Sentences with phrase «familiar shadow of»

The familiar shadow of tragedy will always linger in this town and you will get a healthy dose of it the more you explore.

I had the impression that I was speaking to myself but was also hearing something internally, the familiar shadow of a voice.

Not exact matches

He said he was not familiar with so - called «shadow profiles,» which media reports have described as collections of data about users that they have no knowledge of or control over.

The space program and the stunning pictures of earth, at first grainy black - and - white shadows of the great shapes familiar from maps, gave further impetus to the idea of convergence, of one world.

Sounds, shadows, movements, or smells are easily ignored in the familiar comfort of daylight, while at night these may evoke fears, worries, and even terror.

The light through the leaves, the particular purple of the shadows the clouds cast on the mountains, the softness of the air in the early morning - all these things feel as familiar as the lines of my palms.

Liam Byrne is said to be particularly aggrieved — sources familiar with his thinking say that in over two years as shadow secretary of state for work and pensions, the number of times he was able to sit down with the leader and discuss the issues around welfare, can be counted on the fingers of one hand.

They lived in the shadow of the Rangeomorphs, he says, but when these larger organisms went extinct the small Ediacarans may have flourished, evolving into familiar animals.

From his opening salvo, our anti-hero explains his uncannily familiar origins — at eight days old, sent to Earth by his parents from their dying galaxy, and the blue, large - craniumed baby grows up in the shadow of a square - jawed, smug git who is universally beloved, can fly, and has life handed to him on a silver platter.

Like its repetitive title, Runner, Runner offers up a bland retelling of a familiar story that lies in the shadow of smarter and sleeker films like The Firm.

As their gazes locked in the shadows beneath the brim of his hat, Ash's familiar gold - flecked eyes narrowed without betraying so much as a trace of regret or yearning.

Anyone familiar with the darker side of life understands that a man who has lost his shadow is like a woman with a dark past who marries: no one is more loyal, because she knows how much is at stake.

Gamers familiar with Oddworld: Abe's Oddysee will get a delighted giggle out of being able to hide and go shadow - y behind certain objects and plants as a means of stealth.

Horror was still an integral part of the story, with familiar monsters returning to the series and new ones emerging from the shadows.

My childhood take another step to the front stage as Shawn Layden takes the stage with a semi familiar backdrop, song, and casting a shadow of a figure we in the early PS1 days remember.

While I was slightly disappointed that I didn't even hear an homage to the classic theme of the Uncharted series, I did like that Jackman and Naughty Dog chose to keep things familiar but different, allowing The Lost Legacy to create it's own place out from behind the shadow of the rest of the series.

The artists being brought back out of the shadows have by and large not stopped working for a second; their new work's out - of - left - fieldness can be refreshing, and their old work looks startlingly hot, at once familiar and unanticipated.

The living room environment is familiar and humdrum, while the lapping flames and carefully lit installation encourage the viewer to see images in the shadows and the flickers of the screen.

Working in multi-media, New York - based artist Erin Shirreff's work encourages the viewer to see objects in new ways: unsettling spacial and sensory experience by creating sculptural works specifically for the camera that confuse perception; layering still photographs in video to present a new experience of the Moon or James Turrell's great unfinished Roden Crater work (2009); exploring myriad interferences of glare and shadow at play on a computer screen; and presenting only one façade of a familiar Tony Smith work in an outdoor commission, Sculpture for Snow.

This body of work continues Ostoff's exploration of objects and spaces within the interior domestic sphere — cast shadows, reflected light, random surface marks, and fragments of commonplace objects, the type of overlooked elements one might find half - concealed in the background of a generic family snapshot — with the aim of addressing both memory, and the unheimlich (Freud's term for the «estranged familiar»).

An assemblage of 90 speakers casts a shadow of one of the world's most familiar skylines onto the gallery wall and plays a continuous loop of sampled radio broadcasts, sirens and helicopters.

These descriptions of patterns of shadows and brightness express how something familiar, when seen in a new way, can show a previously unacknowledged beauty.

The familiar imagery reappeared — most strikingly, the naked Lassnig in a wedding veil made from plastic, her face lost in shadow — and yet most poignant of all were the pictures of lovers.

Yet, while Made in L.A. appeared as diverse and sprawling as the city whose art it presented, it might also be argued that the bulk of the work on view extended four familiar (and familial) lineages of Los Angeles art that were well represented in «PST»: hard - edge abstraction (represented here in paintings by Brian Sharp and Alex Olson and painterly objects by Lisa Williamson and Brenna Youngblood), found - object assemblage (in the work of Liz Glynn, Ry Rocklen, Henry Taylor, and Erika Vogt, among others), eclectic performance practices (including live pieces by Math Bass, Kenyatta A. C. Hinkle, and Ashley Hunt, as well as the collective Slanguage's array of community - based works at LAXART), and film and video projects that pointed, more or less, to the looming shadow of Hollywood (e.g., Miljohn Ruperto's Seven and Five, 2012, which includes multiple remakes of a 1961 episode of the TV show Alfred Hitchcock Presents, and Dan Finsel's The Space Between You and Me, 2012, for which the artist restaged Farrah Fawcett and Keith Edmier's decade - old roll in the clay).

The artist uses a variety of tones to intensify still further the dream - like quality of the work and the dark shadows add a new and terrifying dimension to the familiar nursery rhymes.

If you're familiar with HDR photography on iPhone, that's what you're getting with HDR video: Instead of whites and blacks that are blown out or clipped off, you can suddenly see into all the highlights and shadows.