Sentences with phrase «shared space of the viewer»

That meant putting a show together in real space, the shared space of the viewer.

Not exact matches

We never have that feeling of Hollywood soundstage; instead we as viewers share in the tight space and constant dread.

We asked Josephine Kim, an educator, counselor, and faculty member at the Harvard Graduate School of Education, to share her thoughts on the risks the film poses for young people, and how educators can support young viewers and create a safe space to teach about eating disorders and mental health.

These communities serve as an audience of users and viewers for the artifacts of knowledge being created in both spaces, and can help to share these artifacts even more widely.

These earliest attempts at mixing real - life video footage with virtual reality are the best way to show people what it truly feels like to be inside of a virtual space so we're letting streamers and content creators easily share VR footage that's clear, understandable, and ready for mainstream viewers.

Viewers see a kaleidoscopic play of color and light, along with multiple views of their own reflections and those of the other viewers looking through the portholes, all creating an illusion of infinite space and an extraordinary shared expeViewers see a kaleidoscopic play of color and light, along with multiple views of their own reflections and those of the other viewers looking through the portholes, all creating an illusion of infinite space and an extraordinary shared expeviewers looking through the portholes, all creating an illusion of infinite space and an extraordinary shared experience.

Totally missing the point, in my view, of the work's use of a subdivided black to activate the space the painting — as both surface and object — shared with its viewers.

His color - blocked compositions evoke compassion and a sense of shared space, setting the viewer in close conversation with those pictured.

Its immersion of art and viewer in a shared space also undermines regularity, because the object enters an ever - changing theater.

These figures share the gallery space with the viewer in a poetic and unusual way; the paintings are hung close to the floor which implies a corporeal relation, complimented by the sculptural quality of the artist's figures with their bold outlining and blocks of colour.

The artworks serve as a mirror for the viewer to slip into an entangled consciousness; a shared mysticism of space and form, ultimately embracing life and death and the experience between the lines.

Due to the temporal nature of each creation, Harlow relies on the sharing of information through documentation such as photography, video, and viewer communication from interactions with spaces.

While all of the exhibiting artists in Love Action Art Lounge approach the social from distinct and varied perspectives, they, arguably, share what Yates McKee, the author of Strike Art: Contemporary Art and the Post-Occupy Condition, describes, when writing about Occupy Wall Street, as a horizontal pedagogical space in which viewers themselves might be prompted to imagine and perhaps eventually enact their own sense of social transformation.

This simple but clever grid of colored light is tucked away in a somewhat remote space, making its finding a prize — as if the viewer shares a secret with the museum.

They were interested in creating artworks that encouraged viewers to avow their own relation to the work of art; receivers had to reckon with themselves in shared space with an artwork whose constitution as a work depended upon them.

His «compositions evoke compassion and a sense of shared space, setting the viewer in close conversation with those pictured.»

Sharing the viewer's space more literally than any other medium, sculpture has given rise to some of the most iconic works in art history, including the classical Greek Venus de Milo (c. 130 - 100 B.C.), Michelangelo's High Renaissance David (1504), Rodin's The Thinker (1902), and Constantin Brancusi's The Kiss (1908).

Henry Taylor's «compositions evoke compassion and a sense of shared space, setting the viewer in close conversation with those pictured.»

The lack of pictorial space in favor of three - dimensional space represents a shift in the work from a focus on an interpretable interior space shared with a viewer to a flat ideological plane of action.

Such experiences might originate within an artwork, but they are not limited to a space delimited by the edges of a canvas; they exist in a social dimension, always shared among communities of viewers, and yet simultaneously unique to each viewer alone.