Sentences with phrase «see objects past»

It won't stop you playing, but it really shouldn't look like you need to put glasses on in game to clearly see objects past a certain distance.

Not exact matches

Heidegger and Whitehead both see that subjective experience has wrongly been envisioned in past philosophy in terms of models derived from objects of sense - experience.

As we have seen, what the examination of perception brings to light for Whitehead is an occasion of experience which is a self - creative process, a subject synthesizing past objects into a novel unity.

This is because eternal objects can not convey a sense of the individuality of the past actual entities which are being objectified by a new actual entity (see PR 229f.

She has become somewhat «mannered» in the past few years (the wags call her «La Scoopenda,» and after last year's Lucrezia Borgia, I could see their point), but really I think they object to anyone who they view as «pandering» to the unwashed masses.

«A combination of feeling, seeing and past experience probably ensures that we integrate certain objects in our body scheme.»

«Most people in the past have seen robots as machines that act on the world, that move objects around,» says Latombe.

Over the past decade, astronomers have suggested that the different types of AGN may all be the same type of object, with the different properties noted by observers resulting from different viewing angles as seen from Earth.

Lots of non-violent, non-gory but otherwise unsettling scenes worth mentioning: many «jump» scenes when people or objects startle others; we hear some noises during the night in many scenes (creaking doors and floorboards, screams, eerie whispers, doorknobs turning, pounding at doors) and doors slam shut as people run past them; we see eerie carvings and sculptures throughout a house, a maelstrom and sculptures come alive and scream and a skeleton sits up abruptly; a ghostly face is seen at a window and in a ceiling, windows become eyes, ghostly children are seen a few times (in one scene, a ghostly baby from a sculpture crawls under the sheets as a woman lies in bed) and a woman's hair is braided by invisible hands.

She has written screenplays in the past, including the 2011 «Fright Night» remake, and rather than necessarily seeing the books «Sharp Objects» and «Dietland» as one - off films, she saw the open - ended possibilities for making them into series.

In fact, the characters and destroyable objects match to the environment very well and do not have the «added on top» appearance that we have seen in the past with some games.

Part homage, part ironic reinvention, Thomas's 1990s abstractions can be seen as following the 1980s work of Peter Halley, Phillip Taaffe, Sherrie Levine, but their deft shuffling of the material and the immaterial, of the object and its image, orient them toward the future (i.e., now) rather than the past.

In creating this series, Azoulay interviewed past and current Israel Museum staff members, using their testimonies as a guide for gathering information on rarely seen objects and spaces that carried special meaning for her subjects.

His early, stacked works present a taxonomical understanding of the world, and he has said that he sees manmade objects as «fossilized keys to a past time which is our present».

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.

While I've been playing around for the past year with fixed objects that the viewer can see through, or that light can pass through, those objects have always resembled paintings.

Despite the massive changes that the field of contemporary art has undergone in the past several decades, that saw the dematerialization of the art object and onset of experiential events, most art institutions continue to be oriented around static, object - based exhibition formats.

We Will Live, We Will See takes into account the dangers of relying on objects to illuminate the past, working with the ambiguity and openness that characterise the multiplicity of voices and accounts of history.