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Viewer in sentence

1694 examples of Viewer in a sentence

And not only that, it can get to the viewer through not only the intellect, but through the heart.
[This talk contains mature content Viewer discretion is advised] Tiffany Kagure Mugo: OK.
I've been a dedicated TED fan and viewer, and also, I actually used to live in Manhattan when I was younger, so New York is like a second home to me, and it's great to be back.
And I really like that, because the viewer is really challenged as to what visual language is part of science versus art versus music.
And this is an important moment, because we wanted to instill in the viewer an instinct to almost go and help, or save the subject.
What you're looking at in here is a 3D viewer that we developed that would allow the display and manipulation of [the] cloud of points in real time, cutting sections through them and extracting dimensions.
This excites me, because it's a recursive experience of a holiday card that gets the viewer to feel this repetitive ritual of all holiday cards.
[This talk contains mature content Viewer discretion is advised] My specialty, as a sex educator, is I bring the science.
For me, photography is not just about exposing film, it's about exposing the viewer to something new, a place they haven't gone before, but most importantly, to people that they might be afraid of.
What I am trying to do is I'm trying to bring those two views into one so that my images both speak to the viewer's heart but also to the viewer's brain.
Those three projects, they're based on very simple scientific phenomena, such as magnetism, the sound waves, or over here, the physical properties of a substance, and what I'm trying to do is I'm trying to use these phenomena and show them in a poetic and unseen way, and therefore invite the viewer to pause for a moment and think about all the beauty that is constantly surrounding us.
It's basically a video of someone opening up loads of chocolate eggs and showing the toys inside to the viewer.
A viewer sort of unsuspectingly walks into the room, and catches a glimpse of these panels in a messy composition on the wall.
Within seconds, as if the panels have noticed the presence of the viewer, they appear to panic and sort of get into a strict symmetry.
So a viewer enters the space, and they snap to attention.
And after a while, if the viewer continues to remain in the space, the panels will sort of become immune to the presence of the viewer and become lax and autonomous again, until they sort of sense a presence in the room or a movement, when they will again snap to attention.
So here it appears as if it's the viewer that's sort of instigating the sense of order among the panels, but it could also be the other way around, that the panels are so stuck within their preconditioned behaviors that they sort of thrust the viewer with the role of a tyrant.
The viewer sees a piece of paper that's mounted on the far end of the wall, but when you go closer, you see that it's a blank A4, or a letter-sized piece of paper, that's held on either side by two small hands that appear to be carved with a great deal of attention and care from a small block of wood.
The viewer also sees that this entire sculpture is sort of moving very slightly, as if these two hands are trying to hold the paper very still for a long period of time, and somehow are not managing to.
That sort of likens it to the amount of strain to be at the service of the observer and present this piece of paper very delicately to the viewer in front of them.
So when a viewer passes by, it sort of tilts from side to side, and moves its arms more and more frantically as the person gets closer.
So when the viewer steps in front of the audience, there will be a response.
It could be a few claps or a strong applause, and then nothing happens until the viewer leaves the stage, and again the audience will respond.
So the viewer can play it by eliciting quite complex and varied, nuanced musical or sound patterns, but cannot really provoke the audience into any particular kind of response.
So we like the idea of these figures sort of skipping along like they're oblivious and carefree and happy-go-lucky and content, until they sort of sense a movement from the viewer and they will hide behind the fastest wall.
It happens in the mind of the viewer.
[This talk contains mature language Viewer discretion is advised] If we traveled back to the year 800 BC, in Greece, we would see that merchants whose businesses failed were forced to sit in the marketplace with a basket over their heads.
VM: My idea is that I think that as long as we don't cut, in a way, as long as we let the viewer watch, more and more viewers are going to feel closer, are going to get closer to the moment, to that moment and to that place.
I really think of that as a matter of respecting the viewer, to not cut all the time from one place to another, to just let the time go.
We take the viewer on a journey that happens right now in real time, and the viewer gets the feeling of actually being there, actually being on the train, on the boat, and knitting together with others, and the reason I think why they're doing that is because we don't edit the timeline.
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