Sentences with phrase «white screen into»

Not exact matches

For example, if you type in «migraines» or «food allergies» into the search box, now a white box will come up in the top right hand corner of the screen with a description of the ailment, with links to causes, symptoms, tests, treatments, prognosis, prevention and the National Library of Medicine.

The homemade ice - creams in this recipe I adapted from White on Rice Couple who consistently turn out wonderful recipes and mouth watering photos that make you want to dive into your screen.

I HATE those creepy monitors that are black and white, it feels like a scary movie and I am just waiting for some scary lady to pop her head into the screen!

But they were faster to associate white people with positive words such as «laughter» and black people with negative words such as «failure» — a sign that this implicit bias had found its way from the TV screen into people's behavior, the researchers say.

This bulky device smashed electrons into a phosphorescent screen that displayed your text in exciting white - on - black, green - on - black, or the supersnazzy yellow - on - black.

Just a few short months after Pirates of the Caribbean: Dead Man's Chest sailed into the multiplexes, Harris would trade her Jamaican accent for a Bronx inflection when she took the role of a tough New York cop in director Michael Mann's Miami Vice - a slick, big screen adaptation of the show that made pink t - shirts and white blazers all the rage in the 1980s.

It's only upon reflection that viewers may realize that, despite its nominal title character, the movie never delves that deeply into who Gloria Grahame was, aside from a femme fatale slinking across a black - and - white screen.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Tense and beautiful, Sweet Country is utterly gripping from the first scene, an extreme close - up of white sugar being stirred into black tea and boiling in a billy, while racist violence occurs off screen, heard but not seen.

Morton talks about why they went with black and white (essentially, the Vita screen is awesome and really makes it pop), briefly looks at how the touch screen factors into gameplay, and discusses how the two characters operate in terms of the game's puzzles.

For a brief moment at the beginning of «First They Killed My Father,» we glimpse a white reporter taking snapshots of the Khmer Rouge as they roll into Phnom Penh in April 1975, but for the rest of the movie, not a single Caucasian appears on screen in...

As two Snow White films gear up to go into production, the next big fairy tale that'll be racing to the big screen is Peter Pan.

The film's opening pulls us right into the protagonist's perspective: We hear whispered snippets of pillow talk between James (Stevens) and his wife, Sam (Billions star Malin Akerman, underplaying beautifully), but see only blurry shapes and white spots floating across a black screen.

Director: Ciro Guerra With his fourth feature «Birds of Passage,» Colombian director Ciro Guerra moves beyond the black - and - white mystical elegance of Oscar - nominated «Embrace of the Serpent» and into a wide - screen color genre movie about a man who turns to marijuana farming in order to impress his would - be bride's demanding matriarch from a northern Colombian tribe.

It's a reality we rarely see on the big screen, where portraits of community dysfunction are carefully segregated into dark - skinned, inner - city gangstas and rural white trash.

The easiest way to reach this Pigment is to start to the north of the mountain range, and look for a snowy pass leading up into the peaks — it runs southwest and is visible from the map screen as a white streak.

Race comes into play on - screen as well, with a white alleged victim — played by Connor Jessup — and the family on the other side of the issue being black.

One small aesthetic distraction is a strange justification that pushes all of the content into the upper left - hand area of the screen, leaving a large amount of white space elsewhere.

4 — The screen on several ocassions supernovaed into a bright white light.

The FrontLight solution turns the ebook screen into a spectacular white page.

Tablet friendly features like a built - in reading mode which turns the base white color of the screen to a more natural paper - like yellow really helps ease the eyes into using a backlit screen instead of a piece of paper.

It's rather a bit ungraceful effect when the display flashes its content with white text over black screen and then resolves into the next page.

When the backlight is turned off, the screen turns into a high contrast black and white display.

Page turns manifest with the screen flashing momentarily to black with white text, like a photo negative, before resolving into the next page of text.

One, because White on Black text capability is integrated into the application using the Text / Font settings, and also because the Kindle application appears to make more effective use of screen estate and just plain looks better in the dark.

It features a black frame around the screen, with a white plastic bezel, which extends over the top and button and then transitions into aluminium.

I might have bottled the white knuckle experiences but I managed — and enjoyed - three virtual ones: Driving With The Champion where you feel to be in the car; Speed of Magic where you whiz through a fantasy world and Viaggio in Italia where you're hoisted into the air to look down on a screen and feel the sensation of flying over the famous Mille Miglia route.

The beautifully appointed rooms are larger than the Superior guest rooms and offer 456 square feet and modern decor, including marble floors, white and orange bedding and fabrics with contemporary yet rich wood furniture, an entryway with a seating area for two, a king size bed, a flat screen television built into the wall, an open Jacuzzi tub with marble and glass walls, and a separate vanity area.

Once Inaba started slamming and enemy into a wall of spikes repeatedly, as red blood gushed out over the black and white screen, I knew the game was going to blow my mind.

Make sure to keep your eyes open for the character models in Pride; against the stark white backdrop, these guys look so vividly real in HD you could swear they are about to hop off the screen into your living room.

In Hangzhou - based artist Yang Zhenzhong's five - screen video installation Disguise (2015), assembly - line workers wearing white masks based on their own features go about their usual tasks, but with their movements choreographed to read as ritualistic, rather than rote, transforming a dehumanizing activity into something bordering on the spiritual.

Through the lens of the first - person camera, two mural - size screens draw us into opposite entrances of the same bioengineering laboratory; our eye follows the backs of technicians in white coats through long empty hallways and bustling experimental testing areas.

Unlike the black curtain upstairs, which curves around to the walls on either side, impenetrably, the White House façade opens at either side to allow the viewer into a screening of Untitled (neighbors).

These prints represent all manner of special processes and innovative techniques in printing — such as using linen and cotton pulp paint and photo - luminescent inks; black and white and colored lithography; creative integration of collage and cut paper; incorporation of photographic images into digital prints; screen printing; and many others.

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

Do You Have Work Tomorrow, 2013, Series of 32 screen shots of a staged conversation on an iPhone transformed into Black and White photographs developed in a dark room.

In addition to being done on aluminum, they do not rely on gestural brushstrokes; the one big splash of poured white paint I saw in one painting was a solid puddle spreading into tentacles of insubstantiality, while evoking the harsh, ghostly light of computer screens.

«LOOKING BACK» - SPECIAL CLOSING EVENT / SCREENING AT ANTHOLOGY FILM ARCHIVES A special one - night screening as a part of the exhibition «Looking Back - the 4th White Columns Annual», curated by Primary Information PAUL SHARITS SHUTTER INTERFACE (1975, 32 minutes, double 16 mm, color, sound) This 2 - projector version of the 4 - projector «locational» installation reorganizes the four reels into an equally engaging work meant for theatrical sSCREENING AT ANTHOLOGY FILM ARCHIVES A special one - night screening as a part of the exhibition «Looking Back - the 4th White Columns Annual», curated by Primary Information PAUL SHARITS SHUTTER INTERFACE (1975, 32 minutes, double 16 mm, color, sound) This 2 - projector version of the 4 - projector «locational» installation reorganizes the four reels into an equally engaging work meant for theatrical sscreening as a part of the exhibition «Looking Back - the 4th White Columns Annual», curated by Primary Information PAUL SHARITS SHUTTER INTERFACE (1975, 32 minutes, double 16 mm, color, sound) This 2 - projector version of the 4 - projector «locational» installation reorganizes the four reels into an equally engaging work meant for theatrical screeningscreening.

He impressed pebbles into the dark pigment of his Night Blooming paintings (1951); the uninflected White Paintings (1951) became screens for light and shadow, responding to the conditions around them; and newspaper collage formed the ground of the series of black paintings (1951 — 53).

Continuing the interdisciplinary curatorial approach of past installments with two exhibitions devoted to graphic design (both subtitled Wider White Space, 2011) and one to industrial design (Sunny Memories, 2010), «The Way Beyond Art: Infinite Screens» presents the filmmaker Herzog's first, and rather awkward, foray into contemporary art.

The work then produces a single - angled, black and white storyboard, crashing narratives from various channels across the screen, and flattening them into one continuous glitch.

Ho's installation attempts to achieve these same results by transforming Pro Arts» white - cube screening room into a complex polyhedron with glowing blue and yellow walls.

This limited edition screen print on paper by Welsh artist Cerith Wyn Evans features abstract black marks on a rectangular sheet of white paper that has a circular hole cut into it.

In this work, displayed on a plasma screen mounted vertically on the wall, the black and white image of a pair of ghostly figures approach, coming into focus and eventually breaking through an invisible threshold into a world of color and light.

Adaptive icons are here, and no doubt they will improve, but until they do, Action Launcher has decided to take matters into their own hands by creating launcher - exclusive AdaptivePack to allow users to get Adaptive goodness on their home screens without being completely besieged by white backer plates.

Ultra Power Saving Mode: To preserve battery life, you can turn the 5.1 - inch 1080p Super AMOLED screen into a black - and - white display.

Tablet friendly features like a built - in reading mode which turns the base white color of the screen to a more natural paper - like yellow really helps ease the eyes into using a backlit screen instead of a piece of paper.

The Note 8's curved screen really comes into its own with Edge Panels, which allow you to open apps, access contacts and more by rolling your finger over the display's side edge.Here's How: On the right edge of the Note 8's screen is a 1 - inch white bar.

OnePlus has built a feature into the software that will automatically flash the screen white, at the highest brightness, to act like a flash would for the front - facing camera.

With white walls and a white suite, pattern and colour have been injected into this bathroom with a pretty shower screen and bright papers, which have been used to line the inside of a glass cupboard door.