Sentences with phrase «under great pressure for»

But the game in East Africa has been under great pressure for the last 25, 26 years.

Not exact matches

He'd run the unit for five years, a period in which its ratings have come under ever - greater pressure from disruption in the sector.

It's been a long summer for Labor Leader Bill Shorten, who in eight weeks seems to have run the full gamut of Queen's greatest hits, from I Want it All to Under Pressure.

The psychological s *** eventually surfaces when the shepherd is under great pressure; then prepare for a roasting!By the way, it also applies to «prophets» although the outing process usually takes less time.

It has been argued that Pius XII was under pressure to oppose Roosevelt's supply of arms to the Soviets through the American lend - lease scheme for Canada and Great Britain.

The familiar Hemingway conflict, we are told, deals with grace under pressure — or rather that's what the Hemingway hero strives for: he's the Good Sport and must play the game, not really caring whether he wins or loses but rather what the One Great Scorer (and this is about as close as Hemingway ever gets to the divine or even the cosmic) thinks of the game he's played.

There have been suggestions that the boss made some sort of promise to Ospina about his playing opportunities and from the first two games in the Champions League, especially the second game against Olympiacos when we were under great pressure to win, it seems like the Colombian is the first choice for all of the Arsenal cup games.

Darnold: Strengths: Size, patient in the pocket, takes what D gives, great at reading defenses, accurate, varies arm strength for different throws, good under pressure, mobile, mentally stable Weaknesses: release mechanics, turnovers, inconsistent decision - making, needs to work on deep ball

He showed great abilities under pressure situations, and for a player his size he can really stroke it from deep.

In the Stanley Cup playoffs, while still recovering from a grave injury to his right Achilles» tendon, playing on 36 - year - old legs and competing for goals with younger players of brilliance on one of the great Montreal teams, he displayed again his famous talent for excelling while under extreme pressure.

Former Arsenal great Ray Parlour stops short of doubting the team's credentials but believes that the side is under pressure for the weekend trip.

-- Possesses great vision — Who see's opportunities / openings / plays before others — Consistently produces moments of brilliance both individually and collectively for the team — Thrives under pressure — Is statistically proven at the highest level over a number of seasons — Has achieved at the highest level — Hates to lose with a passion far greater than most love to win — Leads by example and elevates the team when heads are down — Turns a good team into a great team

Great and beautiful win, kudos to all d players for their energy and passion and will to win but don't forget d real issues............ Now mertesacker is a great defender even with is faint hearted block to Costa's goal, even with the way ospina conceded d goal was enough reason why cech would av been better any day anytime and still wenger chose ospina at the most important match, and because Ramsey equalised after we conceded under pressure when we were one man up, look at d replays, only Ramsey was not a pussy, d rest were scared of not conceding more by staying close to our goal, Ramsey ran forward and was d only player apart from Sanchez and ground looking for d wiGreat and beautiful win, kudos to all d players for their energy and passion and will to win but don't forget d real issues............ Now mertesacker is a great defender even with is faint hearted block to Costa's goal, even with the way ospina conceded d goal was enough reason why cech would av been better any day anytime and still wenger chose ospina at the most important match, and because Ramsey equalised after we conceded under pressure when we were one man up, look at d replays, only Ramsey was not a pussy, d rest were scared of not conceding more by staying close to our goal, Ramsey ran forward and was d only player apart from Sanchez and ground looking for d wigreat defender even with is faint hearted block to Costa's goal, even with the way ospina conceded d goal was enough reason why cech would av been better any day anytime and still wenger chose ospina at the most important match, and because Ramsey equalised after we conceded under pressure when we were one man up, look at d replays, only Ramsey was not a pussy, d rest were scared of not conceding more by staying close to our goal, Ramsey ran forward and was d only player apart from Sanchez and ground looking for d winner.

Despite not making the right signings to address where we need strengthening, we'll be told that this squad has «Great mental strength» after which they will collapse repeatedly under pressure and fail to challenge for any major trophies.

There was a bit of pressure in the medal race and it was open for a number of people to win so it was great to go out and execute under pressure.

For example, Henderson is top of this category with an average of 2.3 clearances per game — this sounds great and it shows that Henderson gets through a lot of work during a game but it also shows that Liverpool are under pressure a lot of the time meaning he's potentially more likely to make more clearances per game than say Arsenal's Jack Wilshere — with the Londoners dominating most games they play in.

Sunderland came out with a greater urgency in the second half and kept United under sustained pressure for the majority of it.

United had one last great opening to claim all three points right at the death after substitute Cameron Borthwick - Jackson set up Rooney at the far post, only for the striker to miss the target and the chance to relieve the pressure on his under - fire boss, who insisted after that whistle that he would not resign.

Despite the Serie A not be at its glorious best at the moment, with two of its great Milan stalwarts still recovering from some dark times, the league is slowly improving and could prove a sanctuary for some under - pressure England hopefuls this summer.

The head coach had been under great pressure from the parents of the players for many years, but it had intensified the past year.

We live in a litigious society and health care providers and their institutions are under a great deal of pressure to do all that they can to prevent litigation that entails millions of dollars, risk of licensure penalties or loss, and long years of extreme duress for them; perfection is expected when it can never be guaranteed.

The challenge for providers is to deliver a cost effective and valuable service, providing greater value than the do - it - yourself approach while information becomes increasingly accessible, and budgets come under increased pressure.

As fund - raising for the mayor's 2017 reelection bid has begun heating up, he «recently appeared under a great deal of pressure,» the source said.

We found that upon closer observation that several of the species being preserved are under great commercial pressure for timber putting them at greater risk of extinction — observations that might be lost in high - level imaging such as those derived from satellites.»

GlaxoSmithKline, which makes Advair for asthma, Lovaza for high triglyceride levels and the diabetes drug Avandia, is under pressure facing all drug companies for greater transparency in payments to doctors, a provision of Obamacare

Observing hydrogen's behavior under very high pressures has been a great challenge for researchers.

Stomach sleeping is among the key reasons for your pain — it puts the spinal column under great pressure.

If you are looking for some variety, you might also try: Great Vegetarian Cooking Under Pressure.

It's a great result for me, because my nails are always under pressure — I do embroidery art, I work with natural (and not always smooth) materials and I create displays all — the — time.

You are like me and work GREAT under pressure when I plan an outfit it does nt go accordingly but when I am in a hurry or pressed for time I pick something good, This dress looks much more exp than F21 so classy and gorgeous.

«I am under the gun and the pressure is on to produce a date that is not only a great fit for my single person but will also impress the mom!»

Plus size dating is attractive for men who love BBW, most of them are under great pressure of work and prefer to look for a plus size woman for fun and casual sex.

Couple the improved storytelling with some refreshing cameos and Under Pressure really does a great job of setting the table for the rest of this Telltale adventure.

Academies are increasingly under considerable financial pressure due to reduced funding and greater competition for students and resources.

«As for parents, they are likely to feel under great pressure to pay for private tuition to help their children through selection tests.

While we acknowledge school leaders are under great pressure to achieve quantitative results on standardized measures, we urge that educating for the head, heart and hand offers the best potential for success in academic measures.

The promise of a great public education for all children is under pressure not only from out - of - touch legislators, but from economic and societal factors outside school that make it much more difficult to achieve success within the classroom.

«Olivier did a great job under pressure for that first stint.

EBD optimizes brake pressure at each wheel for greater control under braking, especially when cornering.

I think those who are in line for the throne still are under great pressure and scrutiny in their choice of a mate and partner.

My question comes for the incremental update, that doesn't seem all that great (given we've not seen it, obviously) and the fact that E Ink was under pressure for not getting a new tech soon enough (Pearl has some 3 years, if I recall correctly) Maybe it's just an upgrade in the road, that became a new generation for commercial sake.

Daniel said: «The Bodley Head FT essay prize has been a fantastic and rewarding forum over the last three years for finding and developing new young talent for the FT.. The essay form is a great test of the ability to write long form and shape an argument over several thousand words - an ability that is increasingly under pressure in age of snapchat and twitter.

Whilst the location was great and the breakfast ok, the following disappointed: level of front desk service was poor - staff uninformed and lack of training, under - staffed at breakfast created poor service quality (willing but not supported by management), owners berated staff publicly in front of guests, «games room» under - delivered - one pool table in very poor condition situated in a museum, house - keeping continually under pressure and no communication, when we asked for a newspaper (whilst...

Whilst the location was great and the breakfast ok, the following disappointed: level of front desk service was poor - staff uninformed and lack of training, under - staffed at breakfast created poor service quality (willing but not supported by management), owners berated staff publicly in front of guests, «games room» under - delivered - one pool table in very poor condition situated in a museum, house - keeping continually under pressure and no communication, when we asked for a newspaper (whilst having breakfast) was told the hotel does not do newspapers.

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 gGreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 gGreater 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 ggreater 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 ggreater 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 ggreater, 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 ggreater, 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 ggreater 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 gGreater 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 ggreater 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 ggreater 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 ggreater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater, when the lesser is invested in its lesser relationship to the greatergreater.

The extreme heat and related climate disturbances mean that delegates to a global climate conference scheduled for Paris in early December will almost certainly be convening as weather - related disasters are unfolding around the world, putting them under greater political pressure to reach an ambitious deal to limit future emissions and slow the temperature increase.

Con Ed came under increasing pressure for its contribution to New York City's air pollution problem after a series of incidents in the 1950s and early «60s provided the issue greater visibility (no pun intended).

The 2 year gap was a great idea, long enough for the Team to feel less under pressure but close enough that the fire was restoked easily.

Air pressure changes, allergies increase, Alps melting, anxiety, aggressive polar bears, algal blooms, Asthma, avalanches, billions of deaths, blackbirds stop singing, blizzards, blue mussels return, boredom, budget increases, building season extension, bushfires, business opportunities, business risks, butterflies move north, cannibalistic polar bears, cardiac arrest, Cholera, civil unrest, cloud increase, cloud stripping, methane emissions from plants, cold spells (Australia), computer models, conferences, coral bleaching, coral reefs grow, coral reefs shrink, cold spells, crumbling roads, buildings and sewage systems, damages equivalent to $ 200 billion, Dengue hemorrhagic fever, dermatitis, desert advance, desert life threatened, desert retreat, destruction of the environment, diarrhoea, disappearance of coastal cities, disaster for wine industry (US), Dolomites collapse, drought, drowning people, drowning polar bears, ducks and geese decline, dust bowl in the corn belt, early spring, earlier pollen season, earthquakes, Earth light dimming, Earth slowing down, Earth spinning out of control, Earth wobbling, El Nià ± o intensification, erosion, emerging infections, encephalitis,, Everest shrinking, evolution accelerating, expansion of university climate groups, extinctions (ladybirds, pandas, pikas, polar bears, gorillas, whales, frogs, toads, turtles, orang - utan, elephants, tigers, plants, salmon, trout, wild flowers, woodlice, penguins, a million species, half of all animal and plant species), experts muzzled, extreme changes to California, famine, farmers go under, figurehead sacked, fish catches drop, fish catches rise, fish stocks decline, five million illnesses, floods, Florida economic decline, food poisoning, footpath erosion, forest decline, forest expansion, frosts, fungi invasion, Garden of Eden wilts, glacial retreat, glacial growth, global cooling, glowing clouds, Gore omnipresence, Great Lakes drop, greening of the North, Gulf Stream failure, Hantavirus pulmonary syndrome, harvest increase, harvest shrinkage, hay fever epidemic, heat waves, hibernation ends too soon, hibernation ends too late, human fertility reduced, human health improvement, hurricanes, hydropower problems, hyperthermia deaths, ice sheet growth, ice sheet shrinkage, inclement weather, Inuit displacement, insurance premium rises, invasion of midges, islands sinking, itchier poison ivy, jellyfish explosion, Kew Gardens taxed, krill decline, landslides, landslides of ice at 140 mph, lawsuits increase, lawyers» income increased (surprise surprise!)

This law was passed at a time when states were beginning to pass labeling laws under great pressure from rising public demand for the right to know what we're eating.