Sentences with phrase «at by human eyes»

Using appropriate keywords and formats can be vital to getting a resume past an automated scanner and looked at by human eyes.

The employer will have a certain score they look for, and if your resume does not pass, then it will never be looked at by human eyes.

Not exact matches

SAN FRANCISCO — After nearly five months of digging into Uber's internal culture, its new chief human resources officer says the ride - hailing company's treatment of women — which gave it a public black eye after charges of persistent sexism and discrimination were detailed by a former employee — is no worse at Uber than at other companies.

If the meaning of our principle of historical aetiology, as opposed to an eye - witness report by someone who was himself present at the event, has been understood, we presumably also possess a criterion for judging what was correct in the description given by traditional theology of the blessed, supernatural, original condition of man, as opposed to what was a simplified projection into the past, into human beginnings, of the state of man as it ought to be and will be in the future.

The principles of human action, like the processes of nature, fall within a universal order established by the Creator, to be recognized at any level by those who have eyes to see and ears to hear.

At another level, Mine Eyes Have Seen the Glory reflects Balmer's attempts to come to grips with the meaning of his own fundamentalist past and to identify «those kernels of truth and insight into the human condition» that he suspects are embedded within the evangelical message but that have become distorted by consumerism and other corrosive elements of American culture.

Conservatives cherry - pick those passages that support their conservative view of God based on their conservative ego, and vice versa, where liberals are concerned... and there is NO way to ascertain which is true, except on a wholly subjective, personal level, thus it will never be proven objectively, since Spirit, by it's very nature, has absolutely nothing at all to do with the flesh and whatever seems to be happening on this earth, because Spirit is completely opposite, and therefore invisible to the naked human eye, being of the mind only, and therefore unprovable.

At length there dawns the glorious day By prophets long foretold; The day of dawning brotherhood Breaks on our eager eyes, And human hatreds flee before The radiant eastern skies.6

That was in the early»70s, when with long hair, bobbles, bangles and beads and a gleam of communitarian utopianism in my eyes, I finally found my way into the fourth century treatise by Nemesius, peri phuseos anthropon («On the Nature of the Human»), where it at length dawned on me that ancient wisdom could be the basis for a deeper critique of modern narcissistic individualism than I had yet seen.

Our age is in need of a great philosopher; one who can thread his way, step by step, through the intricate labyrinth of reasoning into which scientists have been led, eyes riveted to earth, by the desire to improve our human lot, the desire to destroy life, or mere common curiosity; one who can keep his mind, at the same time, open to the metaphysical implications of all he learns, and at last put the wholecorpus of our knowledge together in one grand synthesis.

We must not hide our eyes from the fact that what we have called secularization is an entirely new phenomenon in human history, that it has been brought about by a number of new factors in human knowledge, the more important of which we have looked at, and that for these reasons a secularized culture has come to stay, at least in some form.

By focusing your eyes on Jesus Christ and Him crucified, you come to understand that God was never angry at human sinners, and that no blood sacrifice was ever needed to purchase God's love, forgiveness, grace, and mercy.

oh i want one... the the can't see theory is ignorant... omg just by looking at the pic then a dogs pic you can observe the dogs eyes are set a lot higher than a humans... now can someone email me mt fricken phd?

Instead the skeleton, mounted by wire from both floor and ceiling, will float at eye level for visitors, attesting in a new, permanent exhibit to the evolving relationship — happily, a more respectful one — between humans and whales.

The new panoramic mosaic of the majestic Saturn system taken by NASA's Cassini spacecraft, which shows the view as it would be seen by human eyes, was unveiled at the Newseum in Washington on Tuesday.

Berlyne, author of an interesting but very mechanistic theory of experimental aesthetics, finds himself the keynote speaker in a chapter which, after some elementary physiology of the human eye, is almost entirely metaphysical, discussing at length the absolute truths expressed in mathematics and, by analogy, in music, and posing the question as to whether God did or did not put them there for mathematicians and musicians to find.

«Thus far, solutions based on incandescent lamps have been used in photometry, i.e. in measuring light detected by the human eye,» explains Tomi Pulli, a doctoral student at Aalto University.

Exhilarated by recent results in monkey experiments, some researchers here at a meeting of the International Xenotransplantation Association are eyeing human testing.

Researchers led by investigators Jerry Workman, Ph.D. and Susan Abmayr, Ph.D. at the Stowers Institute for Medical Research found that fruit flies that lack Ataxin - 7 experience neurodegeneration in the brain and the eye — paralleling the effects of the human disease.

«Since the initial hydrogel's transition temperature was very close to the temperature of the human eye, we had to modify its properties to ensure that it would form a solid seal as soon as the gel was applied to the eye by a soldier or medic,» says lead author Niki Bayat, a doctoral candidate in the Mork Family Department of Chemical Engineering and Materials Science at the USC Viterbi School.

So far it has been assumed that humans recognize faces as one whole object or image, and not by looking at different parts (such as lips, ears and eyes) or local features that together form a face.

New research by Adam Anderson, professor of human development at Cornell University's College of Human Ecology, reveals why the eyes offer a window into the human development at Cornell University's College of Human Ecology, reveals why the eyes offer a window into the Human Ecology, reveals why the eyes offer a window into the soul.

Stem cells collected from human corneas restore transparency and don't trigger a rejection response when injected into eyes that are scarred and hazy, according to experiments conducted in mice by researchers at the University of Pittsburgh School of Medicine.

You can't simply take one curve, look at it «by eye», and start to make claims about the validity of the idea that human influence on climate is significant

Stem cells collected from human corneas restore transparency and don't trigger a rejection response when injected into eyes that are scarred and hazy, according to experiments conducted by researchers at the...

«In a report published in the journal Lancet, scientists led by Dr. Robert Lanza, chief scientific officer at Advanced Cell Technology, provide the first evidence that stem cells from human embryos can be a safe and effective source of therapies for two types of eye diseases»

It's easy to imagine the first modern humans staring up at the heavens in wonder, their eyes and minds dazzled by a beautiful band of light splashed across the night sky, the ever - changing moon so large and bright, and pinpoints of light in every direction.

According to the SIMBAD Astronomical Database, Aldebaran A is a slow irregular, pulsating variable star that fluctuates by only two - tenths of a magnitude, which is not very perceptible by Humans with the naked eye (more discussion at: Wasatonic and Guinan, 1997).

However, they say the work at least proves the potential for mRNA therapy to successfully treat not only hemophilia B but also other human disorders, such as hemophilia A (caused by faulty clotting factor VIII) or a variety of diseases of the liver, central nervous system, lung and eyes.

Told through the eyes of an alien being (played by Scarlett Johansson), we're introduced to the film's protagonist through a series of inexplicable images that eventually come to reveal a human eye, perhaps in an attempt to create a new way of looking at the world.

«Human Desire» is one of two Lang American remakes of French film classics directed by Lang «s great colleague Jean Renoir, a generous - hearted, humanistic Frenchman who seems at first, the temperamental opposite of the icy - eyed Lang.

Aside from a bird's eye view of Manhattan at night in the film's opening moments, Greengrass permits himself to shoot only from camera positions that can be justified by the conceivable presence of a human observer — we never see the exterior of the plane once it's airborne, and the devastation of the Twin Towers is seen only from the remove of the Newark Airport control tower and the television screens in the various control rooms.

The heroes of the movie, at least, aren't human but demigods, the offspring of gods and humans, who might be easily tempted by the prospect of a quick fling with someone who promises to show her his trident or who could translate her ultimate understanding of battle strategy to bedroom eyes.

The human eye is too good at sussing out artificiality, especially when it's surrounded by nature.

And, as then, I marvel at the huge world Balzac creates, the puerile pageantry of Paris, from garret to opera box; the cold - eyed observations and sly sarcasm; the wonderfully didactic asides as he explains the intricacies and theater of the printer's trade («The italic was invented by the Alid of Venice; hence its name»); the vast human energies unlocked in a new and daunting world of social possibility.

Both sides use economic theory to try and predict the various benefits, and frankly, I tend to look at all economic predictions with a very skeptical eye because it is almost always blinded by political or self interest, or tries to argue «pure» economics that looks real good on paper, but doesn't take into account that humans rarely act completely in their actual best interest since emotions, ignorance, etc all get in the way.

Mildly submissive dogs wilt when scolded and need physical contact with humans for security; severely submissive dogs try to avoid eye contact and may become fear biters, especially if cornered or stared at by children.

The Allied Cats project, funded by Environment and Climate Change Canada's EcoAction and Habitat Stewardship Programs, is aimed at generating a network of cats that lead healthy, safe, and happy lives indoors, or with controlled outdoor access via a «catio» or on a leash, under the watchful eye of their humans.

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.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

Creating shapes of nature not experienced by the human eye, these short - lived anomalies are frozen for us to view at 3500th of a second.

The Nude Man in Art from 1800 to the Present Day Musèe d'Orsay, Paris, France «Eye to I... 3,000 years of Portraits» Katonah Museum of Art, Katonah, NY 30 Americans, Milwaukee Art Museum, Milwaukee, WI Through the Eyes of Texas: Masterworks from Alumni Collections, The Blanton Museum of Art, Austin, TX 2012 Looped, Utah Museum of Contemporary Art, Salt Lake City, UT The Human Touch: Selections from the RBC Wealth Management Art Collection, RedLine Gallery, Denver, CO The Soul of a City: Memphis Collects African American Art, Memphis Brooks Museum of Art, Memphis, TN 30 Americans, Chrysler Museum of Art, Norfolk, VA All I Want is a Picture of You, Angles Gallery, Los Angeles, CA BAILA con Duende: Group Art Exhibition, Watts Towers Arts Center and Charles Mingus Youth Arts Center, Los Angeles, CA The Bearden Project, The Studio Museum in Harlem, New York, NY The Human Touch: Selections from the RBC Wealth Management Collection, The Scottsdale Museum of Contemporary Art, Scottsdale, AZ 2011 Parallel Perceptions, NYC Opera, New York, NY Who, What, Wear: Selections from the Permanent Collection, Studio Museum Harlem, New York, NY Capital Portraits: Treasures from Washington Private Collections, National Portrait Gallery, Smithsonian Institution, Washington, D.C. Becoming: Photographs from the Wedge Collection, The Nasher Museum of Art at Duke University, Durham, NC Human Nature: Contemporary Art from the Collection, Broad Contemporary Art Museum (BCAM) at Los Angeles County Museum of Art, (LACMA) Los Angeles, CA Beyond Bling: Voices of Hip - Hop in Art, Ringling Museum of Art, Sarasota, FL 30 Americans: Rubell Family Collection, Corcoran Gallery of Art, Washington, D.C.. For a Long Time, Roberts & Tilton, Culver City, CA RE-Envisioning the Baroque, I.D.E.A. at Colorado College, Colorado Springs, CA 2010 Size Does Matter, FLAG Art Foundation, New York NY Passion Fruits, Collectors Room, Berlin The Global Africa Project Exhibition, Museum of Arts and Design, New York, NY Personal Identities: Contemporary Portraits, Sonoma State University Art Gallery, Sonoma, CA Patter ID, Akron Art Museum, Akron, OH Wild Thing, Roberts & Tilton, Culver City, CA Summer Surprises, Pennsylvania Academy of the Fine Arts, Philadelphia, PA Individual to Icon: Portraits of the Famous and Almost Famous from Folk Art to Facebook, Plains Art Museum, Fargo, ND The Library of Babel / In and Out of Place, 176 Zabludowicz Collection, London, England Searching for the Heart of Black Identity: Art and the Contemporary African American Experience, Kentucky Museum of Art and Craft, Louisville, KY The Gleaners: Contemporary Art from the Collection of Sarah and Jim Taylor, Victoria H. Myhren Gallery, Denver, CO From Then to Now: Masterworks of Contemporary African American Art, Cleveland Art Museum, Cleveland, OH 2009 Enchantment, Joseloff Gallery, Hartford, CT Reconfiguring the Body in American Art, 1820 - 2009, National Academy Museum, New York Creating Identity: Portraits Today, 21C Museum, Louisville, KY Other People: Portraits from Grunwald and Hammer Collections, Curated by Cindy Burlingham and Gary Garrels, Hammer Museum, Los Angeles, CA 2008 30 Americans, Rubell Family Collection, Miami, FL Recognize: Hip Hop amd Contemporary Portraiture, Smithsonian Institution National Portrait Gallery, Washington, D.C. Macrocosm, Roberts & Tilton, Culver City, CA 21: Contemporary Art at the Brooklyn Museum, The Brooklyn Museum, Brooklyn, NY Selected Drawings, Museum of Contemporary Art, Cleveland, Cleveland, OH Down, Museum of Contemporary Art, Detroit, Detroit, MI

The second YouTube clip concentrates on the photography muscle of the ZenFone 3 range, starting off by explaining that the human eye sees the world at 150 fps.

The average resume gets less than 10 seconds in front of a recruiter, before being cast aside — and that's assuming that a recruiter is reading it at all in an age where automated scanning software is increasingly being used to filter applications by keyword search before a human ever sets eyes on them.

Because the ultimate goal is to have the resume reviewed by a human, even an ATS - friendly resume needs to be readable — and attractive — to human eyes.

Your resume must be able to pass through an Applicant Tracking System (ATS) and actually make it seen by the human eye.

FINAL THOUGHTS: Make it a goal to get your resume read by an actual person (see: Network Your Way to a New Job) and apply these formatting strategies to appeal to the human eye, but know when to modify formatting as needed for ATS applications.

Because the ultimate goal is to have the résumé reviewed by a human, even an ATS - friendly résumé needs to be readable — and attractive — to human eyes.

If you submit your resume online, even if your cover letter mentions that you are willing to relocate at your own expense, the ATS software will reject your resume, and neither it nor your cover letter will be read by human eyes.

If you created a resume that is flagged for review by the ATS, eventually human eyes will see it, and you will still need it to have an attractive template, truthful information, excellent grammar, and more.