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Such floaters appear well-defined and usually bear the appearance of a 'crystal worm' or cobweb. Due to their proximity to the retina, the floaters have a significant effect on the visual field for patients. In addition, such floaters are often in the central visual axis as it moves with the intravitreal currents of the eye.
In contrast, floaters are specks or threads of variable diameter and variable visual sharpness, some of complex shape, darker than the background. If the eye stops moving, the floaters settle down. If the eye moves, the floaters follow sluggishly, because they are contained in the vitreous humor, which, being gelatinous, is subject to inertia.
Theosophy takes art into Dan Brown territory. No serious student of art history wants to touch it. [205] Januszczak claimed also that Theosophy was "fraudulent" and "ridiculous," and that "one day, someone will write a big book on the remarkable influence of Theosophy on modern art" and "its nonsensical spell" on so many modern artists. [206]
Malevich intended the painting to evoke a feeling of floating, with the colour white symbolising infinity, and the slight tilt of the square suggesting movement. A critic from the rival Constructivist movement quipped that it was the only good canvas in an exhibition by Malevich's UNOVIS group: "an absolutely pure, white canvas with a very good ...
Visual snow syndrome (VSS) is an uncommon neurological condition in which the primary symptom is that affected individuals see persistent flickering white, black, transparent, or colored dots across the whole visual field. [7] [4] Other common symptoms are palinopsia, enhanced entoptic phenomena, photophobia, and tension headaches.
Created Date: 8/30/2012 4:52:52 PM
The painting depicts the resurrection in a complex composition of twisted bodies before a dark background. Christ is floating above the scene kneeling on a cloud, holding a banner in his left hand, while the angel who lifted the tombstone is standing in profile turning his head victoriously towards the viewer.
Auf Weiss II (Sur blanc II), in English: On White II, is a 1923 oil-on-canvas painting by Russian painter Wassily Kandinsky. It was created when the artist was a teacher at the Bauhaus in Weimar . The painting initially hung in the dining room of Wassily and Nina Kandinsky's apartment at Bauhaus Dessau .