Sentences with phrase «space objects appear»

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.

What appear to us to be solid objects are really made up of molecules and atoms extended in space and time.

What appear to be solid objects are made up of myriads of these energy events, throbbing, dynamic, interrelated and interacting, extended in space and time, with varying degrees of complexity of organization.

This seemed as self - evident to him as it still does to us; three - dimensional space appears to be just there; objects like planets and falling apples move within space, but space itself does not move.

If the motion is so fast that individual droplets are not resolved in our perception, it will appear that a permanently existing localized object is continuously moving across the space occupied by the fluid.

Provisionally designated A / 2017 U1, the object appears to be less than a half - kilometer in diameter and is traveling at just over 40 kilometers per second — faster than humanity's speediest outbound space probes.

Just as a bedsheet hanging on a clothesline appears to be a two - dimensional object hanging in a three - dimensional world, all of space - time would be suspended in a higher - order space.

Given the redshift of the light from this stellar explosion — which occurred about 10 billion years ago, when the universe was one third its current size — the object appeared much brighter than it would have been if [dust filling intergalactic space simply made the supernovae appear dim, as some researchers had proposed].

When laser light is later shone through the interference pattern, the object or scene appears to float in space with sharp, vivid realness that can be hard to distinguish from real realness.

In this case, a hypothetical particle called a graviton — which mediates gravity — appears in large numbers out of the vacuum of space in regions crowded with massive objects such as stars.

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.

As with any other celestial object, quasars are constantly moving through space, but they are so far away from Earth that from our perspective they appear to stand still.

«Outside, shadows create lines, which appear on the tongue as objects in space,» Erik says.

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.

Since we commanded the Hubble Space Telescope to track Pluto during the imaging, objects not moving with Pluto (like stars and asteroids) appear as streaks in the images, rather than a point - like source moving with Pluto.

By comparing Hubble's observations with those from the Spitzer Space Telescope the CLASH team was able to rule out red stars, brown dwarfs, and red galaxies as alternative explanations and concluded that the three images were a match for how the object would appear through the gravitational lens.

This will not only give your space some room to breathe, it will also make it appear bigger simply because of the array of objects within it.»

To be fair, it's a lot easier to implement physics and custom animations and dismemberment for hundreds of different objects when said objects are made up of far fewer polygons, and appear in smaller numbers in smaller spaces.

Far away objects can appear closer than they really are in wide open spaces.

Adjusted the path of the tower in Tower Control mode in Port Mackerel to fix an issue where players caught between the tower's pillar and a stage object when the tower entered a narrow space appeared to be shaking.

«the canvas began to appear to one American painter after another as an arena in which to act - rather than as a space in which to reproduce, redesign, analyse or «express» an object, actual or imagined.

Although in each of these pieces the shafts of yarn are all of identical height (stretching from floor to ceiling) and evenly spaced in relation to each other, they appeared to differ wildly thanks to the vagaries of perspective, steadfastly refusing to cohere into a stable configuration, let alone the outline of an implied plane or object.

This question took her down a rabbit hole of experiments with painting on and people and objects that led her to develop an optical illusion for turning three - dimensional spaces into what appeared to be two - dimensional paintings.

Because the colors in a Fauve painting are of similar saturation or intensity, the pictorial space appears flatter, with objects seeming to be closer to the surface of the painting.

From the lyric, dark grisaille of Gorky's inner landscapes it grew to epic stature: In 1952 art critic Harold Rosenberg observed that «at a certain moment the canvas began to appear to one American painter after another as an arena in which to act, rather than as a space in which to... «express» an object, actual or imagined.

For the show, the gargantuan exhibition space on West 20th Street appears mostly devoid of physical objects, but so full of meaning that it feels as if the walls might burst.

Normally small creatures tower and loom, dancers weave through space at unorthodox angles, and customarily static objects appear fluid and sinuous.

In this canvas the flutist appears twice: as an object inhabiting the creative space of the classroom and as a nearly complete representation on an easel.

The juxtaposed objects synthesize and accommodate each other and, similar to Swallow's larger sculptures and turntable pieces, they often appear as extrapolated and enlarged details from the spaces and ideas contained in those environments.

He had noticed, however, that «at a certain moment in time, the canvas began to appear to one American painter after another as an arena in which to act — rather than a space in which to reproduce, re-design, or «express» an object.»

Texts appear on walls and windows of galleries and public spaces, as spoken word in audio recordings and video, printed books and posters, cast or carved objects, tattoos, graffiti, lyrics, online, ad infinitum.

By placing each fragment against opposite walls of the gallery so that the front half appears from one wall, while the back disappears into another, Paolini not only destroys the object quality of the sculpture but in doing so creates an installation which calls attention to the architecture of the particular exhibition space.

This sentiment is echoed by Antenna Space director Simon Wang, who notes that Guan's works «study the internal equivalence between the object and the subject, the old and the new, and the self and the other in a viewpoint that appears to be counterintuitive.»

According to him, space and time imply movement and the change of light: «As light moves across the object, the forms and the color appear to change with the rearrangement of the shadows.

CA: The way you compare painting and dance makes me think of course of the often - quoted description of the Abstract Expressionists by Harold Rosenberg, «At a certain moment the canvas began to appear to one American painter after another as an arena in which to act — rather than a space in which to reproduce, redesign, analyze or «express» an object, actual or imagined.

His singular sculptures are outlandish objects, appearing to have landed in the space fully - formed; either through industrial processes, as a result of natural forces, or by a combination of the two — only revealing their true complexity through closer inspection of hand - finished details, rivets and joins.

The individual elements of the installation appear to be casually arranged, yet nothing is left to chance; each object is dependent on one another and its relationship to the space.

Uncanny both in its subject matter (a singular domestic space with objects pulled from reality and art history), and aesthetics (early computer - generated imagery and computer - appropriated images), flat objects appear to have depth through the use of a colour gradient.

However, rather than offering abstracted, fragmentary objects that intervene within the space as in his past exhibitions, Sibony appears to be aiming for more of a theatrical cohesiveness here, where grasping at a sense of unity becomes easier through staged encounters.

Metallic finishes in Grubin's art underline the interrelatedness of object, light and environment with fragments of reflective negative space appearing on — or within — the surface of the work.

More recently, Gisela Colon, who has been recognized in ArtForum as a next generation light and space artist, has created «irregularly shaped wall mounted acrylic orbs... scarab - like objects achieve their iridescence via the play of natural light, yet the sculptures appear to change color as one moves around them, as if lit by multihued bulbs.»

This flattens the composition and makes the objects appear to be floating in space.

These places are living spaces: his grandmother's room, appearing like that of a giantess, where furniture and objects, broom and chamber pot, are immense, in the proportions perceived by the artist as a child; the bedroom of his daughter, still a child, seems reserved for Lilliputians, where an adult has to stoop to enter.

A: The works that appeared at the Hepworth Wakefield this year included found objects you discovered in the gallery space, what is it about found objects that interests you?

Yet, while Made in L.A. appeared as diverse and sprawling as the city whose art it presented, it might also be argued that the bulk of the work on view extended four familiar (and familial) lineages of Los Angeles art that were well represented in «PST»: hard - edge abstraction (represented here in paintings by Brian Sharp and Alex Olson and painterly objects by Lisa Williamson and Brenna Youngblood), found - object assemblage (in the work of Liz Glynn, Ry Rocklen, Henry Taylor, and Erika Vogt, among others), eclectic performance practices (including live pieces by Math Bass, Kenyatta A. C. Hinkle, and Ashley Hunt, as well as the collective Slanguage's array of community - based works at LAXART), and film and video projects that pointed, more or less, to the looming shadow of Hollywood (e.g., Miljohn Ruperto's Seven and Five, 2012, which includes multiple remakes of a 1961 episode of the TV show Alfred Hitchcock Presents, and Dan Finsel's The Space Between You and Me, 2012, for which the artist restaged Farrah Fawcett and Keith Edmier's decade - old roll in the clay).

Exposed to the plate in their original glassine bags, the negatives appear as dimensional objects in their own right but trapped in a two dimensional space.

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.

Objects in Mirror are Closer than they Appear, a collaboration between the Tate Modern in London and the Contemporary Image Collective, Cairo, took place in the small, darkened Tate Project Space tucked away in the corner of the Tate Modern's ground level.

Rachel Whiteread, 2005 Rachel Whiteread's Block from 2005 is a continuation of the artist's relentless examination of what happens to objects when they are replicated, not exactly as they were, nor as they appear externally, but what the space contained within them is like.

While the chandeliers themselves possess sculptural form as objects, demanding a physical encounter, the light they emit, variously controlled and directed, is less tangible, experienced in the spaces between each work and the surrounding architecture, set aglow and appearing to change throughout the day according to ambient light conditions.