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  • noun

Synonyms for two-dimensionality

the property of having two dimensions

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References in periodicals archive ?
Through its two-dimensionality, the spiral mesh used in the stadium.
Like other recent scholars, Diaz understands slavery and freedom as points on a continuum--or, better, within a multi-dimensional space rather than the two-dimensionality implied by "continuum"--rather than categories standing in Opposition to one another.
Far more conscious of the abstract and symbolic effects of graphic marks upon a flat support, artists rendered volume and mass while consciously maintaining the two-dimensionality of the sheet.
In the hands of Picasso and Braque--the first to employ it as artistic technique--collage was a formal means of exploring and testing the limits of two-dimensionality in painting.
Scientific biography is symptomatic in its Oberammergau-like two-dimensionality.
Counting against these merits are its multi-miked two-dimensionality and its sometimes over-spacious acoustic when played back in regular two-channel stereo.
Rather than defining a three-dimensional interior setting, the wall behind the figures becomes a decorative pattern that emphasizes the two-dimensionality that is characteristic of Cubism.
Organized by Tokyo artist Takashi Murakami, "Superflat" investigates a tendency toward a two-dimensionality in Japanese visual art, animation, graphic design and fashion.
Liberating the tile from its two-dimensionality, Molanphy expands his painted tiles into three-dimensional cubes.
The work borrows certain formal elements from abstract painting, and in many respects Gamdrup, like Rothko and Klein, is investigating the properties of surface and two-dimensionality.
For Juan Gris, represented here by The Coffee Mill (1916), collage was still an extension of drawing, or a means of extending two-dimensionality.
While this stylistic development often is seen as the result of the inevitable progression of modernist art away from three-dimensional renderings of the world toward two-dimensionality or flatness, artist Ben Shahn offered a different explanation.
Baryshniko, faced downstage, mirroring Brown's shifts between moments of silky fluidity and archaic two-dimensionality.
Resembling the scattered contents of an artist's sketchbook that might elucidate the work's meaning (or at least the ideas behind such a work), these smaller elements invited a proximity made impossible by a frame, painted directly onto the floor, that acted as a spatial barrier, enforcing a sense of two-dimensionality on the formlessness and dispersion characteristic of Oppermann's practice.
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