Sentences with phrase «presented as an ensemble»

The adjusted data are presented as an ensemble of 100 interchangeable realisations and together with the new uncertainty estimates described in part 1 of the paper (Kennedy et al. [2011b]-RRB- they constitute the third set, HadSST3.

Not exact matches

Our present defensiveness is based a far broader ensemble of evidence, as well an army of related syndromes.

Annual fire weather season length anomaly maps for a subset of known severe fire years are presented in Fig. 4 and anomalies for all years are presented in Supplementary Figs 1 — 4 and annual ensemble - mean anomaly data are available as Supplementary Data 1.

Still, it does at least support an interesting premise for a family comedy, although it does come off as a second - rate rekindling of the Jumanji (rampant animal madness) and Bill and Ted's Excellent Adventure formulas (a motley ensemble of historical figures coming together to help the people of the present).

On a more negative note, the film is designed and crafted in such a way that you take one side, with a certain perspective more prominently presented than the other, while the fact we're dealing with an ensemble feature does mean there's a lack of emotionality attached, as with so many characters to explore, we drift between them without ever feeling as though we've truly got to the bottom of their respective character developments.

The cast members are all exceptional; while the movie's incredible roster of acting talent suggests an ensemble piece, the structure of the movie patiently presents a series of scenes between two or three characters (Adam Driver also has a role as a co-worker of Maria's, and acquits himself stolidly).

The movie follows one such group, populated mostly by nonprofessionals Arnold found on her scouting trips, and it works best as a rowdy ensemble piece — sort of a co-ed, mobile, present - day version of Richard Linklater's Everybody Wants Some, examining the frayed bonds created among newly formed adults with few responsibilities and a dynamic torn between loyalty and rivalry.

I have not attended a high school reunion, but I imagine it is as equally enjoyable and awkward as the one presented in 10 Years, a bittersweet ensemble comedy about how much people and circumstances can change while staying quite the same.

While Spielberg, Streep, and Hanks presented some cause for nerves — as did an ensemble that includes Carrie Coon, Bob Odenkirk, Sarah Paulson, and Matthew Rhys — it was playwright and actor Tracy Letts, cast as Washington Post Company chairman Fritz Beebe, who was the larger concern of both Hannah and Singer.

Additional celebrities at SIFF this year included Academy Award - winning director Morgan Neville with his documentary The Music of Strangers: Yo - Yo Ma and the Silk Road Ensemble; award - winning writer and director James Schamus of Indignation; award - winning cinematographer Kirsten Johnson with her directorial debut Cameraperson; acclaimed actor Clea DuVall with her directorial debut The Intervention; directors Miles B. Miller and Joshua H. Miller, producer Kathryn Tucker, and actor Paul Sparks of All the Birds Have Flown South; actor Craig Robinson in Morris From America; director Jonathan Parker, producers Catherine di Napoli and Deborah Parker, and actor Eric McCormack with The Architect; Mike Birbiglia, director of Don't Think Twice; YouTube sensation and documentary subject of Presenting Princess Shaw Samantha Montgomery, who performed at the Opening Night Gala; Irish drag queen and marriage equality advocate Panti Bliss, subject of the documentary The Queen of Ireland, as well as director Conor Horgan; director Martin Spirit and subject Spencer Haywood of Full Court: The Spencer Haywood Story; irector Ned Crowley and actor Jim O'Heir of Middle Man; director James Redford with his new documentary Resilience; Pearl Jam founding member and Gleason composer Mike McCready; actor Laura Carmichael and director Chanya Button with the US premiere of Burn Burn Burn; director Iwai Shunji of A Bride for Rip Van Winkle; Joshua Marston, director of Complete Unknown; actor Corentin Fila of Being 17; Andreas Öhman, director of Eternal Summer; Ti West, director of In A Valley of Violence; director Roger Ross Williams and subject Ron Suskind of Life, Animated; director Nathan Adloff, actor Tim Boardman and producers Stephen Israel and Ash Christian of Miles; director Linas Phillips and producer Ian Bugno of Rainbow Time; Richard Tanne, director of Southside With You; Jocelyn Moorhouse, director of The Dressmaker; Brent Hodge, director of The Pistol Shrimps.

Taken as an ensemble, the pieces on view present the question of reproduction in a way that is disarmingly direct, perhaps even uncomfortably literal.

As the overall composition underscores, Quaytman understands paintings not solely as autonomous objects but also as parts of an ensemble that acknowledge the conditions under which they are produced, presented, seen, and circulateAs the overall composition underscores, Quaytman understands paintings not solely as autonomous objects but also as parts of an ensemble that acknowledge the conditions under which they are produced, presented, seen, and circulateas autonomous objects but also as parts of an ensemble that acknowledge the conditions under which they are produced, presented, seen, and circulateas parts of an ensemble that acknowledge the conditions under which they are produced, presented, seen, and circulated.

Presented publicly for the first time in an accompanying special exhibition at the Deutsche Guggenheim in Berlin, this new work is shown alongside earlier pieces — both black - and - white photographs as well as transparencies mounted in light boxes — to create an ensemble that resonates formally and thematically.

In this exhibition, de Joode presents an ensemble of digital photographs, abstract sculptures made of cut PVC board, and a ceramic sculpture that serves as a hook for another printed PVC sculpture.

Her work has been shown nationally and internationally and presented work at the National Portrait Gallery, performing group work Paper Portraits; BALTIC, Newcastle ensemble piece MAKE; Hayward Gallery - a 3 month performance installation as part of the Mirrorcity show; David Roberts Art Foundation; Yorkshire Sculpture Park; Modern Art Oxford; Chapter Arts, Cardiff.

Within the framework of the Project Space Festival Berlin, District is pleased to present the opening of Laura McLardy's installation Line of Least Resistance in the ArtAndArchitecture series as well as a performance, music and video programme by artist ensemble Boring Drug and Zorka Wollny.

Along with featuring large - format pieces, our exhibition presents an ensemble of late small - scale works as a large wall tableau that occupies the exhibition space in an unusual fashion.

For Polke, the camera was an essential tool, like a pencil or a brush, and a retrospective of Vanessa Beecroft's Photographic Work, that showcase an ensemble of Polaroids created by the artist between 1993 and the present day, which were shown as a solo exhibition at the Palazzo Reale in Milan (2016).

Maia has presented live cinema performances, as well collaborated with several musicians such as Vessel, Max Loderbauer, Panda Bear, Lee Ranaldo, Fennesz, Craig Leon, Demdike Stare, Shackleton, Jacaszek, Shxcxchcxsh, Tropic of Cancer, Porto Remix Ensemble.

/ performances 2017 Audible Edge Festival, Tone List and Tura New Music, Perth 2016 Everyday Machines, curated by Tom Smith, Alaska Projects, Sydney 2016 NOW now series, 107 Projects, Sydney 2016 Pretty Gritty series, 107 Projects, Sydney 2016 Electrofringe: New Terrains, Top Floor at Wellington, Sydney 2014 perspectives [temporal], solo audio - visual concert, Perth Institute of Contemporary Arts 2014 Club Zho 111, The Bakery, Perth 2014 NOW now Festival of Arts, Sydney (as Té with Andrew Brooks) 2012 - 14 multiplicity - large - scale, dual - screen audio - visual work presented at: Perth Cultural Centre Screen Program, 2014; Test Tone, SuperDeluxe, Tokyo, Japan, 2013; Channels Video Art Festival, Melbourne, 2013; fractal shale, Perth Institute of Contemporary Arts Performance Space, 2012; NOW now festival program launch, Sydney, 2012; fractal shale, Tape Projects, Melbourne, 2012 2014 Cinematic Scores, live soundtrack to Laszlo Moholy - Nagy's Lichtspiel Schwarz Weiss Grau, Perth Fringe Festival, Packenham Street Art Space, Perth 2013 International Computer Music Festival, Western Australian Museum (as Té with Andrew Brooks) 2012 - 13 consciousness - large - scale audio - visual work presented at: Nu Things, Osaka, 2013; Tape Projects, Melbourne, 2012; AV Union, Sydney, 2012; Terrace Bar, Newcastle, 2012; The Bakery, Perth, 2012 2013 Japan tour, solo audio - visual performances and as Té with Andrew Brooks, Osaka, Kyoto, Tokyo 2011 Improvised performance with Philip Zoubek and Andrew Brooks, The Loft, Cologne, Germany 2011 split mirror planes - for four instruments and four audio / visual sources, commissioned by Decibel new music ensemble — premiered at Perth Institute of Contemporary Arts 2010 Japan tour, solo performances, Osaka, Kyoto, Tokyo 2010 lucidity - major composition for electroacoustic ensemble: acoustic instruments, computer processing, sound synthesis and video projections performed at The Bakery, Perth

19 Apr 2011 Gerald Barry - The Intelligence Park A concert performance of Gerald Barry's rarely - heard opera, described by The Irish Times as «the most original piece of music to come out of Ireland this century,» presented in collaboration with Crash Ensemble.

Indeed by producing large ensembles, for multiple different emission scenarios, we do present the climate projections as a set of possible future climate risks, with associated uncertainty.

Specifically, we used a variety of linear and nonlinear methods such as artificial neural networks (ANN), decision trees and ensembles, multiple linear regression, and k - nearest neighbors to generate present and future daily precipitation occurrences and amounts.

The lower panel expresses velocity as change in present temperature gradients calculated by using the present temperature gradient at each location and the trend in temperature projected by the CMIP3 ensemble in the SRES A1B scenario.

The method for calculating the rank histograms in this study is the same as that described in AH10 and Y12, and involves constructing rank histograms for the gridded mean climatic state of the model ensembles for the present - day climate with respect to various observational data sets.

The model outputs are generally presented as an average of an ensemble of individual runs (and even ensembles of individual runs from multiple models), in order to remove this variability from the overall picture, because among grownups it is understood that 1) the long term trends are what we're interested and 2) the coarseness of our measurements of initial conditions combined with a finite modeled grid size means that models can not predict precisely when and how temps will vary around a trend in the real world (they can, however, by being run many times, give us a good idea of the * magnitude * of that variance, including how many years of flat or declining temperatures we might expect to see pop up from time to time).

Once you open the box for the first time you'll see the headphones» case wedged in a cushion — the ensemble looks as if it's about to be presented for exchange in a wedding, not something you're going to shove into your waxy ears to listen to Metallica.