of the ways in which objects and images impress upon us via essences of colour, shape and texture and how these essences affect us as deeply as the physical form to which they are ordinarily attached.

Gorchov comments: «These are paintings... The objects, for me, are in service to the image... I call them sculptural paintings; they come out of the wall, they enter your physical space.

Whether introducing glass fragments on a print, thereby blurring the line between image and physical object, such as in Impossible Objects # 4, or casting a hybrid material she developed called puffy glass, Srinivasan's experimental contributions to the field are undeniable.

Cragg has widened the boundaries of sculpture with a dynamic and investigative approach to materials, to images, and objects in the physical world, and an early use of found industrial objects and fragments.

At L.A. Louver, a sharply focused show zeros in on LeWitt's capacity to transform abstract ideas into concrete objects that viewers experience as slippery interminglings of drawing, painting and sculpture — while comparing and contrasting such physical entities with idealized images of geometric perfection, which inhabit the mind's eye but never appear in the real world.

Returning to the studio with the materials he had gathered, Vitturi created teetering totemic assemblages with a Baroque sense of drama, collaging and overpainting his photographs and materials in high - register colours — and often layering physical objects within the photographic assemblages to create new volumetrically disorientating images.

More recently, Locke has explored ships as images, objects and also physical sites for artistic interventions, discovering in the ship a potent symbolism as an instrument of control in warfare, trade and culture.

Continuing his investigation into what he terms «social geometry» — the intersection of physical space with human thought and behavior — Lionni trains his eye on seemingly banal images, objects, and substances, filtering them through a variety of meticulous processes in order to focus our attention on their oft - overlooked

Just like film stills, the works of Villar Rojas are objects filled with time, devices that narrate time through images, from prehistoric finds to the most futuristic, or post-apocalyptic, landscapes, recording it in the physical substance of matter, in a constant process of evolution and decay.

In an art context, appropriation refers to the use of pre-existing or previously defined images or objects, without significant changes in the concept or physical forIn an art context, appropriation refers to the use of pre-existing or previously defined images or objects, without significant changes in the concept or physical forin the concept or physical form.

Notable examples include «H.M. 2009,» Kerry Tribe «s double film projection about an epilepsy patient who lost his short - term memory in experimental brain surgery and Nina Berman's arresting images of former Marine sergeant Ty Ziegel, who was severely disfigured in a suicide bombing in Iraq; R.H. Quaytman's series «Distracting Distance,» which riffs on the physical act of perception; and Suzan Frecon's huge minimalist paintings, which embrace the labor intensity of making an art object that is intended to last.

Utilizing a number of different supports including canvas or linen, fiberboard and marble dust panel, Olson plays with the notion of surface and framing as constructs in his work, at times, employing handmade frames and thick borders of unpainted surface around a central painted field that act as both a physical edge to the painting and call attention to its nature as both an image and an object.

Olson considers surface and framing as constructs in his work, employing handmade frames and, at times, thick borders of unpainted surface around a central painted field that act as a physical edge to the painting and call attention to its nature as both an image and an object.

This overwhelming hunger to consume actual things, physical objects and images, led me to do a little binge - viewing this past weekend here in Chicago.

He is pursuing a research - driven practice that takes many forms, including objects, images, actions, and writings, in digital and physical space.

As a matter of act, when we get to this world, a lot of things that we think about as physical objects today, like a TV for displaying an image, will actually just be $ 1 apps in an AR app store.