Sentences with phrase «under great pressure from»

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.

Most Republican members of Congress are now under great pressure from the big polluters who are their big money campaign donors to actively oppose clean energy industries that have been an agent of economic growth in the nation generally and in rural Republican districts specifically.

This traditional way of life was under great pressure from industrialization, and it adds a bittersweet poignancy to these exquisitely executed works.

Paladins is going through the CBT as a new competitor in MOBA&FPS genre, what is its performance under the great pressure from Overwatch?

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

He had missed an absolute sitter earlier and there were also strong performances from Ramsey, with a goal and an assist, and Joel Campbell with two assists, but the big striker edged it with his all round game as a target and hold up man under great pressure from the Liverpool defence.

With index - tracking exchange - traded funds charging fees that are far less than actively managed mutual funds, the higher - cost investment options that AllianceBernstein (NYSE: AB), Hartford Financial (NYSE: HIG), and other active - management firms have within some 529 plans come under greater pressure from the state board established to oversee the plans.

Seven years ago, Exxon reversed the flow of the pipeline and turned it into a higher - volume line carrying diluted bitumen, or dilbit, flowing under greater pressure from Canada to refineries on the Gulf Coast.

Tim Cook has come under greater pressure from Apple's board of directors to speed up the company's pace of innovation, Fox Business Network reported on Thursday.

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.

But it has been under pressure in the past 12 months due to greater competition from generic drugs and debt from its $ 32 billion acquisition of Baxalta in 2016, a widely criticized deal.

At one time one of the great missionary faiths of the world, it has declined under persecution, or pressure from without, until there remain only a little more than a hundred thousand Zoroastrians in the whole world.

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.

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.

Arsene Wenger and the Gunners will still be under great pressure, though, but so will our next opponents West Ham and their manager Slaven Bilic who was given the dreaded vote of confidence by his club's owners after their 2 - 1 loss to struggling Hull City made it four in a row and left them just six points from safety.

Some great individual skill from Rashford saw him find a yard of space, but he was still under pressure from two West Ham defenders.

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.

We do not play like this everyday coz sometimes when we are under the radar and people expect great things from us, we just fall out under pressure.

He showed some great touches under pressure, a good range of passing, and he did well to help break up play in midfield from start to finish.

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.

He firmly believes that although Fiona was under abnormal pressure, the fact that she could reek of whisky in the Commons and not cause suspicion - while she made great efforts to hide her drinking from her family - is a testament to the fact that heavy drinking is still a dangerously mundane occurrence among MPs.

Later in the book, MacMillan provides examples of how this overarching culture of honour influenced the actions of leaders in those fateful weeks in July: «The Kaiser was now under great pressure to declare a general mobilization from his generals who saw time slipping away and from his own wife who told him to be a man» (p. 576 - 577).

However it isn't difficult to imagine a situation in which both Labour and the Conservatives could gain a majority in coalition with the Liberal Democrats help, but the Conservatives — under pressure from the backbenches — have erected a greater number of «red lines» while Labour are more open minded.

The Greater Accra regional passport office has in recent times come under intense pressure and criticisms from the general public on the poor service rendered to applicants.Source: Tv3network.com

Trapped and under great pressure and heat, the water was released from the oceanic plate and moved up through the mantle and toward the lower crust.

The economy is only now recovering from bad times, and there is great pressure to get the federal budget deficit under control.

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.»

And global warming is so rapid — as fast as any warming in the past 65 million years — that species already under pressure from habitat loss and overexploitation are at greater risk of extinction.

Hi Bob, the recipe is from Lorna Sass's «Great Vegetarian Cooking Under Pressure», which is an awesome cookbook I would definitely recommend purchasing if you have a pressurePressure», which is an awesome cookbook I would definitely recommend purchasing if you have a pressurepressure cooker.

Secretary Spellings was under heavy pressure from the education establishment to show greater «flexibility» with the implementation of the law (see «Texas Hold»em,» features, Summer 2007).

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.

These are a great way to gain an advanced degree while taking the minimum possible time out from your career, but they can put students under a lot of pressure because so much needs to be studied in a short time.

Having published The Hound of the Baskervilles in 1901 — 1902 (setting it before Holmes» death) Doyle came under intense pressure to revive his famous character.The first story is set in 1894 and has Holmes returning in London and explaining the period from 1891 — 94, a period called «The Great Hiatus» by Sherlockian enthu...

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.

Featuring over 100 prints, Under Pressure presents a Who's Who list of the greatest artists since the 1950s from the internationally renowned such as Robert Rauschenberg and Jasper Johns, to newly established art - world hot shots such as Damien Hirst and Radcliffe Bailey.

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!)

But under even greater heat and pressure, the CO2 is released from the rock, and makes it way back to the surface where it is emitted into the atmosphere through volcanic action.

Our ocean is under a great deal of pressure from extractive and destructive activities.

Gas wells are punched deep into the earth; layers of rock are then «cracked» by injecting sand - and chemical - filled water under great pressure - the so - called «fracing» process - allowing natural gas to escape to the surface via well head, and so it is feared, allowing contaminants from fracing fluids to move into nearby water wells.

Given a market far more crowded and price - competitive than today's, but with a customer base not appreciably more sophisticated in its ability to assess quality of product, lawyers will be under great pressure to distinguish themselves from the competition.

Increasingly, too, business is under pressure from greater government say on employee rights with at least three provinces including Ontario taking increased measures to boost minimum wage and worker benefits.

Following the San Bernardino shootings a couple of years ago, Apple was under a great deal of pressure from the FBI to unlock the shooter's iPhone 5c.

The Role involves: * leads generation * Sales: cold calling, field marketing, networking * developing a good understanding of clients, their industry, what they do, their work culture and environment * maintaining a great relationship with excisting clients * providing out of hours service for the branch's clients * account management * keeping company database up to date with candidates and client's information and bookings made * resourcing, reference checking and registering new candidates ensuring all legal requirements are met * developing and maintaining relationships with candidates * advertising vacancies and matching candidates to available positions * marketing candidates out to existing company clients * assisting with payroll The ideal candidate will have: * excellent customer service and sale skills * ability to manage and prioritize your own workload * excellent communication skills both verbal and written * positive attitude, ambition, high level of commitment to a job and drive to obtain set goals * ability to work under pressure in a fast paced environment * great people and problem solving skills * own transport Our Offer: * salary: # 18 000 - # 24 000 per annum * great commission structure * private health care after qualified period of service * employee perks & discounts from some of the UK's biggest brands If this position is for you, submit your CV today!

I have achieved great success under pressure and have been recognized for bringing struggling projects back from the brink of disaster more than once.

As a developer I feel that my greatest strengths are being able to write and code individual programmes from specific requirements, investigate and analyse reported defects and also an ability to perform under pressure.