Sentences with phrase «remaining human city»

Game description: In the only remaining human city of Bezoar, Major Fletcher, an Army Combat Veteran and soldier of the CLN, is dragged into a conflict between two of mankind's greatest enemies.

Not exact matches

While the human realm, «the moderate Aristotelian city / Of darning and the Eight - Fifteen» still remains filled with the same old drudgery, and we still remain weak, ignorant and often silly, our attitude toward the world and ourselves must remain open to wonder and possibility.

The most revelatory part of K could be its human remains: skeletons of several individuals crushed under cedar beams in the Canaanite city of burnt red brick in the 10th century B.C.; and 22 people entombed under a single floor of a house dating to the Middle Bronze Age.

The remains of houses and ceramic cooking utensils show that humans occupied these cities for around 1,000 years, from roughly 1,500 years to as recently as 400 years ago.

«Only one of Syria's six World Heritage sites — the Ancient City of Damascus — appears to remain undamaged in satellite imagery since the onset of civil war in 2011,» said Susan Wolfinbarger, director of the Geospatial Technologies and Human Rights Project at AAAS.

The humans» leader, Dreyfus (Gary Oldman), mostly remains at the city compound.

His best work, stuff like the short stories «In the Hills, the Cities» and «Human Remains,» or his audacious retelling of the Christian myth Imajica, are engorged with sensuality — alight with perversity and all manner of fetishistic penetrations.

Civilizations of humans have come and gone in great cities like Egypt, yet their cats and rodents remain in even greater pestilent numbers.

Although no graves or human remains were found here, historians believe it may have served as the crypt for the mummified corpses of the city's most important residents.

The cenote was used for human sacrifices when Chichen Itza was a flourishing city and I learned that artifacts as well as human remains have been recovered from the bottom.

The potential hero of mankind is as an army combat veteran named Major Fletcher who is a soldier of the corporation combat unit CLN who is tasked with protecting the only remaining city inhabited by humans called Bezoar after the machines have broken through the protective barriers in their quest to assume control of a network containing billions of digitized human minds known as The Sanctuary.

Early on, you are hired by a mercenary to help her gather enough Pluton to enter the city of Feste, the only human city remaining.

Remaining humans are hiding in their vaults under destroyed cities as hordes of mutated monsters seek to destroy them.

Using the shadow - subjects of cyanotypes and the full body casts of sculpture - figures, the artist records a rapidly disappearing street life: Depicting the hyper — realist, monumental nature, of urban «survivors» — both human and vegetative — he steadfastly chronicles big city change and traces what remains.

The skeleton pattern references the human remains still visible in Ancient Egyptian labourers» houses near the Luxor temple, as well as the massacre of 62 tourists near the city in 1997.

Rosenquist paints Celebrating the Fiftieth Anniversary of the Signing of the Universal Declaration of Human Rights by Eleanor Roosevelt in response to a commission from the city of Paris for a mural to mark the anniversary; it is intended for installation on the ceiling of the Palais de Chaillot, a government building, but remains in the artist's collection after a change in city leadership.

Group Exhibitions 2015 — «Plagiar o Futuro», (Plagiarizing the Future) Hangar, Lisboa, Portugal (curated by Bruno Leitão, Andrea Rodríguez Novoa)-- «Imagine Brazil» — Artist's Books, DHC / ART Founation, Montreal, Canada (curated by Jacopo Crivelli Visconti, Ana Luiza Fonseca)-- «Happeland», Radiator Arts / New York, EUA (curated by Eva Davidova, Almudena Baeza)-- «Open Sessions», Drawing Center, New York, EUA — «Theorem», Mana Contemporary, Jersey City, USA (curated by Octavio Zaya)-- «Contramuro», (Counter-mure) Galería Instituto de Visión, Bogotá, Colombia (curated by Omayra Alvarado)-- «Ejercicios de Traslado», (Practices on transference) Centro de Arte de Alcobendas, Alcobendas, Spain (curated Osbel Suárez)-- «La angustia de casi saber y quedarse no sabiendo», (The angst of almost knowing but remain ignorant) Galería Diablo Roso, Panama City, Panamá — «Instalations», Studio Sandra Recio / Geneva, Switzerland 2014 — «Cruce de Colecciones», (Collections Crossroads) Centro Atlántico de Arte Moderno, Las Palmas, Spain — «The Language of Human Consciousness», Athr Gallery, Jeddah, Saudi Arabia — «Cine Bogart, Imaginar un edificio», (Bogart Cinema, a building imagined) Centro Centro, Madrid, Spain (curated by Ines Caballero)-- «Objects in the mirror are closer than they appear», Lugar a Dudas, Cali, Colombia (curated by Daniel Silvo) 2013 — «La copia de la copia» (The copy of the copy), Museum of Contemporary Art, Guayaquil, Ecuador (curated by Hernan Pacurucu)-- «Cuando el mundo se hace plano» (When the world becomes flat), Centro de Cultura Contemporánea San Martin, Las Palmas de Gran Canaria, Spain - «Brutalidade Jardim», Galeria Marilia Razuk / São Paulo, Brazil (curated by Kiki Mazzucchelli)-- «Imagine Brazil» — Artist's Books, Astrup Fearnley Museet, Oslo, Norway (curated by Jacopo Crivelli Visconti, Ana Luiza)-- «On Painting», CEART — Centro Cultural Tomás y Valiente, Fuenlabrada, Spain (curated by Omar - Pascual Castillo)-- «Playtime», Museo Nacional de Arqueologia Subacuática, Cartagena, Spain — «Gracia Divina» (Divine Grace), Sala Gasco, Santiago, Chile (curated by Andrea Pacheco)-- «Hacer en lo cotidiano», Sala de Arte Joven de la Comunidad de Madrid, Madrid, Spain (curated by Beatriz Alonso)-- «En Obras» (In the Works), Galería Nuble, Santander, Spain (curated by Iciar Sagarminaga)-- «On Painting», Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria, Spain (curated by Omar - Pascual Castillo)-- «Objects in the mirror are closer than they appear», Galeria Isabel Hurley, Málaga, Spain (curated by Daniel Silvo) 2012 — «Expanded Drawing», Casal Solleric, Palma de Mallorca, Spain (curated by Pilar Ribal)-- «Carnaza para los Dioses» (Offering to the Gods), CAAM — Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, Spain — 11th Havana Biennial, Havana, Cuba 2011 — 11th Cuenca Biennial, Cuenca, Ecuador — «Inside», Cidade da Cultura, Santiago de Compostela, Spain (curated by Rafael Doctor)-- «New Brazilian Sculptur» e, Caixa Cultural, Rio de Janeiro, Brazil (curated by Alexandre Murucci)-- 8th Mercosul Biennial, Porto Alegre, Brazil — Bologna Art First, Pinacoteca di Bologna, Bologna, Italy (curated by Julia Draganovic) 2010 — 12th International Cairo Biennale, Cairo, Egypt — «Synergie's, Museum of Contemporary Art, Union Fenosa (MACUF), La Coruña, Spain (curated by Carlos Jimenez)-- «Look Up», Alfandega, Porto, Portugal (curated by David Barro)-- «Kierkegaard's Walk», Galeria Marilia Razuk, Sao Paulo, Brazil (curated by Jacopo Crivelli Visconti)-- «Synergies», Museum of IberoAmerican Contemporary Art in Extremadura (MEIAC), Badajoz, Spain (curated by Carlos Jimenez)-- «Postgraffiti, Geometry and Abstraction», Fundación Caixa Galicia, A Coruña, Spain (curated by Javier Abarca) 2009 — «Residency 09», Futura Project, Prague, Czech Republic — «Building, Dwelling, Thinking — Strategies for Contemporary Art and Architecture», IVAM, Valencia, Spain (curated by Fernando Castro Florez)

«The remains of what has been described as a huge lost city may force historians and archaeologists to radically reconsider their view of ancient human history.

Now, as I understand it, we have infilling, as much as 40 %, in some areas from thermometers over the land surface which have remained in place for extended periods of time with cities gradually engulfing some of them and which are read by humans.