Sentences with phrase «physical objects in space»

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.

Not exact matches

Hololens is Microsoft's new augmented reality device that appears to make objects appear in front of you within the physical space you're inhabiting.

A start - up called Desktop Metal has developed 3 - D printers that can produce metal objects safely, in smaller spaces and for a lower cost than traditional manufacturing, which requires expensive machinery, lots of floor space and risky physical labor.

This is an early example of how physical locations and objects can be activated in a digital or gaming space.

You have further made a host of assumptions regarding tensors if you wish to limit how physical objects can violate assumed constants in a given time and space.

The units of which the world is made up were thought to be material particles which remained unchanged in themselves as they moved about in space and formed the diverse configurations which made up the physical objects in our world.

The difficulty, which Newton recognizes, is that there may be no physical motion whereby absolute time is accurately measured (PNP 8); and there may be no material object at rest in absolute space in reference to which absolute positions are determined (PNP 8).

Neither Newton nor Whitehead ascribes to a purely relative theory of space and time structure, that is, a theory which would maintain that any selected system of material objects may serve as a suitable framework in terms of which to analyze physical reality.

More to the point, Newton's «Scholium» which introduces the notions of «absolute, true, mathematical» space and time, and «relative, apparent, common» space and time (PNP 6 - 12), makes clear that absolute space and absolute time continua are thought to be necessary for a satisfactory theory of dynamics, that is, a theory of the forces which determine • the motion of material objects.7 The main idea in Newton's position is that not all physical frames of reference are suitable for satisfactory analysis of the motion of material objects; in fact, no physical frame of reference is completely suitable for this purpose.

For Newton, absolute space and absolute time are presupposed by a theory of the dynamics of moving bodies and in particular are necessitated by the fact that no available physical frame of reference seems suitable for a satisfactory analysis of the accelerated motions of material objects.

Through its fusing of the field of force with space it has turned space into a physical object in the full sense of exercising action and suffering effects....

Fairly quickly Batygin and Brown realized that the six most distant objects from Trujillo and Shepherd's original collection all follow elliptical orbits that point in the same direction in physical space.

«It looks like important physical objects, such as curved space - times... emerge naturally from entanglement in tensor network states via holography,» writes physicist Román Orús of Johannes Gutenberg University in Germany.

Rather than treating space - time as an empty arena in which physical events unfold, Penrose postulates that objects called twistors build the fabric of space - time from the ground up.

Accepting space and time as forms of animal sense perception (that is, as biological), rather than as external physical objects, offers a new way of understanding everything from the microworld (for instance, the reason for strange results in the two - slit experiment) to the forces, constants, and laws that shape the universe.

The Heterodyne Instrument for the Far - Infrared (HIFI) on the Herschel Space Observatory observed three deeply embedded protostars in the low - mass star - for... ▽ More «Water In Star - forming regions with Herschel» (WISH) is a key programme dedicated to studying the role of water and related species during the star - formation process and constraining the physical and chemical properties of young stellar objectin the low - mass star - for... ▽ More «Water In Star - forming regions with Herschel» (WISH) is a key programme dedicated to studying the role of water and related species during the star - formation process and constraining the physical and chemical properties of young stellar objectIn Star - forming regions with Herschel» (WISH) is a key programme dedicated to studying the role of water and related species during the star - formation process and constraining the physical and chemical properties of young stellar objects.

Whether you are working with a space slightly larger than a mat or the most expansive room in your house, making physical space at home for your mediation, yoga practice — or simply honoring objects that have deep meaning — can have a profound effect...

Much like the camera based games on PS3, 3DS and iOS, Theater has you interacting with objects onscreen as if they were in the physical space you are occupying.

First of all there were a lot of individual effects on the children from introducing this type of playground: children were seen to be a lot more excited going out to play; they would enter their classrooms after lunchtime and would still be talking about what they did during that play; they were a lot more engaged, they were using the space a lot more readily, so, taking these materials out - and that could be one influence on how physical activity actually increased; they were solving problems and using their creativity skills - which I can also talk about how the children use all these objects to be creative in the school playground.

The phone uses several technologies, including Motion Tracking (to detect the movement of the user), Depth Sensing (to detect the distance of objects in the physical space) and Area Leaning (the device spatial memory for drift correction and also support multiplayer games that take place in space physical space).

Contemporary sculptors interested in working with physical materials, as Maychack is, often take as their source material the recesses and underpinnings of architectural space, whether it is the moldings of a room (see Francis Cape), the sprayed girders of an underpass (Karlis Rekevics), or the negative spaces in and about actual objects (Rachel Whiteread).

While drawing the viewer in, Rachel MacFarlane aims to create an illusion by emphasizing the physical attributes of the painting as an object in space.

Throughout the duration of the exhibition, her performers continuously enact a form of live installation in the gallery and the museum's outdoor spaces, bridging the conceptual and physical divide between performer and object, bystander and viewer, while addressing the ways in which dance and the spectacle of performance are presented in theatrical and exhibition contexts.

Dwelling spaces open up activated by the body, suggesting a preconscious physical engagement with objects, not as they are, but as we are in relation to them.

In a fourth and final post from New Frontier at Sundance, Nettrice Gaskins investigates «augmented space» — the technologies, objects, or symbols that overlay physical space with information.

Yes, in my site - projects, I address the physical, actual built spaces whereas in paintings, I am dealing with implied space in a static object - two very different conditions and limits.

In this part of the exhibition space, the artists presented a six - channel video on projection screens situated in a way that mirrors the video's own 5.1 surround sound, engaging the visual, sonic, and physical fields as a combined objecIn this part of the exhibition space, the artists presented a six - channel video on projection screens situated in a way that mirrors the video's own 5.1 surround sound, engaging the visual, sonic, and physical fields as a combined objecin a way that mirrors the video's own 5.1 surround sound, engaging the visual, sonic, and physical fields as a combined object.

A major survey into the understanding of light in the context of physical space and object opens at the Museum of Contemporary Art San Diego.

Manders makes a physical as well as mental space for the viewer to «enter the world of objects and matter and find poetry in it... and to know how poorly we normally see our daily life.»

Through his gesture the work becomes an object, an installation; it takes into account the void (notably in Dadamaino), space, light, the venue and the spectator's physical experience.

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.

Their examination of space in contemporary art therefore led to a careful selection of works: the concept of space that forms the object of this project is diverse, all - encompassing, starting from the original meaning of the word — an available place for the objects of reality, which are identified by their way they are arranged or positioned and possess physical dimensions, hence are susceptible of being moved.

There, Trecartin presents his newest movie, a video work that situates various projection screens throughout the exhibition space in a way that mirrors the movie's own 5.1 surround sound, engaging with the visual, sonic, and physical fields as a combined object.

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 Portland - based artist works across a variety of media incorporating objects, poetry and publication through what is self - described as instances of «weird touching» or «speculative frictions» that move in and out of physical and digital spaces.

What it embodies however is not a physical object, but an ideation of space that only takes place in the mind of the observer.

The tactile, sensory, and textured nature of Kang's works, many of which incorporate repurposed materials sourced directly from factories in South Korea, will help form a physical connection between the objects and the viewer, creating a dynamic and interactive relationship to the surrounding space.

Often composed into dense installations with objects, text, and wall drawings, the discreet works double as prop in sets translating internal states to physical space.

His unaffected, straightforward approach to his work and his strong interest in color, form, material, and space led him to create striking art objects with a direct physical «presence,» eschewing grand philosophical statements.

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.

In her practice, Lainé often combines found objects with large - scale photographic imagery to form tableaux in which representational, physical and rhetorical spaces overlaIn her practice, Lainé often combines found objects with large - scale photographic imagery to form tableaux in which representational, physical and rhetorical spaces overlain which representational, physical and rhetorical spaces overlap.

The sound also becomes the object of a deep postproduction by the artist, through effects, amplifications and repetitions that highlight the role of sound as a physical presence in the space.

In the likes of the artist's own home studio, the display seamlessly mirrors the physical constraints of an apartment space, nodding to the domesticity of the found objects on the floor above.

His series Studio Physics thus addresses «the physical phenomena of still and moving objects in space over time» through multidimensional still life compositions, the product of an involved process for which the artist first creates and photographs a still life arrangement — of oranges scattered over a table, for instance.

Haberny is also interested in the psychological impact experiencing an object in a space has on a viewer, creating works that seem to defy the confines of the surrounding physical space.

Physical experience is revaluated as an alternative to intellectual experience in Barlow's oeuvre much in a similar vein as it is in that of Brazilian installation artist and painter Lygia Clark (1920 - 1988) or German concept artist Franz Erhard Walther (born 1939): I'm interested in an experience that is to do with how you move around space, how you move around objects, and how sculpture relates to that.»

Abstracted figures and objects come together in Technicolor scenarios that hint at an almost surrealist sensibility, while still based firmly in the realm of physical space as rooms such as kitchens or living rooms become concretized.

Revealed only as experiences in the time and space they occupy, his works exist for those who encounter them and in their memories, but not as physical objects.

«One of the exhibitions is in cyberspace — and the other is in a classic industrial space in the Lower East side with physical objects.

The installation and exhibition design for Wide White Space aim to take on the challenges inherent in presenting any show on graphic design: how to make it possible for visitors to directly engage with the materials on display; how to gather and present a breadth of historical and contemporary pieces, which take the form of both original physical objects and restaged exhibition projects; and how to speak to both peers within the design community and a broader audience.