Sentences with phrase «real object of interest»

Not exact matches

The marriage between hardware and software can then be used by app developers to create all kinds of interesting apps, including those that place 3 - D objects in the real world.

I envisaged a society of friends for whom ideas are captured from the world of real experience, and brought to the place of dialogue, there to be the source and object of our shared interest.

The answer is, that when things are separately and specifically noticed in acts which, though distinct, are unified and ordered by a characteristic enumerative interest or purpose, the primary contents (sensa) corresponding to the things are caught up in the overarching act to form a whole representation (in the sense of an intentional object) on the basis of which an objective, real, multiplicity intuitively appears.

The research findings of Jacqueline Snow (left) and Michael Gomez, a graduate student in her lab at the University of Nevada, Reno, show that real, graspable objects hold more interest for humans than images of objects.

GIGAOM - Mar 7 - TheComplete.me, formed by former Match.com executives, connects people through their interests using their real identity and encourages users to express themselves through Pinterest - like pinning of objects.

«Much like the laws of physics change from the world of Newtonian large objects to the world of quantum Einsteinian dynamics, so too might low interest rates at the zero - bound reorient previously held models that justified the stimulative effects of lower and lower yields on asset prices and the real economy.»

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

It also comes out of an interest in quilts and textiles where you have these image / objects but... the object itself when you put it on the wall is contending with real gravity.

In my artwork I am used to working with different media depending on how interested I am: painting, installations, sculptures, prints, ceramics; this, however, has been associated generally with the soft sculpture (sewn and stuffed fabrics), a technique that brings me closer to the craftwork of the popular cultures of the Caribbean, incorporating real chosen objects.»

Alan D McIntire has an interesting post but his model would benefit with the additional real effect of every radiative interaction from a colder to a hotter object.