Sentences with phrase «visual image presents»

Not exact matches

Returning to visual perception, in which information carried by photons is somehow converted into images, one might say that these images are in a sense re-presentations of a something (or of some part of a something) that has been presented to the perceiver.

Visual images could be presented at the front of each stall.

Special visual training equipment (prisms, vergence trainer and cheiroscope) were used to present the patient with two images with a slight lateral offset between them.

PANTHER's accomplishments include rethinking how to compare motion and trajectories; developing software that can represent remote sensor images, couple them with additional information and present them in a searchable form; and conducting fundamental research on visual cognition, said Kristina Czuchlewski, PANTHER's principal investigator and manager of Sandia's Intelligence Surveillance and Reconnaissance Systems Engineering and Decision Support.

Presented in widescreen and fullscreen on the same side of a dual - layer DVD, the film's image lacks depth here — there's a muted, Seventies quality to Barry Stone's cinematography that no doubt looked smashing on the big screen and probably would've been marginally improved at home by dispensing with the fullscreen version (thus lessening the compromise of compression), which lops a significant amount of visual information from the right side of the frame (while restoring a negligible amount to the bottom — in one shot literally a pinkie toe).

It's an interesting film because Crowe's usual strengths — command of tone, dialogue — are some of the weaknesses here, and yet the director shows what an impressive visual helmer he's become with some genuinely haunting images, and there's a darkness, and genuine eroticism, that isn't present elsewhere in his work.

In the course of his research, Lipman finds unexpected visual and thematic rhymes between past and present, cutting together archival clips and present - day interviews with a musician's sense of rhythm, often letting his voiceover narration drop out of the mix as the images and sounds tell their own story.

That ratio is a happy medium, presenting more visual information than either of its theatrical exhibitions but not quite the full open matte image from the CAPS files.

Can be used to present related images or a progress of some kind; these templates are an efficient way to present a large number of visual content (images, videos, and graphics) on the same slide while providing visual teasers of additional items.

Literature touches our spirit in a way that film, television, and even art can not, for instead of presenting the passive viewer with a visual image, good writing demands our participation and co-creation.

In this Results section we provide Highlights of the comprehensive Lab measurements and extensive side - by - side visual comparisons using test photos, test images and test patterns that are presented below.

In this Results section we provide Highlights of the comprehensive lab measurements and extensive side - by - side visual comparisons using test photos, test images and test patterns that are presented in later sections.

In this Results section we provide short comparative Highlights for each Tablet display based on the comprehensive lab measurements and extensive side - by - side visual comparisons using test photos, test images and test patterns that are presented in later sections.

Most people read comics for new stories of their favourite hero presented in a visual medium, as opposed to written words or moving images.

Upon arriving at these points of interest, the game transitions to something of a visual novel as you are presented with a short, self - contained narrative in the form of a still image accompanied by a few lines of dialogue.

The idea is that audio and visual channels work separately in the brain, so when content is presented simultaneously by way of audio and visual channels — say, on - screen images and voice over — the information is processed faster and with greater ease.

Polska's recent animations Guns (2014), The Leisure Time of Firearm (2015), and My Little Planet (2016) similarly present slow - paced, contemplative images that engage viewers directly and manipulate their senses through visuals and sounds.

A visual timeline of key events and images from 1993 will be presented on the Museum's Fifth Floor.

Call me only if you are in the gutter, Grice Bench, Los Angeles, CA Exalted Position, curated by Vlad Smolkin, Peter Blum Gallery, New York, NY Pipe Dream, presented by Night Gallery and Rachel Uffner Gallery, 170 Suffolk Street New York, NY Gallery Artist Group Show, Rachel Uffner Gallery, New York, NY TDW: Three Way Weekend, Blum & Poe, Art Los Angeles Contemporary, and ROGERS, Los Angeles, CA 2015 The John Riepenhoff Experience, Misako & Rosen, Tokyo, Japan Intimacy in Discourse: Unreasonable Sized Paintings, School of Visual Arts Chelsea Gallery, New York, NY Let's Be Real, Projekt 722, New York, NY 2014 The Crystal Palace, Rachel Uffner Gallery, New York, NY QUALIA, FJORD Gallery, Philadelphia, PA 2013 The Room and its Inhabitants, organized by Patrick Howlett, Susan Hobbs Gallery, Toronto, Canada The 2013 deCordova Biennial (with Dushko Petrovich), deCordova Sculpture Park and Museum, Lincoln, MA 2012 Love, curated by Stephen Truax, One River Gallery, Engelwood, NJ Art on Paper 2012, curated by Xandra Eden, Weatherspoon Art Museum, Greensboro, NC Take Shelter in the World, curated by Dushko Petrovich, Boston University Art Gallery, Boston, MA In Plain Sight, organized by Nicole Russo and Lumi Tan, Mitchell - Innes & Nash, New York, NY 2011 The Idea of the Thing That it Isn't, curated by Rachel Uffner, Halsey McKay, East Hampton, NY Channel to the New Image, Friedrich Petzel Gallery, New York, NY Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, American Academy of Arts and Letters, New York, NY Paper A-Z, Sue Scott Gallery, New York, NY Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY Battle of the Brush, organized by Corporate Art Solutions at Bryant Park, New York, NY 2010 The Pencil Show, Foxy Production, New York, NY ITEM, Mitchell - Innes & Nash, New York, NY S (l) umm (er) ing on Madison Avenue, curated by Jo - ey Tang, The Notary Public, New York, NY Kristin Calabrese, Andy Parker, Mary Weatherford, Roger White, Kathryn Brennan Gallery, Los Angeles, CA 2009 What's Bin Did and What's Bin Hid», curated by Ryan Steadman, 106 Green Gallery, Brooklyn, NY Cave Painting: Installment # 2, organized by Bob Nickas, Gresham's Ghost, New York, NY The Audio Show, organized by Seth Kelly, Friedrich Petzel Gallery, New York, NY 2008 The Merits of Silence, Gallery Min Min, Tokyo 2007 Heralds of Creative Anachronism, D'Amelio Terras, New York, NY The Price of Nothing, EFA Gallery, NY 2006 Mystic River, Southfirst, Brooklyn, NY / Arcadia University, Glenside, PA 2005 Kevin Bruk Gallery, Miami, FL You Are Here, Ballroom Marfa, Marfa, TX The Most Splendid Apocalypse, PPOW Gallery, New York, NY Crits» Pix, Black and White Gallery, Brooklyn, NY 2004 Halloween Horror Films,, Southfirst Gallery, Brooklyn NY Summery Summary, 58 N3, Brooklyn, NY 2003 Dreamy, ZieherSmith Gallery, New York, NY Escape from New York, New Jersey Center for Visual Arts, Summit, NJ Late to Work Everyday, Dupreau Gallery, Chicago, IL 2001 Learnedamerica, P.P.O.W. Gallery, New York, NY Tirana Bienalle 1, National Gallery, Tirana, Albania 2000 Columbia University M.F.A. Thesis Show, Brooklyn, NY 1999 All Terrain, Friedrich Petzel Gallery, New York, NY Wight Biennial, UCLA Wight Gallery, Los Angeles, CA 1998 Episode 1, Gair Building, Brooklyn, NY

In this MOVING IMAGE EXPO, STUK is delighted to present the work of visual artist Emre Hüner.

Mier Gallery, «Present Conditional,» Los Angeles CA SCHUNCK *, «Visual Vinyl», Heerlen, The Netherlands Beaux - arts de Paris, «Transmissions: re-creation, repetition», Paris, France International Print Center, «True monotypes», New York NY Hannah Hoffman Gallery, «IMAGE SEARCH: Francis Picabia, Sigmar Polke, Jörg Immendorff, Albert Oehlen, John Stezaker, Rita Ackermann / Harmony Korine, Michael Williams, Raphaela Simon; selected by Parinaz Mogadassi», Los Angeles CA Fundació Gaspar Group, «ART STRIKES BACK», Barcelona, Spain Synchrotron Radiation Center, «Condensed Matter Community», Stoughton WI

Entitled Shelf Life — read between the lines: a visual poem, a family portrait, a collision of mementos, this expansive and thoughtful photographic piece spans a 63 - foot wall presenting a sequence of images that poetically address increased anxieties over the current political climate.

Called to return again and again to the image of an abandoned silo, Brugnoli creates an impactful visual symbol imbued with a longing for the past, the comfort of the present, and the endless adventure of imagination.

Commemorating the 150th anniversary of the Emancipation Proclamation, The Amistad Center for Art & Culture will present visual images and artifacts of events surrounding the time of the proclamation.

Artpace is pleased to present the first installment of SET, a collaborative exhibition program by visual artists and musicians which re-defines the moving image through the context of divergent sites and live soundtracks.

The human being free in his choice and with his computer technological possibilities (as a subject and as an avatar) form again and again a reference point when generating forms in the visual (re)- construction of diversity and the digital image of what presents itself as «real.»

These fascinating new images juxtaposed against the Baroque churches, Rococo halls, and Modern opera houses, quintessentially representative of Höfer's oeuvre, create an exciting visual dialogue that explores the past, present, and future of both the city and the artist.

Melic Meeting presents an array of images in the process of being flattened out, abandoning photographic specificity (the photograph as document, as a purported marker of truth) for existence within a confused visual network.

MUSIC EVENTS Two afternoons of music will be presented in conjunction with «Sound and Image», an interactive visual art and music exhibition by the historic art organization the Federation of Modern Painters and Sculptors, at the Westbeth Gallery.

In today's hyper - visual world the concept of image fatigue is familiar and often debated, and it's something that Foam, whose mission statement is «All about photography», challenges with the variety of its programmes, exhibitions, publications and events: «We present diverse forms of photography and we usually have four exhibitions at a time in our museum.»

Through the placement of objects - natural and artificial - with images she makes a space for new linkages, connections and rhythms in the visual repetitions that develop between and amongst them - presenting as a phenomenological and subjective lexicon.

The Indigenous Visual Culture program's Nigig Artist - in - Residence Rosalie Favell presented a curated selection of images made during her residency at OCAD University's Ada Slaight Gallery (Oct. 3 - 7, 2016).

It is not often, in our image - saturated present, that are we are so skillfully invited to take a moment to re-calibrate our visual attention, and, in the words of Anne d'Harnoncourt, invited «to look and look and look, and then to look again.»

The visual collage of the musicians is mirrored in the audio remixing and layering of the composers» works, the apparent chaos of sound and image settles into a drone and trance feeling, present at the heart of both musicians» works.

All distinctly geometric and precisely composed, Callahan's, Dawid's, and Sugimoto's images present us with delicate interplays between light and dark tonalities, positive and negative space, surface and depth, rhythmic lines and visual rhymes.

Specifically, the installation embraces the visual pleasure of presenting and arranging an excess of Chicana / o centered images where they would not appear otherwise.

Presenting images from Cairns» series TYO2, taken in Tokyo in 2016, this artist book makes visual reference to glass negatives used by 19th century photographers, representing Cairns» continued investigation into the history of photography as well as its mechanical and chemical processes.

But that faint brush with art history suggests that Elahi is thinking about his visual output not only in the context of the surveillance state but the history of image making writ large, and his multiple - channel video piece «Fenester» reveals an awareness that, in hindsight, feels like it might've present in his work from the very beginning: the long shadow of Gerhard Richter.

The essentially photographic visual condition of our relationship with reality and the fact that the photographic image is present in almost all spheres of society today, is what gives foundation to «Territorios Fronterizos; Photography beyond the image»; selection of 30 works around the photograph curated by Nathalie Goffard.

The works presented in Secondhand resonate with the current state of our visual culture and our society's obsession with access, illustrating the creative potential intrinsic to the sharing and curating of images and ideas.

But Husain's work goes beyond activating the viewer's visual understanding of the dynamism between the images of our past and our present.

Astro Noise sees her reconsidering the moving image toward other ways of addressing and engaging an audience, presenting the culture and mechanisms of surveillance and the war on terror in a very different way, through structured visual experiences that provide much more than information and compel an audience to enter into a visceral experience.»

This exhibit, Made in Morocco, explores the nation's visual identity and cultural heritage by presenting the works of some of the country's finest artists — Mustapha Amnaine, Hassan Boukhari and Said Qodaid (images above courtesy of Moroccan Fine Art).

By employing contemporary art as a medium for the production of knowledge and education and presenting it along with objects of visual culture, the initiative seeks to open up an experimental sphere of activity for the epistemic value of images and objects within the university.

DIAO employs maps, emblems, and images as his painterly language to re-shape the Hong Kong in his visual memory and, on the other hand, to outline his own culture and subjectivity through the present - past contrasts.

Tel Aviv Museum of Art presents Moby Dick a group exhibition on view through 05 October 2013, that brings together Herman Melville's great novel, Moby Dick, and works of art, while examining the ways in which the readings and interpretations of the novel echo questions of representation and project on the readability of the visual image.

1988 Group Show, Marian Goodman Gallery, New York, US Broken Music - Artists» Recordings, DAAD Galerie, Berlin, DE Saga 88, Eric Linard Editions, Grand Palais, Paris, FR Gordon Matta - Clark and Friends, Galerie Lelong, New York, US Forum, Hamburg Art Fair, Hamburg, DE A Bid for Human Rights, Brendon Walter Gallery, Santa Monica, California, US Art in Bookform / Book in Artform, Presented by Zona Archives at ACRL / Weiss Conference, Firenze, IT As Far as the Eye Can See, Marian Goodman Gallery, New York, US Delfryd Celf in London, Victoria Miro Gallery, London, UK Der Hund in Mir / The Dog Within, Galerie Hubert Winter, Vienna, AT Collection du Musee Van Abbe d'Eindhoven, premiere partie, Musee des Beaux Arts de Nimes, Nimes, FR Amsterdam Koopt Kunst, Museum Fodor, Amsterdam, NL Modes of Address: Language in Art Since 1960, Whitney Museum (downtown), New York, US The Turning Point - Art and Politics in 1968, Cleveland Center for Contemporary Art, Cleveland, Ohio, US; Lehman College Art Gallery, Bronx, New York, US Collection du Musee Van Abbe d'Eindhoven, Deuxieme Partie, Musee des Beaux Arts de Nimes, Nimes, FR Le Marche comme Objet, Picard Surgeles, Paris, FR Art Conceptuel I, Musée d'art contemporain, Bordeaux, FR From the Collection of Dorothy and Herbert Vogel, Arnot Art Museum, Chicago, Illinois, US Skulpturen Republik, Kunstraum Wien, Vienna, AT; John Hansard Gallery, The University of Southhampton, Southhampton, US; Third Eye Centre, Glasgow, UK Ships Sail at Night: Art and the Image of Sea, Maritime Museum, Rotterdam, NL Concept Art, Stalke Galleri, Copenhagen, DK; Brigitte March Galerie, Stuttgart, DE; L'Espace des Arts, Chalon sur Saone, FR Balkon mit Facher - 25 Jahre Berliner Kunstlerprogramme des DAAD, Akademie der Kunste, Berlin, DE Symmetry» 88, International Etalageproject, Middelburg, NL Tellus # 22 (Audio Visual Issue II), Audio Cassette magazine, New York, US

The Colorado Photographic Arts Center presents «Role Reversal,» an exhibition that presents the work of three women photographers whose images challenge long - held perceptions of beauty and gender roles in visual culture.

While the exhibition fails to distinguish incisively between artists who simply use digital technology and the internet as materials and those who critique or laud their power as models for communication, the strongest works in the show are those that do both, presenting surprising reflections on the «ocean of images» that the exhibition's title claims constitute the modern visual world.

These images have been carefully collected and edited to form a vast image bank of source material and, along with his other reoccurring motifs, present a cross section of our visual world.