Sentences with phrase «walk by an object»

And I totally understand how one can walk by an object and just touch it for the sake of pleasure.

Not exact matches

We tend to treat our woman like objects and if you notice we check out every woman walking by... the back and the front.

She creates jewellery inspired by nature, casting objects in silver (and soon gold) that she finds on walks through the woods, along the river or by the sea.

I have pieces cast from objects I find on my walks through the woods here, along the river or by the sea.

If the baby is cruising, or walking by holding on to objects, then it is likely that he or she is just a little fearful, and walking alone will come in good time.

When playing with your 11 month old, choose activities that increase your little one's cognitive interest, not only by improving the nascent speech, but also by teaching your child to walk, to express her wishes, and distinguish objects.

For most babies, the path to walking begins with rolling over, then comes the crawl and later, cruising, which is a walk while being continuously supported by using a couch, crib, chair or other object for support.

They will learn through trial and error all of the nuances of coordinated movement to stabilize / balance, reach and grasp, manipulate objects, and get from point A to point B (by rolling, cruising, crawling, walking, jumping, running, climbing, etc.) to explore more.

In 13 - 18 months of age, your child will be walking by themselves, walking up and down stairs with one hand held by an adult, easily throwing lightweight objects such as a ball, using a small vocabulary of about four to ten words, following simple directions, and acknowledging and responding to his or her name.

Charles Theis, a poet and an engineer who once studied Kentucky's geology by walking across the state, theorized that water moved in the Earth according to the same properties by which heat moved in a solid object — that is, it seeps from areas of high pressure to low pressure.

Walking in Halswell Quarry Park in Christchurch, New Zealand, we found these geometric objects by the path (pictured).

Before they can crawl or walk, babies explore the world intensively by looking at it, and they look at faces, bodies, and objects, as well as other people's eyes.

By consciously looking at objects on the floor, such as the lines from a zebra crossing («visual cues»), and stepping over them, they are able to overcome their blockages during walking.

All those demonstrations of people «walking through» imaginary buildings created by computers, and «picking up» fictitious objects while wearing sensor - gloves, are impressive until you realise how isolated an experience they are.

That experience is anchored by an object (like the breath), a sensation (like walking), a sound, a visual, or more, and ultimately aims to cultivate mental stability.

When this object of your affection walks in, let at least 10 to 15 minutes go by before rushing over to her bar stool and using your best pickup line.

Sometimes, the button prompts that let you know when you can open a door or pick up a weapon disappeared, and the only way I got around that was by walking away for a few seconds before coming back to the object.

Second Life participants create avatars, or customizable digital selves, to navigate a virtual landscape with an over-the-shoulder screen view of their persona as it walks, runs, or flies through or over mountains, forests, buildings, and all manner of objects created by users employing Second Life's internal 3 - D modeling tools.

Apple has implemented a new groundbreaking technology called «20/20» where the camera is capable, by default, of zooming into objects so you don't have to actually walk up to it.

He will use that trust that you would not put him in harm's way to conquer leash walking skills as well as passing by loud, large, and frightening people, objects, and even flooring types.

Work with this by replacing the inappropriate object with an acceptable toy or safe chew... MORE Distract your dog from mischievous behavior by offering something more pleasing, like a game, walk or other activity.

A good obedience class will also teach you how to get your pup to heel, leave or drop an object, play with other dogs in a friendly manner, and continue standing or sitting calmly by your side when you walk up to another person with a dog instead of greeting them.

«Adequate space»... When an animal is tethered, «adequate space» means a tether that permits the above actions and is appropriate to the age and size of the animal; is attached to the animal by a properly applied collar, halter, or harness configured so as to protect the animal from injury and prevent the animal or tether from becoming entangled with other objects or animals, or from extending over an object or edge that could result in the strangulation or injury of the animal; and is at least three times the length of the animal, as measured from the tip of its nose to the base of its tail, except when the animal is being walked on a leash or is attached by a tether to a lead line.

For example, to get your rabbit started on retrieving a toy, first reinforce him for walking up to the toy, and then for sniffing it, and then for touching it with his mouth, followed by moving it slightly, and then for picking the object up in his mouth.

If I were walking my greyhound and it saw a fluttering bag or rodent or little dog, would it quickly bolt dragging me behind or would it ignore the object and stick by my side?

- based on the first two films - New York City is attacked by the nefarious chitauri warriors - civilians are pinned beneath wreckage - Captain America, Hawkeye, and Black Widow have to rescue them by destroying wrecked cars and other debris - these civilians are guarded by chitauri - Captain America can not only walk through flames, but he can now extinguish them with his shield - characters can also team up for special combo attacks - these moves are context - sensitive - stand on a marked area and wait for your teammate (or A.I. buddy) to walk over and press a button - Captain America uses his shield as a platform for Black Widow, and she bounces into the air and sprays bullets down - Thor rings Captain America's shield like a bell, destroying objects and enemies nearby - Captain America can reflect Iron Man's energy attack to destroy airborne chitauri - more than 100 all - new characters in the game - all - new New York City hub

It seems pretty incredible to think that there could be that much land in this world, but the scale really does seem to hold true based on the number of times we've been back to play and by a rough estimation of Link's walk, draw distance, and comparing the height of objects with their distance to other landmarks.

The controls are well mapped to the DualShock 4 controller by updating the controls for every season to that of A New Frontier with the control scheme consisting of pressing X, triangle, square or O to perform actions, start a conversation with a person in your group or to choose a response in a conversation with the buttons being clearly marked towards the bottom of the screen; pressing R2 to run or perform fight actions when defending yourself; pressing up or down on the d - pad to look at your inventory; mashing certain face buttons such as X, triangle, square or O when in one - on - one encounters with walkers; changing the direction of the left analogue stick to move around cover in a tight situation or walking around as you explore the environment during your search to find people and supplies; changing the direction of the right analogue stick to move the cursor around the environment for you to investigate and observe certain objects and items of importance as well as deciding who to start or continue a conversation with or even positioning your aim when you are about to defend yourself from a walker; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

The controls are well mapped to the DualShock 4 controller by retaining the improvements from the second season with the control scheme of Michonne consists of pressing X, triangle, square or O to perform actions, start a conversation with a person in your group or to choose a response in a conversation with the buttons being clearly marked towards the bottom of the screen; pressing R2 to run or perform fight actions when defending yourself; pressing up or down on the d - pad to look at your inventory; mashing certain face buttons such as X, triangle, square or O when in one - on - one encounters with walkers; changing the direction of the left analogue stick to move around cover in a tight situation or walking around as you explore the environment during your search to find people and supplies; changing the direction of the right analogue stick to move the cursor around the environment for you to investigate and observe certain objects and items of importance as well as deciding who to start or continue a conversation with or even positioning your aim when you are about to defend yourself from a walker; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

You'll switch between walking around on foot (though the actual walking is done by transported between hotspots), interacting with objects as necessary to solve puzzles, and driving across the planet using a Mako - like land vehicle that has the most bizarre method of control.

The controls are well mapped to the DualShock 4 controller with the control scheme consisting of pressing X, triangle, square or O or alternatively by pressing up, down, left or right on the d - pad to perform a particular action, start a conversation with a person in your group or to choose a response in a conversation with the buttons being clearly marked towards the bottom of the screen; there are certain face buttons, such as X, triangle, square or O that you have to button mash when in one - on - one encounters with walkers as the buttons are randomly generated each time you play; changing the direction of the left analogue stick to move Lee around cover in a tight situation or walking around as you explore the environment and find people; changing the direction of the right analogue stick to move the cursor around the environment for you to investigate and observe certain objects and items of importance; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu.

Aidan can take direct control of numerous enemies and objects (the scene playing out in different ways depending on your choice), so after surveying the encounter by floating around the group of soaked policemen, he opted to take over a trooper and walking him over to the boot of the police cruiser.

While it's quite possible to walk right by these areas, they offer physics based puzzles where the only adversary is the environment — though the ability to press a button to temporally illuminate key objects of interest ensures that players won't spend nearly as much time scratching their heads as with every other release in the franchise.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

A new Site Specific project by Matthew Jensen at Green - Wood Cemetery where he has assembled a room - sized cabinet of curiosities drawing from specimens and photographs amassed in his many walks through the cemetery, as well as from Green - Wood's rarely seen collection of fine art and historic objects

Having garnered an international reputation as one of the leading artists to emerge from the New York Pictures Generation of the 1970s and 1980s, Simmons has thoughtfully and methodically moved through her various photographic series, such as Early Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with humaObjects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with humaobjects animated with human legs.

London - based artist Chosil Kil was inspired by a road trip across Texas to create a landscape littered with pennies and playfully filled with statues of dogs, flesh - colored, floppy slightlyphallic objects, balloons that brush an aluminum plate along the ground as visitors walk through them.

We walked up to his second floor studio, where upon entering I was overtaken by the massive collection of objects, books, and tools of all shapes and sizes.

Past group shows and screenings include: Rêve du Pierre, curated by Alexandra Fau, Centre Pompidou, Paris (screening)(2016); Night Walk, with Erin Shirreff, deCordova Sculpture Park and Museum, Lincoln, MA (2015); A Night of Philosophy, Ukrainian Institute of America, New York, NY (Screening)(2015); The Daily Show, Bureau, New York NY (2015); The Built Environment: Lower Side in Istanbul, Mixer, Istanbul, Turkey (2014); It Narratives: The Movement of Objects as Information, Franklin Street Works, Stamford, CT, USA (2014); A Tale of Two Islands: Beatrice Gibson with Alex Waterman, and Frank Heath, High Line Art, NY, NY (2014); Two Hours Two Minutes, The Power Plant, Toronto, Canada (2014); Kool - Aid Wino, Franklin Street Works, Stamford, CT, USA (2013); Matter Out of Place, Kitchen, NY, NY (2012); Somebody has stolen our tent, Simon Preston Gallery, NY, NY (2012); The Way Things Go (Part 3), Frutta, Rome, Italy (2012); Single Channel, Soho House, Miami, FL, USA (2011); Forcemeat, Wallspace, NY, NY (2011), and Suddenly: Where We Live Now, Cooley Gallery — Reed College, Portland, OR and Pomona College Museum of Art (2008, 2009).

They are the work of Edson Chagas, a 34 - year - old Luanda - based photographer who created the spare compositions by walking around his city in search of derelict objects (a broken chair, a shoe) and artfully framing ones that caught his eye against the wanly colored walls of the street.

Today, visitors to group shows are as likely to encounter spaces in which objects are to be read and understood by human subjects, as they are to walk into spaces in which their presence (as just another object among other objects) is negligible.

A Texan by birth who has lived and worked in Boston for more than 30 years, she is known for her dramatic large scale drawings of objects from all walks of life.

Shifting Impressions consists of three public walks in the Lower East Side, and an exhibition that highlights a collection of objects and tools developed from City Souvenirs, an ongoing collaborative project by artists Liene Bosquê and Nicole Seisler.

For this year's Biennale, the foundation «produced» WeltenLinie by the Polish artist Alicja Kwade, a walk - through installation that set rocks, petrified wood and other totem - like objects in mirrored, quasi-domestic spaces.

Walking round her recent exhibition at the Serpentine show, I was struck by what the objects have been put through — they are nailed, piled, folded, hooked, strung, pegged, pierced, slung, plaited, laced, zipped and dangled.

The film is inspired by distinct periods in Simmons» work: vintage hand puppets, ventriloquist dummies and walking objects that enact tales of ambition, disappointment, love, loss and regret.

Walking into the gallery I was struck by the impression of some half - concealed narrative behind the positioning of paintings and objects which I was not entirely privy to.

Group Exhibitions 2015 — «Plagiar o Futuro», (Plagiarizing the Future) Hangar, Lisboa, Portugal (curated by Bruno Leitão, Andrea Rodríguez Novoa)-- «Imagine Brazil» — Artist's Books, DHC / ART Founation, Montreal, Canada (curated by Jacopo Crivelli Visconti, Ana Luiza Fonseca)-- «Happeland», Radiator Arts / New York, EUA (curated by Eva Davidova, Almudena Baeza)-- «Open Sessions», Drawing Center, New York, EUA — «Theorem», Mana Contemporary, Jersey City, USA (curated by Octavio Zaya)-- «Contramuro», (Counter-mure) Galería Instituto de Visión, Bogotá, Colombia (curated by Omayra Alvarado)-- «Ejercicios de Traslado», (Practices on transference) Centro de Arte de Alcobendas, Alcobendas, Spain (curated Osbel Suárez)-- «La angustia de casi saber y quedarse no sabiendo», (The angst of almost knowing but remain ignorant) Galería Diablo Roso, Panama City, Panamá — «Instalations», Studio Sandra Recio / Geneva, Switzerland 2014 — «Cruce de Colecciones», (Collections Crossroads) Centro Atlántico de Arte Moderno, Las Palmas, Spain — «The Language of Human Consciousness», Athr Gallery, Jeddah, Saudi Arabia — «Cine Bogart, Imaginar un edificio», (Bogart Cinema, a building imagined) Centro Centro, Madrid, Spain (curated by Ines Caballero)-- «Objects in the mirror are closer than they appear», Lugar a Dudas, Cali, Colombia (curated by Daniel Silvo) 2013 — «La copia de la copia» (The copy of the copy), Museum of Contemporary Art, Guayaquil, Ecuador (curated by Hernan Pacurucu)-- «Cuando el mundo se hace plano» (When the world becomes flat), Centro de Cultura Contemporánea San Martin, Las Palmas de Gran Canaria, Spain - «Brutalidade Jardim», Galeria Marilia Razuk / São Paulo, Brazil (curated by Kiki Mazzucchelli)-- «Imagine Brazil» — Artist's Books, Astrup Fearnley Museet, Oslo, Norway (curated by Jacopo Crivelli Visconti, Ana Luiza)-- «On Painting», CEART — Centro Cultural Tomás y Valiente, Fuenlabrada, Spain (curated by Omar - Pascual Castillo)-- «Playtime», Museo Nacional de Arqueologia Subacuática, Cartagena, Spain — «Gracia Divina» (Divine Grace), Sala Gasco, Santiago, Chile (curated by Andrea Pacheco)-- «Hacer en lo cotidiano», Sala de Arte Joven de la Comunidad de Madrid, Madrid, Spain (curated by Beatriz Alonso)-- «En Obras» (In the Works), Galería Nuble, Santander, Spain (curated by Iciar Sagarminaga)-- «On Painting», Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria, Spain (curated by Omar - Pascual Castillo)-- «Objects in the mirror are closer than they appear», Galeria Isabel Hurley, Málaga, Spain (curated by Daniel Silvo) 2012 — «Expanded Drawing», Casal Solleric, Palma de Mallorca, Spain (curated by Pilar Ribal)-- «Carnaza para los Dioses» (Offering to the Gods), CAAM — Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, Spain — 11th Havana Biennial, Havana, Cuba 2011 — 11th Cuenca Biennial, Cuenca, Ecuador — «Inside», Cidade da Cultura, Santiago de Compostela, Spain (curated by Rafael Doctor)-- «New Brazilian Sculptur» e, Caixa Cultural, Rio de Janeiro, Brazil (curated by Alexandre Murucci)-- 8th Mercosul Biennial, Porto Alegre, Brazil — Bologna Art First, Pinacoteca di Bologna, Bologna, Italy (curated by Julia Draganovic) 2010 — 12th International Cairo Biennale, Cairo, Egypt — «Synergie's, Museum of Contemporary Art, Union Fenosa (MACUF), La Coruña, Spain (curated by Carlos Jimenez)-- «Look Up», Alfandega, Porto, Portugal (curated by David Barro)-- «Kierkegaard's Walk», Galeria Marilia Razuk, Sao Paulo, Brazil (curated by Jacopo Crivelli Visconti)-- «Synergies», Museum of IberoAmerican Contemporary Art in Extremadura (MEIAC), Badajoz, Spain (curated by Carlos Jimenez)-- «Postgraffiti, Geometry and Abstraction», Fundación Caixa Galicia, A Coruña, Spain (curated by Javier Abarca) 2009 — «Residency 09», Futura Project, Prague, Czech Republic — «Building, Dwelling, Thinking — Strategies for Contemporary Art and Architecture», IVAM, Valencia, Spain (curated by Fernando Castro Florez)

The narrative is bracketed by American artist Robert Smithson's seminal non-sites that asked spectators to look, walk, view, read, and think about combinations of objects, images, and texts installed in a gallery and the Swedish curator Maria Lind's groundbreaking renovations of the exhibition form and the museum space into something more active, open, and democratic inviting the public into new and unexpected encounters with works of art and institutions.

Performing or sublimating a «fabulous» sense of isolation or disconnectedness, these objects borrow an expressive vernacular from the art fabric movement; a moment where threads were not to be walked upon or worn but could, by contrast, ventriloquize a sense of political urgency and delineate the presence of our bodies and our neurosis.