Sentences with phrase «see in your images less»

It makes that breaking / slowing down pattern you can see in your images less likely to be a main issue.

Not exact matches

But the magnitude of what they had accomplished in less than two months, she said, hit when she saw images of protests across the country and around the world.

What we see when we illuminate only a small area of the photographic plate is not a partial image but a whole image somewhat less sharply defined in detail, There is no one - to - one correspondence between object and image.

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Im in no real mood to argue the toss with you about this but just wait and see, Whatever the real truth of it its clear that offering way less than clubs expect for thier strikers is NEVER going to work in todays market, and it puts the club in a bad light becuase the overwhelming image of Arsenal now is that we want everything at cut price and we are never going to budge on this.

Add in sponsorship and image rights and you will see how the supporter at the game become less important for the revenue stream than the rest of the world.

I came across an image boldly making this statement recently and I've seen others like it and in the infant feeding support group I run on Facebook I was accused of not really supporting breastfeeding because we don't permit formula bashing or shaming and discourage the use of the phrase «breast is best» (a marketing tool developed by formula manufacturers, no less).

came across an image boldly making this statement recently and I've seen others like it and in the infant feeding support group I run on Facebook I was accused of not really supporting breastfeeding because we don't permit formula bashing or shaming and discourage the use of the phrase «breast is best» (a marketing tool developed by formula manufacturers, no less).

Gove's error was failing to see that in turning on Boris he would undercut the image that he had crafted for himself and make himself appear less like the trusted hand that the country needed.

[1] Bright spots were also seen, with much less clarity, in earlier images of Ceres from the NASA / ESA Hubble Space Telescope taken in 2003 and 2004.

All other evidence being equal, juries exposed to very graphic photographs of the dead or seriously injured are more likely to convict than juries which do not see such images and are less demanding in the burden of proof that they need to reach their verdict.

New chapters cover integral equations, which give the basis for the image - restoration methods recently in the news (see «No hiding place: video wars on crime», New Scientist, 8 May), and what the authors call «less - numerical algorithms» including check sums and data compression.

«Many of these images have never been seen, much less analyzed,» Google said in its press release.

Today, because ultrasound and CT images have improved so dramatically in detail and clarity, doctors often take a wait - and - see attitude with less serious injuries.

Less ubiquitous, however, were images of the secondary setback suffered by New Orleans homeowners: an onslaught of aggressive mold left behind by the receding waters, an example of which can be seen in this photo taken less than a month after the storm hit, showing the scarred walls of Danielle Boyce Batten's home in Lakeview, where the 17th Street Canal levee was breacLess ubiquitous, however, were images of the secondary setback suffered by New Orleans homeowners: an onslaught of aggressive mold left behind by the receding waters, an example of which can be seen in this photo taken less than a month after the storm hit, showing the scarred walls of Danielle Boyce Batten's home in Lakeview, where the 17th Street Canal levee was breacless than a month after the storm hit, showing the scarred walls of Danielle Boyce Batten's home in Lakeview, where the 17th Street Canal levee was breached.

It's even possible that you saw images that were far less literal and in time you'll come to understand the message behind them.

We certainly don't conjure an image of a cold - hearted cynic who sees no crime in the elimination of society's less successful members!

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes iin total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes iIn Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes iin his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes iin 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

Maybe I'm just nostalgic because Red Dawn was the first film I'd ever seen set in my home state of Colorado (Calumet — which is a real town, but deserted)-- albeit shot in New Mexico, but whatever — and that the image of a bunch of «necks tooling around in old Fords with bristling gun racks was less fantasy than cozy, front - porch documentary.

At times, however, I found the image to come across as somewhat fuzzy and soft, with lesser definition seen in some of the wide shots.

Provided unlimited worksheets Questions include: subtract from, take from, less than see cover image Write the missing number in the space How many more must be added to make 100, 1000 How many less is each of these numbers than....

Microsoft Excel required Suitable for Early Years 2 files, 9 topics A new set of questions every time the files are opened Every question focusses the students attention on the number 10 File 1 - 3 separate grids - 20 numbers in each Shade in the pairs that = 10 Shade in the squares with numbers less than 10 Shade in the squares with numbers greater than 10 File 2 - see cover image for 4 of the topics The other two topics are 3 word quizzes and Place value, how many 10's are in each number.

In the third version, teens saw no notification, but the positive images were interspersed with several posts about everyday challenges or negative experiences — ostensibly a more ordinary, less - perfect life.

Most kids see a social cost in playing hooky: They'd miss being with friends, their peers would think less of them, or they'd suffer a wound to their self - image.

The XJR575 sees unique touches too, with sports seats, 575 branding and unique sill plates, though we're hoping the cabin feels a little less gloomy than it appears in Jaguar's images.

As you can see in these images, when compared to the previous prototypes caught testing, this CLA is donning less camouflage, revealing more details such as the front, the rear lights, and more of its overall lines.

At this point, I'm sure you're ready to hear about what sets the V8 S apart from its lesser counterpart, so let's take a look at some images and see what Bentley is bringing to Geneva in March.

«Children have a right to books that reflect their own images and books that open less familiar worlds to them... for those children who had historically been ignored — or worse, ridiculed — in children's books, seeing themselves portrayed visually and textually as realistically human was essential to letting them know that they are valued in the social context in which they are growing up... At the same time, the children whose images were reflected in most American children's literature were being deprived of books as windows into the realities of the multicultural world in which they are living, and were in danger of developing a false sense of their own importance in the world.»

So we could see words given less meaning altogether as images are thrown in for the sake of it, just to bulk out stories.

- the 18 returning classes were chosen by seeing which popular classes would fit with the game - they also wanted to include classes to cover roles that the roster was lacked - the Pugilist class was added because the first group of classes selected did not include any with bashing and binding attacks - War Magus was added because the Medic was the only healer class in the roster at that point - they couldn't simply include all popular classes as that would have skewed the balance of the game - as for the Hero class, they with balanced offensive and defensive capabilities, but this made things to similar to other classes - this was rectified by adding after - images and other skills with good synergy - when an after - image appears, it does the same skills as the Hero, except on the following turn - it becomes possible for skills that usually can not be used multiple times in a row to be activated multiple turns in a row - it also means skills that only have an effect for one turn can be extended to two - after - images use not only the Hero's own class skills, but also their subclass skills - if the subclass is an Imperial, the Drive skill can be used multiple times in a row - when using Hero as a subclass to Nightseeker, the character can cover the Nightseeker's weaknesses of having low defense - after - images can also help increase the chances of inflicting status ailments - subclasses can be used to make up for weakness - Swordsman, a class that can learn speed and accuracy boosting skills, would be a good subclass for the Gunner - Reaper as a subclass for War Magus would allow that character to use the scythe's skills to inflict status ailments - the skill tree is slowly unlocked as a character grows - there are more skills that make jobs» individual styles stand out more, or expand the player's choices - the skill tree is also made so that there are less requirements to learn specific skills as compared to 5 - this makes it easier for players to get the skill they want without spending large numbers of skill points on lower skills - it's now easier to put points into skills, which makes re-specing easier - the team faced difficulty in balancing classes that were never meant to be alongside each other - they are doing their best to ensure that they keep the individual classes» identities intact

-- new audition system — allows loops to be listened to as whole loop instead of slices — improved controls — much less to remember and much faster to use — true copy + paste system with copy buffer — massively improved realtime VIS — 3 new vis effects, the old one improved — new editor display — slice breaks so easy to see when you change from one slice to another — and loop names above loops for hidef users — new image / audio handler — loads and unloads resources on demand massively reducing memory requirements — removing the out of memory crashes — new file system — allows much more detail in the file list

And rather than visiting individual galleries — and perhaps discovering new talent — collectors are focusing on market - tested trophy works carried by major dealers; are sometimes buying from Instagram or other online images without seeing the work in person; and are less willing to gamble on the emerging artists represented by small and midsize galleries.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greateIn 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its lesser relationship to the greater.

The more I see, the less I believe in the accuracy or reality of the images I draw.

The rest of Hibid's display, however, is less convincing: a series of pages of the Guardian newspaper in which areas are painted out to reveal what she appears to see as unconscious racism, specifically — in the way images of black people are used — feels rather dated, if not in its racial paranoia, then certainly in the way Hibid has chosen to express it.

06.2017 Suffering ², MONA, Tasmania (solo show) 04.2017 The World Made New, PiArts London [commissioned] 03.2017 Casebooks, Ambika P3 London [commission] 10.2016 Suffering, Queenstown, Tasmania [commission] 10.2016 Nowhere Less Now ⁷ Glynn Vivian Gallery, Swansea, Wales, UK [commissioned solo show] 07.2016 Leisure Land Golf, Quad, Derby, UK 06.2016 Seeing Round Corners, Turner Contemporary UK 04.2016 Leisure Land Golf, New Art Exchange, Nottingham, UK 02.2016 Objects Do Things, Ujazdowsky Castle, Centre for Contemporary Art, Poland 03.2016 Stories in the Dark, The Beaney, Whitstable Biennale, UK 05.2015 Leisure Land Golf, Venice Biennale (EM15 commission) 01.2015 Reads Like a Book, Cricoteka, Kraków, Poland 09.2014 Mirrorcity, Hayward Gallery, Southbank Centre, London [new work] 10.2014 Top of the World, Sami Centre for Contemporary Art, Karasjok, Norway 01.2014 For The Record, Birmingham Museum and Art Gallery, UK 09.2013 Entangled ², (Theatre II), Matt's Gallery, London (solo show) 09.2013 Monocular ⁴, Quad, Derby [commission] 08.2013 Narrative Structures, Stryx, Birmingham, UK 06.2013 Nowhere Less Now ², (Red Queen) MONA, Tasmania, Australia [commission] 05.2013 A» Comes First, Toulouse International Art Festival, France [commission] 01.2013 The Book Lovers, EFA Project Space, New York, USA 11.2012 The Book Lovers, MHKA, Antwerp, Begium 11.2012 Reality Bites, Kiasma, Helsinki, Finland 09.2012 Nowhere Less Now, Tin Tabernacle, Kilburn, London [Artangel commission solo show] 07.2012 Entangled ², Turner Contemporary, Margate [commission] 06.2012 Focal Points: Art and Photography, Manchester Art Gallery, UK 05.2012 Møte (Meeting), Galleri Festiviteten, Norway 03.2012 Ich is ein Anderer, Kunstverein Freiburg, Germany 02.2012 A Trip to the Moon, Bonniers Konsthall, Stockholm, Sweden11.2011 Monodrome, Athens Biennale, Greece 11.2011 Beyond Deception, Erik Steen Gallery, Oslo, Norway 08.2011 Something In The Way, Lofoten International Art Festival, Norway 07.2011 Outrageous Fortunes, Focal Point Gallery, Southend, UK 03.2011 Extramission 6, TPW Gallery, Toronto [as part of Images Festival solo show] 03.2011 Dis - covery, Salamanca Art Centre, Tasmania 03.2011 The Collection, Rugby Art Gallery, inaugural exhibition of CAS and V&A purchase for the collection 03.2011 Just Photography, Ancient and Modern at Martos Gallery, New York, USA 02.2011 It has to be this way ², BALTIC, Gateshead (solo show) 11.2010 Persistence of Vision, Kunsthallen Nikolaj, Copenhagen, Denmark 10.2010 It has to be this way ², Mead Gallery, Warwick (solo show) 10.2010 It has to be this way1.5, Aspex Gallery, Porstmouth (solo show) 0in the Dark, The Beaney, Whitstable Biennale, UK 05.2015 Leisure Land Golf, Venice Biennale (EM15 commission) 01.2015 Reads Like a Book, Cricoteka, Kraków, Poland 09.2014 Mirrorcity, Hayward Gallery, Southbank Centre, London [new work] 10.2014 Top of the World, Sami Centre for Contemporary Art, Karasjok, Norway 01.2014 For The Record, Birmingham Museum and Art Gallery, UK 09.2013 Entangled ², (Theatre II), Matt's Gallery, London (solo show) 09.2013 Monocular ⁴, Quad, Derby [commission] 08.2013 Narrative Structures, Stryx, Birmingham, UK 06.2013 Nowhere Less Now ², (Red Queen) MONA, Tasmania, Australia [commission] 05.2013 A» Comes First, Toulouse International Art Festival, France [commission] 01.2013 The Book Lovers, EFA Project Space, New York, USA 11.2012 The Book Lovers, MHKA, Antwerp, Begium 11.2012 Reality Bites, Kiasma, Helsinki, Finland 09.2012 Nowhere Less Now, Tin Tabernacle, Kilburn, London [Artangel commission solo show] 07.2012 Entangled ², Turner Contemporary, Margate [commission] 06.2012 Focal Points: Art and Photography, Manchester Art Gallery, UK 05.2012 Møte (Meeting), Galleri Festiviteten, Norway 03.2012 Ich is ein Anderer, Kunstverein Freiburg, Germany 02.2012 A Trip to the Moon, Bonniers Konsthall, Stockholm, Sweden11.2011 Monodrome, Athens Biennale, Greece 11.2011 Beyond Deception, Erik Steen Gallery, Oslo, Norway 08.2011 Something In The Way, Lofoten International Art Festival, Norway 07.2011 Outrageous Fortunes, Focal Point Gallery, Southend, UK 03.2011 Extramission 6, TPW Gallery, Toronto [as part of Images Festival solo show] 03.2011 Dis - covery, Salamanca Art Centre, Tasmania 03.2011 The Collection, Rugby Art Gallery, inaugural exhibition of CAS and V&A purchase for the collection 03.2011 Just Photography, Ancient and Modern at Martos Gallery, New York, USA 02.2011 It has to be this way ², BALTIC, Gateshead (solo show) 11.2010 Persistence of Vision, Kunsthallen Nikolaj, Copenhagen, Denmark 10.2010 It has to be this way ², Mead Gallery, Warwick (solo show) 10.2010 It has to be this way1.5, Aspex Gallery, Porstmouth (solo show) 0In The Way, Lofoten International Art Festival, Norway 07.2011 Outrageous Fortunes, Focal Point Gallery, Southend, UK 03.2011 Extramission 6, TPW Gallery, Toronto [as part of Images Festival solo show] 03.2011 Dis - covery, Salamanca Art Centre, Tasmania 03.2011 The Collection, Rugby Art Gallery, inaugural exhibition of CAS and V&A purchase for the collection 03.2011 Just Photography, Ancient and Modern at Martos Gallery, New York, USA 02.2011 It has to be this way ², BALTIC, Gateshead (solo show) 11.2010 Persistence of Vision, Kunsthallen Nikolaj, Copenhagen, Denmark 10.2010 It has to be this way ², Mead Gallery, Warwick (solo show) 10.2010 It has to be this way1.5, Aspex Gallery, Porstmouth (solo show) 09.

Everything that we see in our daily life is more or less distorted by acquired habits, and this is perhaps more evident in an age like ours when the cinema posters and magazines present us every day with a flood of ready - made images which are to the eye what the prejudices are to the mind.

A situation which you describe in the paper (see Figures 3a, 3b, first full paragraph of page 461, that the reconstructed trends for the Peninsula are less than the global average and yet you describe is as one of the most rapidly warming places on earth, that your Figure 4e has spatial differences compared with Supplemental Figure 1c and 1d or the image you linked to in comment 18), and which renders that spatial detail of the cover image difficult to interpret.

In this image, the clouds form several hundred kilometers off the coast, but at times when the air is less dry or westerly winds are less strong, clouds can be seen hugging the coast.

The image you see here is a portion of Leviticus — Chapter 21, Verse 5 — chosen more or less randomly from among the many regulations and statutes found in the Septuagint.

As you can see from the images below, the new site uses a tiled design that looks less cluttered than the current design and, in my opinion, more graphically appealing.

JY - In recent decades it has become quite clear that judicial elections can be ugly affairs with lots of negative campaigning - doesn't this hurt the judiciary's image - making people see them less as esteemed decision makers and more as politicians in robeIn recent decades it has become quite clear that judicial elections can be ugly affairs with lots of negative campaigning - doesn't this hurt the judiciary's image - making people see them less as esteemed decision makers and more as politicians in robein robes?

When I shot an image under the flourescent lights in my office, colors like the blue and gray stripes in my shirt appeared accurate, and there was a lot less visual noise than we see on most internal webcams.

As you can see in the above screenshot, tiles then revert to a static image making them much less flashy and distracting.

«In HDR + users will see a slower capture and overall less seamless experience as there is additional tuning for the images,» explained Knight.

The way we see yoga and meditation helping teen girls is rooted in self - discovery, balanced moods, less reactivity, physical fitness, better sleep and a healthier body image.

External factors may include the media (younger people may want for more from a relationship after being socialised by images of romance on films and television), seeing friends and families in relationships (people who have divorced or separated parents may have a different CL to those with parents who are still married), or experiences from prior relationships, which have taught the person to expect more or less from a partner.