Sentences with phrase «spectators move»

As spectators move around them, the painted forms appear to shift in relation to one another, creating a kinetic effect.

With specially designed light wands, spectators move from a lush tropical jungle to an urban one encountering characters, at times absurd and fantastical amidst fight, flight and displacement.

I mean that the genial art work is as many sided as an infinite polygon, and inasmuch as time and spectators move they constantly discover new sides.

Nearby, hands run over a period keyboard instrument, while mysterious spectators move in and out of the frame.

After the events of the day are complete, spectators move out to local restaurants or take drives to other parts of our enchanting state.

The spectator moves from Mumbai to Los Angeles to Seoul to Moscow.

Likewise, at his recent eponymous exhibition at the Serpentine Gallery in London, spectators moved collectively from room to room following a soundtrack.

Not exact matches

Scores of individuals moved from Sunday spectators to ministry players.

Keen believes that Homo Tempestivus - the fully mature individual - «like an athlete or a dancer... moves among the ambiguities and limitations of existence with a gracefulness that appears to the spectator effortless and spontaneous.

It is as if you are a spectator on the side of the pool watching a body as it moves from one location to another.

One player who suffered at the hands of the spectators was now West Brom forward Peter Odemwingie, who found himself the target of abuse upon his move away from Lokomotiv Moscow.

The spectator tends not to remember that as a goalkeeper I make difficult saves at great risk and start moves with my efforts.»

«This is the first we're hearing about this,» Agnifilo said, as some spectators talked excitedly among themselves about the possibility of the trial moving toward an end.

Tony Signorile orchestrated the entire parade, kept it moving, and made sure all participants and spectators were having a great time.

Directed by a Turkish - German filmmaker and centred around Turkish - German characters, Head - On moves beyond a clichéd representation of the Turkish - German situation, instead exposing and opening up such clichés to scrutiny by the spectator.

However, there is some new elements, including a roll hoop that disappeared with the ChampCar series, the engine intake has been moved from atop the race car to on the car's new sidepods, and there's a host of new telematics that help spectators and race teams alike follow their favorite drivers.

Already we've dramatically improved both A and B Paddock, created new spectator viewing areas — and vastly upgraded the existing ones — designed and executed all - new landscaping, re-built and modernized the paddock rest rooms and replaced all the fencing, including moving it closer to the track in the areas that we could.

Selfridge had a few personal problems that eventually led to his being ousted from his own business — a move that took him from industry leader to sideline spectator in a single afternoon.

As spectators looked on, judges watched how the leashed dogs moved as they trotted around the ring.

Not only are there various dangerous obstacles to throw baddies into, but Jack's finishing moves had the spectators behind me oooing and aaahing.

Fixed the issue where you could not move your character after exiting the spectator mode of Team Battle's one - on - one match.

In other words, games move the viewer from the position of spectator to that of participant in the media experience.

... but since video games are an interactive medium, players are allowed to move beyond the traditional role of voyeur or spectator.

The game looks realistic from a spectator's point of view and the Fox Engine integration might just be enough for most players to make the move from FIFA because of its overall sense of realism.

Nintendo's marketing move at PAX East showed an awareness of Splatoon «s potential, and how the game benefits from hands - on experience and the enjoyment of the spectators.

Given you can pull off trick shots, funny moves or straight - up pushes for the high score it's a potentially interesting game for spectators as well as players.

McCall regards these works as occupying a place somewhere between sculpture, cinema, and drawing: sculpture because the projected volumes must be occupied and explored by a moving spectator; cinema because these large - scale objects are not static, but structured to progressively shift and change over time; and drawing, because the genesis of each installation is a two - dimensional line - drawing.

While Stella's assumptions regarding Minimalism as well as contemporary abstract sculpture \ are based on the relationship between a moving spectator and a stationary object, cinema posits a moving image in front of a stationary spectator, reversing the terms of the equation,

As the viewer approaches the work, the moving images gradually morph into shots of one - on - one confrontations of tourists taking photos ostensibly of the spectator.

Drip Machine continues the main artistic strategies Jeff Shore and Jon Fisher have employed during the past 15 years of practice, the conflation of DIY aesthetics and visual technologies, the exploration of the relationship between automated and chaotic movement, and the spectator expectations about the cause - effect relation between image and sound, while moving a step forward in complexity by conflating water and electronic equipment as well as the use multiple sensors and channels.

The cyclical movement undergone by the cups, which are damaged by the activation of the wood lever, is provided by the physical effort expended by the spectator's moving the handle, driving the whole system into motion, and thereby producing a slightly disturbing sound.

The works blend cinema by not being static, sculpture by being occupied and explored by a moving spectator and drawing as the genesis of each installation as a two - dimensional line drawing.

As the dances unrolled, spectators were free to move around the perimeter of each studio, and to select and change their viewing point.

«I quite like the idea that the exhibition moves around the spectator.»

The virtual might also be understood as an idea of simulation in which the scales of the physical and the virtual are the same and continuous, where the «spectator» is free to move around.

Therefore, the spectator's eye is continuously on the move.

Dreamlands presents early experiments with cinematic space that jolt the spectator out of the conventions of seeing, postwar works that offer a darker and more fragmented experience of the moving image, and contemporary works that often exploit the infinite malleability of the digital image.

And, when looking up or down at other examples of work just beyond arm's reach or across the room, but above all when moving from one piece to the other, individual spectators will experience a sense of corporeal disorientation, as if they have lost a feel for their own proportions and are no longer able to gauge their own relative scale — indeed, Giacometti is still very much in control.

Shaped by the lines and proportions of the dancers, the installation repeats and draws out the Madlener House's existing architectural elements that relate closely to the body — such as thresholds and windows — creating an acute awareness of the body moving through space for both dancers and spectators alike.

Pape's experimental practice spanned drawing, sculpture, engraving, installation, choreography, and filmmaking as she moved between mediums to explore geometric form, positive and negative space, the intellectual and physical participation of the spectator, and above all art's potential to ignite social change.

The use of colour and shape to move the spectator was paramount in the development of abstract art.

A few people even move here because they consider politics to be a spectator sport.