Sentences with phrase «walls gave the moving»

The film's overspill of color onto the floor and surrounding walls gave the moving image a sense of physical presence,

Not exact matches

The move positions Goldman Sachs to become the first large Wall Street firm to make markets in cryptocurrencies, whose wild price swings and surging values have captured the public's imagination but given pause to established institutions.

Stocks are moving lower on Wall Street as a thin batch of earnings gave investors little to get excited about.

While the SEC considers whether to extend a fiduciary duty to all advice givers, and the Department of Labor forges ahead on its revised definition of fiduciary, HighTower has moved ahead on its own, wrapping a strict fiduciary standard into a business model that meets client needs while giving top Wall Street brokers an innovative home from which to serve those clients and grow their individual businesses.

This would give the Vikings a stone wall O - Line, and will probably start a run on o - linemen... which might then give the Vikings the opportunity to trade both of our 3rd's to move back into the bottom of the second and grab McDowell.

One resolution expressing support for the Occupy Wall Street movement, which is something that could also make Cuomo a bit uncomfortable, given his support of Mayor Bloomberg's raid on Zuccotti Park and ongoing arrests at Lafayette Park here in Albany, might move forward.

Developed by Carnegie Mellon roboticist Hagen Schempf, the Explorer - II features a remote - controlled fish - eye camera that allows above - ground operators to see what the machine does; drive - train motors that give operators unprecedented control over the pig's direction (most pigs still move passively according to natural gas flow); and a lightweight electromagnetic coil that detects changes in magnetized pipe walls without weighing the robot down, enabling it to inspect about two miles of pipe a day.

It is the gravitational pull and the return to the top that give these «plate» moves their venom!!!! Next, One Leg Wall Squats (why is one leg is soooo hard, whaaaa), Standing Squats RIGHT INTO Calf raises.

Your wall work will give you better accuracy when you move away from the wall, and you'll notice being able to hold the end position for a second or two.

You can't turn until you hit a wall and you aim to beat each level within a given number of moves.

Wall Street Journal reporter and Nintendo connoisseur Takashi Mochizuki is at it again, giving us an inside look at Nintendo's plans for the Switch moving forward.

If you care about the readers, Chris, you will break down your walls of conservatism and let me give this move the ungloved bitch slap it deserves.

Examples: Students do a gallery walk in which they move in groups from corner to corner, answering questions or analyzing things posted on the walls; they work in teams or at rotation stations; they raise their hands or give the thumbs - up or thumbs - down; they answer questions with their body, putting their left foot out if they think the answer is A and their right foot out if they think it's B.

For example, Nissan's popular Utili - track ® Bed Channel System, which made its industry - first debut on the original Titan, features four heavy - duty aluminum alloy cleats that move and lock anywhere along the walls, as well as bed floor and header tracks that give the user endless tie - down possibilities.

For example, Nissan's popular Utili - track ® Bed Channel System features four heavy - duty aluminum alloy cleats that move and lock anywhere along the walls, as well as bed floor and header tracks that give the user endless tie - down possibilities.

TITAN's industry - first Utili - track ® Bed Channel System continues, once again featuring four heavy - duty aluminum alloy cleats that move and lock anywhere along the walls, bed floor and header tracks that give the user endless tie - down possibilities.

He has argued that failed banks should not be bailed out, Lehman's collapse was not a disaster, AIG should be declared bankrupt, that naked short selling is not a problem, that backdating isn't so bad, insider trading should be legal, many corporate CEOs are underpaid, global solutions are worse than local solutions, Warren Buffett is overrated, Michael Milken is a great American, the collapse of the hedge fund was not a scandal, hedge funds are over-regulated, education is overrated by the educated, bonuses at successful Wall Street's firms are deserved and possibly undersized, management buyouts are boons to the economy, Enron's management was victimized by an over-zealous prosecution, Sarbanes - Oxley should be repealed, corporate compliance culture is a disaster, shareholder democracy is overrated, hostile takeovers ought to be revived, the market is permanently moving away from public ownership of equity in corporations, private partnerships are on the rise, public ignorance is encouraged and manipulated by governments and corporations, experts overrate expertise, regulatory agencies are controlled by the businesses they supposedly regulate and Wall Street is much more fun than people give it credit for.

He charges you for your rent, and then charges you a fee if you go over your utilities usage allowance, and once you move out, he refuses to give you your deposit back because of some tiny scratches on the wall.

Travel Editor for The Wall Street Journal, Scott McCartney, gives an inside view of why hotels have started moving away from third party sites for bookings.

The centre provides rock walls for visitors to climb, and gives families a chance to move inside for fun if needed.

for a weekend, annoying for any longer Pros: Stylish rooms and common parts Comfortable bed Reliable shower Fast elevators Excellent breakfast service Cons: Room too dark to work in Having to move all towels and gowns before showering Lack of storage space Lack of complimentary water Too much space given to expensive mini-bar «Free welcome cocktail» actually $ 24 Passive aggressive price list for room items Stains on walls - removed after second request

Of course you have an anti-titan gun but being able to jump off walls and fly across rooftops with ease make you a very difficult target for a titan and will give you a great chance of being able to hid and prep your next move.

Their desire and tenacity to kill you is reminiscent of fast - moving zombies seen in other media like 28 Days Later and the 2004 Dawn of the Dead remake — they can climb walls, dig under your fortifications, destroy walls, push down doors and even run at you during the night, which proves a particularly a challenge given they also get increased strength with their speed compared to their sluggish behaviour in during day - time.

Another issue with the cover system is that players can not hug and stay close to low barriers or walls while moving along them, which means that players will be at risk of giving away their position while using low cover.

Mario retains his triple jumps, summersaults, wall jumps, butt stomps and dives that he learned in 64, only now he has possession of the F.L.U.D.D. to give him new moves.

- using the Mii Mask makeup item now colors all exposed body parts - ability to sit down on big rocks found around villages - floor cushions are laid out in houses - ability to shake trees while holding a one - handed piece of equipment - place objects on top of certain pieces of furniture - hang clothing on the walls - upload screenshots directly from the game - Villagers give a full week's notice before they ship on out of town - choose who to kick out of a town if they manage to convince a visitor to move in longterm

If you take a while to move in the right direction to complete a puzzle, Trico may linger beneath a certain wall to give you a subtle hint of where to go.

Slow - moving and well - telegraphed attacks giving you ample space to dance between walls of bullets and pulsing lasers in what quickly become challenging encounters.

Moving around within cover often pops your characters head above the wall, ever so slightly, giving you enemies free headshots on you.

The interesting twist to this side scrolling formula is that you have the ability to take cover behind things like walls or boxes which then moves the camera behind the spy giving you a different look at the room and the enemy movement patterns.

Barrel rolls are an agility move you can use to both evade certain traps but also give yourself enough distance to avoid slamming into the wall as you make your way around the lap so you don't have to lose that precious speed you've been gaining the entire map.

Combos can also be broken by colliding with walls, although you are given a couple of seconds grace to move Pix before you are penalised.

Yakuza's party piece are the Heat Actions — contextual super moves triggered by giving foes a consistently brutal thrashing — which brings the camera in close showcasing some absolutely vicious beatdowns — such as smashing someone's face into a brick wall or clubbing them with bicycles.

Some moves work good as crowd control, slamming either one player or all of them into a nearby wall to give you a little breathing room.

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 greawall, 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 greaWall, 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 greawall, 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 greawall, 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 greawall 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 greater.

As we moved skyward, pre-Columbian and Spanish colonial motifs were re-contextualized on these walls from circa 1930, giving rise to fresh interpretation.

In the early 1960s, he moved very quickly into making three - dimensional work, so while the first room in the exhibition is given over to paintings, the second shows his first wall reliefs and sculpture.

The focus of this exhibition is a sculpture from 1960, «Bicho Pássaro do Espaço» («Creature Passing through Space»), contextualised by a series of collages made in 1957, giving a snapshot of the moment when her practice moved from the wall to the hand.

The constantly switching video and sound are experienced as «moving wall paintings» and give realization to Nam June Paik's 1965 prediction that, «The cathode - ray tube will someday replace the canvas.»

Demos creates optical effects with the greatest economy of means, manipulating rectangular panels with a simple palette of black, white and grey that appear to move into or out of the wall given their matte or glossy surface quality.

Not one to give up, Blondeau recently refined the suit to a stripped - down 31 - wheel version and developed his own playbook of moves, like the Zaphial (rolling flat on your back with all four limbs pointed straight up) and the Smooth Buggy Dog (three limbs on the ground and one rolling along a wall).

Furlong has three suggestions: invest in systems that can streamline and even revolutionize what lawyers do and how they work; abandon the clock («give tradition the boot») and provide value and service measured by the end result — not the time and effort it took to get there; and lastly, rethink legal talent by being flexible and moving talent outside your walls.

In an unusual move, given that it has for years been established practice for major law firms in Wall Street and the City to disclose pay bands for junior lawyers, CC declined to comment, confirm or deny any specific figures when contacted.

Now, this move by the CME has again given Wall Street more reason to put faith in Bitcoin and thus the demand has skyrocketed, along with the price.

You don't want to give any indication that you're moving on, like taking your photos off your desk or pictures off the wall, but you can quietly clear out your desk and clean up your computer.

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Debbie, can I give you a little loving, unsolicited advice about painting your walls if you are going to move in a couple years.

By choosing white for cabinetry, ceilings, walls and floor the boundaries between surfaces blur, giving the impression of a compact U-shaped design that gradually opens up as you move around.

When we moved into our house 16 years ago, my husband wouldn't let me paint the builder's white walls for the first year because he like the «new» look it gave the house.

The white walls will give you time to decide on your next moves for the walls.