Similarly, Pearl C. Hsiung explores the notion of creation in the microcosm, representing cosmic beings created in an epic volcanic eruption in the fantastical painting Shecretes, while Stephanie Taylor's markings in Interstellar Paw Print
suggest traces of life on an ambiguous topographical landscape.
Not exact matches
It is quite probable that Earth 2.0 will be hundreds or even thousands
of light years away; too far from us to detect
trace chemical «biosignatures» that would
suggest life.
Every bird alive today can
trace its ancestry to creatures that
lived about 95 million years ago on a chunk
of land that split off from the supercontinent Gondwana, a new study
suggests.
In fact, they say, the
traces of human occupation intensify shortly after the volcano's eruption,
suggesting that humans
living there did just fine, Marean says.
Despite comparatively intense bombardment by large impactors, chemical and radio - isotopic
trace evidence
of what appears to be biologically processed carbon in Earth's oldest surviving rocks — from western Greenland's Isua greenstone belt that are as old as 3.85 billion years —
suggest that self - replicating, carbon - based microbial
life became well developed during Earth's first billion years
of existence.
Beeman and Tolkin drain every
trace of real
life friction from the story line, pumping it up instead with the standard Hughes synthetics: kids who are preternaturally smart, sophisticated and poised (Haim's best friend, played by Corey Feldman, has a swagger that
suggests Robert Mitchum at his cockiest); adults who are monstrous, cretinous and ultimately pathetic.
First - time graphic - novelist Weing has produced a beautiful gem here, with minimal dialogue, one jolting battle scene, and each small page owned by a single panel filled with art whose figures have a comfortable roundness dredged up from the cartoon landscapes
of our childhood unconscious, even as the intensely crosshatched shadings
suggest the darkness that sometimes
traces the edges
of our
lives.
The artist's large - scale sculptures reveal the
trace of the human hand and
suggest her early recollections
of being surrounded by wooden walls, tools, and utensils as a child
living in wartime labor and refugee camps in Germany after her family was forced to leave Poland.
Her work
suggests a stage prior to and beyond difference, in which everyone finds something they can recognize — the pulse
of life, the
trace of a self, something akin to the visualization
of human presence.