The resultant 50 combinations means that
a given piece of text could be on 50 different page numbers depending on your personalized settings, so you can't point anyone definitively to the page you are reading from.
Not exact matches
Meta tags: These tags
give the small
piece of text that is found beneath title tags on a search results page.
Given a big enough database
of a person's writing style, and algorithms that can accurately find patterns in it, researchers can compile a style signature that can be used to check whether a
piece of text was authored by that person.
We can either Skype or
Text, you'll share with me your wardrobe and I'll
piece every item together for you into different outfits, then I will plan a shopping trip in your area
giving you a detailed list (and any special offers / coupons I can find)
of what to try at each store I'm sending you.
Each menu choice takes you to the supplements pertaining to that particular sequence, containing portions
of interviews used in the 50 - minute documentaries on Disc 1 & 2, parts
of the «Disneyland» TV series, extensive art galleries,
texts that
give background on the musical
pieces themselves, and treasures like abandoned concepts and deleted animation.
With differentiation, you might
give a child an entirely different
piece of text to read, or shorten the
text or alter it, and / or modify the writing assignment that follows.
It
gives suggestions to the students as to how to approach the
text and to move beyond the standard approach
of skimming and scanning a
piece of reading.
Given that films are
text types in their own right, directors can often be seen as adding or discarding scenes and lines or incorporating their own devices into their films, such as Zeffirelli's use
of music in his 1968 version
of Romeo and Juliet or Brannagh's use
of black and white as symbolism in his 1995 version
of Othello (such as with Othello's mask in the beginning, and the chess
pieces during Iago's soliloquy at the end
of Act 1, Scene 3).
It was actually the experience
of handling a lengthy bill (with more than 400 pages
of legislative
text) that
gave me the confidence that I could write a novel - length
piece of fiction.
A small
piece of text has been added to
give further information about the selected mode.
Employing lo - fi technologies, Perry layers and loops, samples and processes
pieces of video footage,
text and sound to create erratic, rhythmic artworks with non-linear narratives that
give clues to the artist's own lived experience.
And in the case
of Nauman's,
given their inherent complexity — they may incorporate video, audio, lighting, sound, and / or
text in addition to architectural structures, as in the prose / floor
piece Cones Cojones, 1973 - 75, installed for the exhibition — they seem doubly inaccessible.
In the «Pavilion
of the Common» an inexplicably large chunk
of space is
given over to works involving thread — tables hold piles
of Taiwanese artist Lee Mingwei's patched, ripped clothing; Filipino David Medalla invites visitors to embroider what they please onto a long swath
of fabric (by the second day, it was filling up with stitched - on business cards, which seems about right for the Biennale); and elegant stitched
texts and books by the late Sardinian artist Maria Lai are on display not far from terrific fabric
pieces by Walther.
The exhibiting artists exponentially expand on and add to the show's themes through a variety
of strategies, including: performed fictions that resituate celebrity and commodity culture; collaborative
text pieces that
give institutionally marginalized voices visibility; appropriation
of pop culture to explore the isolation
of fame; the mining
of distinctly American signifiers such as varsity sports and daytime TV talk shows; and juxtapositions
of post-consumer objects that read on multiple levels and often indicate how a person's race, class, gender, and sexuality can position them in a simultaneous state
of hypervisibility and invisibility in American culture.
The Negus said:
Give me the lion, keep the stele is a performative reading
of an eponymous
text piece by Patrizio Di Massimo (b. 1983, Italy).
Other highlights include a Louise Bourgeois lithograph on fabric depicting the artist's hand, red on tableture, Nancy Spero's
text piece «Air... Portfolio» (1975) and Jonas Mekas» «I am America» playing in the back where monographs on many
of the artists
give ample opportunity to catch up on lesser known artists, some
of whom were at one time staples.
An art review on Friday about «Fore,» at the Studio Museum in Harlem, misspelled the
given name
of one
of the museum's artists in residence, who will present a
text piece based on urban street fiction.
A series
of text based
pieces which are concerned with context and interpretation, Huws» work invokes a deceptive objectivity which
gives way to wider questions
of our own cultural context, and the resonances which these impose upon works we view.
A series
of text based
pieces which are concerned with context and interpretation, Huws» work invokes a deceptive objectivity which
gives way to wider questions
of -LSB-...]
Surprise, surprise, Teya Ryan was elected as a vice president at the Society
of Environmental Journalists» first annual conference in 1991, Stephen Schneider was a speaker at that same conference (full
text variation here), and an inset
piece Gelbspan wrote within his very last June 1992 article at the Boston Globe quoted Schneider as saying «It is journalistically irresponsible to present both sides as if it were a question
of balance... It is irresponsible to
give equal time to a few people standing out in left field.»
The beauty
of the jewels extends within the
piece:
text and images pass all the way though the object, only exposed at the surfaces -
giving a tantalising glimpse
of the book within.
Given that
text documents are still very much the core material produced by legal professionals, and that references to
text documents will remain the basis for grounded and verifiable legal reasoning regardless
of the actors and technologies employed, current generation standards in the legal domain are providing a layered organization
of their offerings: presentation - oriented XML is being replaced with structured XML with ample room for metadata and annotations; naming mechanisms based on URIs and IRIs provide linkable anchors both to entire documents and to smaller fragments; and document - oriented ontologies provide the necessary glue between abstract legal reasoning and the textual
pieces of supporting evidence.
Your interviewer (s) may
give you an unseen
piece of text to read aloud and analyse on the spot.