Sentences with phrase «through imagined space»

Not exact matches

You then imagine yourself walking through this space and finding symbolic objects that help you remember what you need to say.

If we could program robots with similar versatility, it would open up many possibilities: Imagine machines that could fly into construction areas or disaster zones that aren't near roads and then squeeze through tight spaces on the ground to transport objects or rescue people.

Or imagine a cat falling from a one - story building, let's say, snapping it's legs out and around and back so that it can land on its feet; it too is moving through space without pushing against anything.

In the office one might imagine using gestures to sort and rummage through mountains of files «like you would organize work spaces in your house,» Isbister says.

Imagine if the Earth were only oceans; a sphere of water floating through space.

Imagine an HD deep space world with Mario flying through it.

Through this acquisition, Imagine Learning is poised to fill a critical need for innovative and adaptive language, literacy, and math solutions in the K — 12 space.

Finally, limbs, very useful above ground, would be a hindrance in tight spaces and tunnels (imagine crawling through a tunnel not much bigger than your body).

I like to imagine this future Monster Hunter set in an open world with a robust ecosystem ripe for unexpected interactions and emergent situations, full of beasts with even more diverse and unpredictable AI, punctuated by moments of quiet among sweeping vistas, and given to an even fuller embodiment through which we might inhabit its space and encounter its creatures.

Based on the mechanic system of View - Master stereoscopes and reels, in addition to the design features and function of baggage carousels, Memory, Market, and Migratory Transition explores the dominance of mediated experience in contemporary culture as seen through a journey into imagined and physical spaces.

The selected works present a conceptual understanding of the constructed environment; through a re - imagining of context and materiality, the works consider our relationship of space as imagined, evasive, and unstable.

Janet Sawyer's new works explore astronomical phenomena, and their travels, orbits, seasonal changes and movements through space and time, both observed and imagined.

That project can not help but be contextual: It imagines its viewers individually rather than collectively and targets them each as they move through the spaces of the show.

They then imagine its involuted space as a virtual chamber through which a wide range of artefacts from the two museums digitally flow, clatter and cascade.

Picked up by antenna and streamed into the shelter over an ethernet cable, Dark Fiber depicts the artists laying a single fiber optic cable across the United States, from west to east, hopping across landscapes, industrial infrastructure and media apparatuses, and moving through walls, conduits, lived spaces, and imagined worlds.

It is that of a work of translation, i.e. I can open mental spaces in order to imagine that I move through an exhibition...» The publication was published on occasion of Doris Lasch's exhibition at Kunsthaus Baselland and is accompanied by the text The Love of images by Dominiek Hoens and an interview with Ines Goldbach.

Dark Fiber traces a different approach to network representation, drawing lines that hop between systems and scales, through vast landscapes, industrial infrastructure, media apparatuses, walls and conduits, lived space and imagined worlds.

«They're interested in spaces in the world that you can't imagine but that come into being through form.»

Immersed in this arrangement as if in a rocketship, visitors are sent plunging through an imagined deep space.

, you are lying on the floor of your place looking up, a small draft runs through the room, between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions of universalism, and I'm glad we don't, but the particles of air bring traces of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound of a drum, like that Kabuki story where a fox recognizes the voice of its parents as a girl plays a drum made out of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all live here now, and we all need visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse of a concrete wall and you can feel the tectonic movements of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign of love, like singing to a corn field, and all acts of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for life in all things declared dead, a kind of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,

From this point on, Lichtenstein continued to synthesize often found (but also at times imagined) imagery into a graphic language of flat primary colors (red, blue and yellow) edged in straight black and modeled in space through the conventions of advertising and graphic design rather than those of painterly naturalism.

Through this notion, the curatorial statement did not refer to a theoretical body, but to the way people imagine their social space and express themselves through cultural and historical references, and to the symbolic dimension they acquire throuThrough this notion, the curatorial statement did not refer to a theoretical body, but to the way people imagine their social space and express themselves through cultural and historical references, and to the symbolic dimension they acquire throuthrough cultural and historical references, and to the symbolic dimension they acquire throughthrough art.

Through this work, she investigates the fabricated space of the greenhouse, in which exotic plants are carefully selected, placed and cared for in an environment that simulates their natural habitat, creating an imagined tropical experience for the visitor.

Created through a variety of methods and materials, including painting, printmaking, assemblage, and sewing, with a flattened, pop - sensibility and purist coloration, LaChance's works - a homage to the «Edge City» - celebrate a sort of nostalgic revision of the past - one that imagines the future as a deconstructed, pop - like, dream - space.

I imagine having one in your house staring at you through those freaky dolls eyes could well be disturbing, but in general the atmosphere at Cell Project Space is not so dark, more curious.

Takenaga's recent work examines the emotional weight of imagined spaces and to question the reliability of known reality through visual translations of natural phenomena.

That exhibition space is treated as a «dimension,» a sort of parallel universe where the laws of rationality and logic are not necessarily observed — or so it is conceived by Costa Rican painter Federico Herrero who, through his site - specific intervention, will offer his imagining of portals and what lies on the other side.

Inspired by visual obstructions in the built environment - perforated cinder - block walls, lattices, and chain - link fences - Arntzen's canvases sometimes allude to atmospheric depth through a masterful use of color relationships, only to be negated by painterly lines weaving through the rendered volumes, disrupting the viewer's suspension of disbelief in the imagined space.

The response, seen through the symbol of paint, burns, industrial objects, and rendering of architectural space is that such a return is not so easy, just not as clean as we had imagined it might be.

The art invites visitors to imagine the days before the Frank Lloyd Wright space opened and classical music stopped flowing through the galleries.

The individuals» stories become connected through a shared sense of real and imagined displacement in Southern Africa, echoed here in this physical space.

Combining realism and abstraction, his work focuses on the creation of invented spaces that combine the real and imagined through paintings, drawings, and installation based works.

Brought together through the medium of painting, all investigate space, be it the cosmos or the physical space we occupy in real time and imagined.

At this point, imagine Venus» atmosphere as a space blanket that lets just enough heat through the atmosphere to keep the insides extra toasty.

As you might imagine, with George Martin at the helm, it's the strings and brass that shine brightest through the LS50, the horns bursting with dynamic expression and golden buzz, while the strings ride up and down the space in fluid runs that bend and flow with a near - live presence.

I, for one, never imagined when I first started out that I would have to do things like manage lease space, navigate through MLS mergers, deal with the fallout of a failed association merger, start up a meeting and event space business, teach short sales and foreclosure classes, endure plummeting membership numbers during the hard times, launch a real estate licensing school, sing at installations, and jump on a float for a parade.

Our house felt like a total dirt and dust storm for a while there, but now that the hardwoods have been laid, I actually love walking through the space and imagining how it's all going to look in another month... or two.

Once upon a time picking out furniture for your home meant either running to your local department store to find a pretty limiting selection of options or flipping through piles of catalogs where your eyes melted out of their sockets while perusing through all those beautiful glossy pages as you tried to imagine what that leather chair would look like in your space, or how the L - shaped sectional would fit around your already existing coffee table.