Sentences with phrase «same space object»

Then, find an image of the same space object taken by one of NASA's space telescopes.

They're almost certainly coming from the same space object.

Not exact matches

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.

BOX 15, A-15-6; 30219214 / 734997 SAPA Part B - 1st Draft, c. 1972 Using Numbers - Numbers and the Number Line, JRM Observing - Observing the Weather Measuring - Making Comparisions Using a Balance, JE Alternate Auto - Instructional, Measuring 1 - 4 / Measuring Area, Gillis Classifying - Trees in our Environment, JRM, c. 1972 AAAS - Xerox Film Loops Guide, A11 Exercises - Shapes and Symmetry, Hansen, 1972 SAPA Part B - 1st Draft, 1972 Observing - Observing Color and Color Changes in Plants, HM Communicating - Identifying Objects and their Variations, RN Communicating - Different Kinds of Forces, AHL Communicating - Graphs, JRM Classifying - Observing Living and Nonliving Things, Smith Using Space / Time Classifying - Animals in Our Environment: Part B (alternate) Using Space / Time - Shadows, Smtih Alternate (Autoinstructional)- Using Numbers - Numbers and the Number Line Observing - Observing Soils, JRM SAPA Part B 2nd Draft, 1972 Measuring Area 1 - 4, CCP Measuring 1 - 4, Volume of Solids, Alternate 2, CCP Measuring 1 - 4, Volume of Solids, Alternate 1, CCP Measuring Length 4 - 6, Linear Measurement Using Metric Units, CCP Communicating - Intro to Graphing, JRM Communicating - Pushes and Pulls, AHL Communicating - Identifying Objects and Their Variations, RN Classifying - Trees in Our Environment, JRM Classufying - Observing Living and Nonliving Things, Smith Observing - Observing Color and Color Changes in Plants and Observing Changes in Mold Gardens, HGM Observing (alternate)- Observation, Using Several of the Senses, HGM, c. 1972 Using Numbers - Numbers and the Number Line, JRM Measuring - Making Comparisions Using a Balance, JWE Using Space / Time - Shadows, Smith Using Space / Time Relationships - Time Intervals, HGM Observing 10 - Observing the Weather, JWE Observing - Observing Soils Using Several of the Senses, JRM SAPA Part B Tryout Draft, 1972 Communicating - The Same but Different Observing 10 - Observing the Weather Observing 9A - Observing Soils Observing (alternate)- Using Several of the Senses Observing - Observing Change Classifying - Trees in Our Environment Classifying - Observing Living and Nonliving Things SAPA Part B, Observing - Changes in Molds and Other Plants, c. 1972 SAPA Part B Tryout Draft, 1972 Observing - Observing Changes in Plants Observing - Changes in Mold and Green Plants Measuring - Making Comparisions Using a Balance Measuring Length - Linear Measurement Using Metric Units Measuring Volumes of Solids, 1 - 4 Communicating - Pushes and Pulls Comparing Area, c. 1972 Using Space / Time Relationships - Shadows, 1972 Addition of Postive Numbers, Sums 1 - 99 (not being tried) SAPA Part B 3rd Draft (alternate), Using Numbers - Numbers and the Number Line, 1972 SAPA Part C 1st Draft, 1972 Classifying - Classifying Components of Mixtures, Livermore Inferring 2 - How Certain Can You Be?

The distance «definitely has to be confirmed,» he says, most likely by using the Hubble Space Telescope to check if the two objects share the same motion through sSpace Telescope to check if the two objects share the same motion through spacespace.

«If you find an ocean beneath the surface of one moon, perhaps the same is true of other icy objects in space,» says Jesper Lindkvist.

If they could guide shorter - wavelength visible light waves around the same object, «it would appear as though they came through free space, as if nothing was there,» Smith says.

Emily Conover reports on a study that re-creates in space Galileo's most famous experiment, confirming once again that objects in a vacuum fall at the same rate no matter their composition.

A favored size for Planet X emerged — between five and 15 Earth masses — as well as a preferred orbit: antialigned in space from the six small objects, so that its perihelion is in the same direction as the six objects» aphelion, or farthest point from the sun.

In this virtual space, the researchers hope to track patterns of movement of the astronauts and objects over time, which might allow them to understand patterns of life on the station in the same way that they might when looking at an archaeological site on Earth.

It is important to realize that a black hole's gravitational field is the same as that of any other object in space of the same mass.

According to a Caltech press release, they eventually realized that the six most distant objects in Trujillo's and Sheppard's study all followed elliptical orbits that pointed in the same direction in space, which was difficult to explain, because the objects were traveling in orbit at different rates.

A conventional microscope can not distinguish objects — say, molecules — that are packed within a space of about 200 nanometers because they all become flooded with light at the same time.

Docking at space stations and your ship is like entering a small instance and is uninspiring seeing the same graphics with the same objects in different places.

At the same time, the level surface under the trunk becomes accessible, and it offers a flat storage space for dirty or wet objects.

While from a thematic perspective it certain makes sense for the environment to look largely the same, after all you are on a massive space ship designed for testing, but that doesn't excuse the fact that wandering through endless corridors and rooms that re-use the same textures and objects over and over begins to grate.

Space Invaders Color (again, 1978) was the first time the game was released in full color, though the trick the developers used to turn each row of enemies a certain color looks an awful lot like the bands of cellophane used earlier, as a given row on the screen always turns the objects inside it the same color.

OK, it might be a bit big to display in a cube - you need a lot of wall space for this one - but the idea is the same - Conversations that happen around the object are more interesting than the actual object itself.

«There are many ways to historicize the past,» writes curator Sunjung Kim in her introductory essay, which is an under - and over-statement at the same time, but is befitting for an art space that has accrued a real institutional legacy (yet few objects), and remains committed to the present.

While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched canvas during the same period, Gilliam's sculptural approach was revolutionary in that it repositioned the viewer's relationship with the painting to include the object as well as the space around it, blurring the boundary between painting, sculpture, and architecture for the first time.

Previous solo and group exhibitions include: Situations, You Space and Extra Space, Shenzhen (2018); Documenta 14, Athens and Kassel (2017); Shut Up and Paint, National Gallery of Victoria, Melbourne (2016); Cher (e) s Ami (e) s, Centre Pompidou, Paris (2016); The Same Old Fucking Story, Rodeo, London (2016); Tightrope Walk: Painted Images After Abstraction, White Cube, London (2015); Unrealism, The Moore Building, Miami (2015); Burning Down the House, 10th Gwangju Biennale, Gwangju (2014); This is Not my Beautiful House, Kunsthalle Athena, Athens (2014); Everyday a Stage, Rodeo, Istanbul (2014); System of Objects, DESTE Foundation, Athens (2013); Apostolos Georgiou.

«All that space around the objects, and the everydayness of those same objects - the shoes, the ladders.

On the back left wall of Pepin Moore «s gallery space — the same endearingly domestic space that, just a few months ago, belonged to China Art Objects — there's a -LSB-.....]

Works present material as adaptable, with an ability to morph, suggesting we think through the surrounding environment in the same way; objects and spaces, functioning to our own evolving needs.

The object, fat with self - indulgence, exists in the same space as the body.

The work is featured in the building's Pavilion, which will serve as an exhibition space for objects and audio visual materials of projects, places, people, sculptures and paintings with the objective to provide inspiration to the foundation's visitors in the same way that they once inspired Norman Foster and his work.

Lately, she says, she's «been thinking about the many ways in which one can view the same object, and how far one idea or one shape can be stretched, simply through how it is presented»; her new show accordingly runs variations on a fixed subject via a set of «inverted landscape» paintings (plus some 15 drawings), in irradiated hues, where space seems to twist itself inside out.

Gormley's work has always explored the body as a place rather than an object, and here he takes us into a new zone of structural complexity while at the same time evoking the body as an open space of possibility connected with the earth as well as space at large.

At the same time, we see through each artist's work, that viewing objects in space is still a significant way to understand art and culture that can not be replaced by the Internet experience.

Lí Wei entertains and executes both elements by incorporating a sharp contrast in style between the two divided gallery spaces and at the same time choosing subjects and objects that are plainly and blandly derived from our every - day life which evokes personal resonation for its viewers.

Often, the artist plays with scale to reinvent our relationship to these objects or allows us to experience something that would otherwise be impossible, for example occupying the same space with a 52 foot - long felt whale.

In the same way, the subtle, calculated gestures of Wood and Harrison who analyze the body's relation to objects, space and others, are indeed a modern response to Foucault's description of discipline as the «political anatomy of detail.»

Kenny Schachter ROVE, London Props & Propositions, Cleveland Institute of Art, Cleveland, Ohio 2004 Five Ways to Say the Same Sadness, University Art Museum, University at Albany, New York eRacism: electronica, Contemporary Art Museum St Louis, St. Louis, Missouri reFunkt: prints & dvds, The Project, New York eRacism, Rutgers University, New Brunswick, NJ; traveled to Artists Space, New York 2003 Foddah, Drew University, Madison, New Jersey Some: Of Place and Desire, ArtHouse, Austin eRacism, DiverseWorks, Houston, TX; traveled to Portland Institute of Contemporary Art, Portland 2002 What's Inside a Boy, The Project, Los Angeles eRacism, ICA at Maine College of Art, Portland Incontinent, Wood Street Gallery, Three Rivers Arts Festival, Pittsburgh, Pennsylvania 2001 Hole Theory, The Project, New York 2000 Eracism: White Room, ThreadWaxing Space, New York The Hole Inside The Space Inside Yves Klein's Asshole, Concordia University, Montreal Eating The Wall Street Journal And Other Current Consumptions, Mobius, Boston 1998 Recent Work, The Project, New York 1996 Buddy Performance Objects, with Jim Calder, Touchstone Theater, Bethlehem, Pennsylvania 1993 William Pope.L, Horodner Romley Gallery, New York 1992 William Pope.L, Drew University, Madison, New Jersey 1991 How Much is that Nigger in the Window, 30 performances, writings and installations, Franklin Furnace, New York

This slightly indecisive quality appears in some other compositions; textures or patterns are sometimes only summarily invoked, and people or objects are depicted as if they are not really in the same space.

I think it is important that such objects are presented within the same gallery space as images we see daily in the New York Times, for example, or in those found in print publication such as with the work of Aaron Jones.

The artist uses found objects as models for paintings, and then places both the objects and their illustrations in the same display space.

If the location L is embedded in a continuous temperature distribution with a continuous CSD distribution, the same will happen for intensities in opposite directions when CSD is large enough, so that the net intensity goes to zero; unless CSD is purely scattering near TOA, this won't happen at TOA because of the lack of radiation from space (except for solar radiation, or for very tiny solid angles directed at specific objects, which can be ignored for our purposes here)

Gravity «works» on mass not on movement, it's the relationship of mass of objects meeting in gravity which creates movement, two gases of different mass in the same parcel of space will separate out as gravity has a greater pull on the one with more mass.

1) Now imagine the same large sphere with a constant heat source at its center which is located in deep space with no other objects near it.

I believe that if in the vacuum of space you place a blackbody object with (a) a constant (i.e., unchanging energy per unit time) internal thermal energy source, and (b) internal / surface thermal conduction properties such that independent of how energy enters the blackbody, the surface temperature of the blackbody is everywhere the same and you place that object in cold space (no background thermal radiation of any kind), eventually the object will come to a steady state condition — i.e., the object will eventually radiate energy to space at a rate equal to the rate of energy produced by the internal energy source.

The platform is built on open standards including Collada, VRML and others, meaning that existing 3D objects built on the same standards can be easily included in any 3D space, including most objects from Google 3D / SketchUp.

You can create space by hanging objects that are the same length, together.