When I began to make repetitions, I was inspired by the endlessness of the Möbius ribbon, the utopia of endlessness.
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What makes Starbucking appealing to Winter might be its endlessness.
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One is red string, signifying blood, genetic coding, fatalism, or humanity's endlessness, variously.
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It is the endlessness of the image that is gut-wrenching and humbling.
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The endlessness is only in the filigree, like the spots on a moth or Queequeg's tattoos.
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I wanted the collection to inspire liveliness, strength, and to give a sense of endlessness or eternity.
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Albert Einstein, the inspiration for Alan Lightman's book of fables, believed in the endlessness of the cosmos.
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Indeed, the endlessness of America's post-9/11 engagements has been a recurring thread in prime time.
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The Silver Lion award for Best Director went to Roy Andersson for "About Endlessness," a series of tragicomic tableau scenes.
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" For HomeMake, then, Seeger and Conway are interested in generating an endlessness "that is always evolving as players react to it.
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In so doing, it offers perhaps the first semi-accurate presentation of the crushing majesty and endlessness of our own real universe.
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Sigil is also known as the "City of Doors" as it allows passage to different dimensions, adding to its sense of endlessness.
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"What's most impressive isn't the endlessness of stats, awards and accomplishments – what's most impressive is the person," the 29-year-old rapper explained.
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"What's most impressive isn't the endlessness of stats, awards and accomplishments – what's most impressive is the person," the rapper explained in his speech.
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He composes every photograph with an unbroken horizon placed in the lower third of the frame, providing the viewer with a perspective of complete endlessness.
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Its intention is less to commemorate a bygone tragedy than to illuminate the unfinished business of justice and the endlessness of the struggle for democracy.
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A city can be generated infinitely on a square grid with towers propagated according to pre-defined parameters, but we view this as a faux endlessness.
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From the haunting, almost devotional quality of the vocals to the endlessness of each chord as it rings out, this album feels larger than life yet frighteningly human.
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I came to see these young men in a way I hadn't when I'd worn the uniform myself, because of the way they embraced the endlessness of it all.
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The larger world of Stranger Things is growing as well, with the discovery of Eleven's siblings, who are still out there, and the implied endlessness of the Upside Down.
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Painted in shades of blue and green, yellow and orange, the patch seems to lead from the endlessness of cabbage rows into the darker blue of an unknown horizon.
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And what if the deepest moral problem with it is not its failures of containment, but the fact that its increasing nonviolence is part of its endlessness and the global hegemony it enforces?
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But in its uncompromising use of stillness, slowness and repetition, it distills the endlessness of the dancer's quest, which may, after all, be inexplicable to the public, known only to the dancer herself.
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This regime is so obviously, unimpeachably bad that it makes the minuscule numbers of women who eventually resist perplexing, though perhaps this is explained by the sheer endlessness of psychic and sexual abuse.
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These characters don't speak to one another; instead, in rotating monologues, they soliloquize, each making the same point repeatedly: Ellie reflects on the endlessness of the forever wars, Momo dreams of money, Mutt philosophizes.
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In the middle of the record, a loose, harmonica-punctuated country song called "Infinite Mile" has him singing about being a "starry-eyed child / Before all that shit went down," taking solace in the endlessness of existence.
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The script jumps almost haphazardly among those years, from the day N meets MJ in elementary school to the shadowed months of her life that stretch into seeming endlessness after he is killed in a car crash.
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A recent rehearsal at the Met revealed sets with mirrored walls that created a feeling of endlessness, while the occasional surrealist touch — like an upside-down cow — seemed to suggest that political occupation is a violation of nature itself.
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My boyfriend cried at the last episode when a familial resolution gives a rare glimmer of hope, but I cried in the second, when a plunge into the depths of grief made me remember the endlessness of it all, the cycle of shit.
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Mr. Lou's movie will screen alongside works by Hirokazu Kore-eda ("The Truth," the festival's opening-night selection), Olivier Assayas ("Wasp Network"), James Gray ("Ad Astra"), Noah Baumbach ("Marriage Story"), Roman Polanski ("J'Accuse"), Roy Andersson ("About Endlessness"), Pablo Larrain ("Ema") and Steven Soderbergh ("The Laundromat").
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Mr. Lou's movie will screen alongside works by Hirokazu Kore-eda ("The Truth," the festival's opening-night selection), Olivier Assayas ("Wasp Network"), James Gray ("Ad Astra"), Noah Baumbach ("Marriage Story"), Roman Polanski ("J'Accuse"), Roy Andersson ("About Endlessness"), Pablo Larrain ("Ema") and Steven Soderbergh ("The Laundromat").
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If you were to stitch together all the clothing sewn by a garment worker, or to lay out all the walls that a house painter has ever painted, as these works seem to invite us to do, you might be struck by the endlessness of those tasks.
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It feels as far from the Russian World Cup as it is possible to be: a peaceful, pious place, a world away from the frenzy and the international festival being held in Moscow and St. Petersburg, a speck of civilization adrift in the endlessness of Siberia.
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We put a lot of time and effort into preparing teenagers for what changes puberty will wreak, but for women, midlife brings another kind of puberty — perimenopause, a road that we in our 40s navigate blind, without enough information from our doctors or often other women, wondering in silent shame at the intensity and seeming endlessness of the changes.
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Such is the endlessness, yea, the intolerableness of all earthly effort.
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About Endlessness () is a 2019 Swedish drama film directed by Roy Andersson. It was selected to compete for the Golden Lion at the 76th Venice International Film Festival. At the Venice Film Festival, the film won the Silver Lion for Best Direction.
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Blaisse 2006, p. 132 and 250-51. In 1999, Blaisse designed the exterior space for a prison. Within the strict regulations, she makes use of path with organic forms and reflections in the windows to create the idea of more space and of endlessness.
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About Endlessness received generally positive reviews from critics. , 96% of the 23 reviews compiled on Rotten Tomatoes are positive, with an average rating of 7.94/10. On Metacritic, it has a normalized average score of 84/100, based on seven critic reviews indicating "universal acclaim".
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Bergman Rock is the English language alter ego of the Swedish indie band bob hund. In this incarnation, the band released three singles and two albums. Bergman Rock released a limited edition single during a concert at the Swedish theme park Gröna Lund. The song, titled "Even Endlessness Begins (With an End)" has been made available as a free download on the band's official website.
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Working together with editor Hidekazu Kato under the development title "Xtream", Afrojack was approached as the team wanted a trailer which would stand out at the event. The promotional trailer "Omen", produced by Digic Pictures based on the world and story of Final Fantasy XV, was set to "Endlessness", composed by dedicated trailer music company IMAscore. The music was composed by IMAscore's lead composer Andreas Kübler.
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Painting Orange Dress by Martina Schettina Painting Pentagram by Martina Schettina Martina Schettina: Fibonaccis Dream, 2008, 40 x 40 cm Martina Schettina: Knitted Endlessness, 2008, 50 x 50 cm Schettina with her rolling painting "The Sun" in Vienna Art performance in Vienna in front of the Kunsthistorisches Museum Atelier Martina Schettina Martina Schettina (born 1961) is an Austrian artist. The main part of her work is Mathematical art.
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Sylenko characterised Dazhbog as "light, endlessness, gravitation, eternity, movement, action, the energy of unconscious and conscious Being". Based on this description, Ivakhiv argued that Sylenkoite theology might better be regarded as pantheistic or panentheistic rather than monotheistic. Sylenko acknowledged that the ancient Ukrainian-Rus were polytheists but believed that a monotheistic view reflected an evolution in human spiritual development and thus should be adopted. A similar view is adopted by the Russian Rodnover denomination of Ynglism.
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In 1999, she designed the exterior space for a prison. Within the strict regulations, she makes use of path with organic forms and reflections in the windows to create the idea of more space and of endlessness. In 2004, she was awarded first place in a competition for the design of the urban landscape complex Giardini di Porta Nuova, Milan, Italy. In this large-scale public park project, the use of paths is an essential tool for structuring the urban landscape.
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I. exhibits all its creators' bad traits and none of the good. So we end up with the structureless, meandering, slow-motion endlessness of Kubrick combined with the fuzzy, cuddly mindlessness of Spielberg." Dubbing it Spielberg's "first boring movie", LaSalle also believed the robots at the end of the film were aliens, and compared Gigolo Joe to the "useless" Jar Jar Binks, yet praised Robin Williams for his portrayal of a futuristic Albert Einstein. Peter Travers gave a mixed review, concluding "Spielberg cannot live up to Kubrick's darker side of the future.
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Reed became intrigued by the character of Hilda and subsequently wrote a sequel The Private Life of Hilda Tablet in which Reeve is bullied into undertaking the biography in "not more than twelve volumes" of Hilda. Five further episodes followed. Hilda Tablet was played by Mary O'Farrell. The principal models for Hilda were Dame Ethel Smyth (from whom Hilda took her lesbianism and rural heartiness together with the endlessness of her proposed memoirs), and Elisabeth Lutyens, with whom Reed was acquainted, from whom Hilda took her interest in the macabre and obsession with architecture.
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Díaz (2007). The Brief Wondrous Life of Oscar Wao, p. 157. In this section of the book Yunior says, "Canefields are no fucking joke, and even the cleverest of adults can get mazed in their endlessness, only to reappear months later as a cameo of bones".Díaz (2007). The Brief Wondrous Life of Oscar Wao, p. 149. Much later, after Oscar returns home to La Inca's to try to be with Ybón, he also ends up assaulted in a canefield, but this time by the Capitan's friends. A lot of the emotions and the atmosphere laid out in Oscar's canefield scene parallels Beli's.
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As an artist, Linda has been able to explore the world and become inspired by diversity. Lyons has been the recipient of the Rasmuson Foundation Fellowship Art Residency at the Santa Fe Arts Institute in collaboration with the Institute of American Indian Art, the Denali National Park and Preserve Artist Residency, and went to Germany for residency at the Mayer of Munich Architectural Glass Studio. She spent two months in Santa Fe as a resident and saw various similarities between the "vast endlessness" that Santa Fe and Alaska share. The land formations and warmer colors found their way into her artworks and photography.
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On another occasion he said the symbol has two meanings: in one interpretation, the circle represents the totality of culture and the dots are art, science, and religion (or philosophy), while in the other, the circle symbolizes the endlessness of time and the dots are the past, the present, and the future. The cornerstone contains a 400-year-old casket from the Rajput dynasty of northern India. Made of iron with inlays of gold and silver, the casket contains photographs taken during the Roeriches' expedition to Central Asia. It is also said to contain Jacob's Pillow or the Stone of Scone.
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Her first stage role came in 1974 when she appeared in Ulli Lommel's drama, "Wachtmeister Rahn" (1974), which took as its main theme a killer policeman. She also appeared briefly in one of Lommel's cinema films, "Der Zweite Frühling" (1975 - "Second Spring"), in which Curd Jürgens took the lead role. In 1978 she appeared a "Eva" in Uschi Reich's television drama "Keiner kann was dafür" (loosely "No one can do anything about it"), also doubling up as the costume designer for the production. In 1979 she took a role in the short film "Smash - Gefahr aus der Unendlichkeit" ("Smash - The danger of endlessness"), directed by Gisela Weilemann.
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This lends to the experience of the slaves on the ship as they were confined to an overcrowded, filthy, and diseased existence among other slaves, all there against their will. All of Glissant's primary images in this poem elicit the feeling of endlessness, misfortune, and ambiguity, which were arguably the future existence of the slaves on ships to "unknown land". Slave ships did not prioritize the preservation of cultural or individual history or roots, but rather only documented the exchange rates for the individuals on the ship, rendering slaves mere possessions and their histories part of the abyss. This poem also highlights an arguable communal feeling through shared relationship to the abyss of personal identity.
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In 1900, Com married David Elkington, one of her many suitors who owned a tea plantation in the British colony of Ceylon (modern Sri Lanka). It was agreed with the Gardners that Gerald would live with her on a tea plantation named Ladbroke Estate in Maskeliya district, where he could learn the tea trade. In 1901 Gardner and the Elkingtons lived briefly in a bungalow in Kandy, where a neighbouring bungalow had just been vacated by the occultists Aleister Crowley and Charles Henry Allan Bennett. At his father's expense, Gardner trained as a "creeper", or trainee planter, learning all about the growing of tea; although he disliked the "dreary endlessness" of the work, he enjoyed being outdoors and near to the forests.
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It chronicles the daily routine of a group of soldiers positioned at the 12th-century Crusader stronghold of Beaufort Castle, their feelings and their fears, and explores their moral dilemmas in the days preceding the withdrawal and end of the 18-year South Lebanon conflict. The film's director, himself an IDF veteran who was stationed in Lebanon during the first Lebanon war, uses the stone walls of Beaufort castle as a symbol of the futility and endlessness of war. The film was shot during the spring of 2006 at Nimrod Fortress, a similar mountaintop fort in the Golan Heights. Cedar said he was influenced by the film Das Boot, and the World War I "bunker films", when creating the tunnels and mazes of the Beaufort.
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The stage of the contest The logo for the Contest, the now-familiar five spotlights, has not been altered since its interception in 2002, and remained in use for the 2009 Contest. The first details of the stage for this year's contest were released on 29 January 2009, a week before the first semi-final in Gothenburg. The first plans of the stage were made during the summer of 2008 and was, for the third time, designed by Viktor Brattström, with the intention to provide a feeling of endlessness: "The audience will get the feeling of not knowing where the stage starts or ends, not knowing what's coming up around the corner". The green room, where the artists rested after their performances, was altered from previous contests.
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The fact of having drawn it immediately after liberation became a source of relief to Rogerie, because what he lived through later seemed so incredible, that he sometimes wondered if it was possible. He believed that what he lived through was so beyond normal experience that words fail. "The deportees try to recount it—actual historical facts, but unimaginable—but how to convey the cold, the hunger, the beatings, the suffering, the cries, the howling, the shrieks, the fear, the fatigue, the filth, the stink, the promiscuity, the endlessness, the poverty, the disease, the torture, the horror, the hangings, the gas chambers, the deaths?" André Rogerie matriculated as an officer candidate in Saint-Cyr, the French West Point or Sandhurst, in 1946.
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The work (The endlessness: a millenary misunderstanding), with the subtitle of Le antiche civiltà del Vicino Oriente e le origini del pensiero greco (The oldest civilizations of the Middle East and the origins of the Greek thought), (edited by Bruno Mondadori, 2001, collana "Sintesi" ), aims to revise all languages as entities originating from a common Akkadic and Sumerian matrix. This allows the author to reinterpret radically the entire environment of Archaic and Classic Greece, no longer regarded as a miraculous island of rationality, but as a part of a unique community including Mesopotamia, Anatolia and Egypt. The theory of the volume is based on a new interpretation of the term Ápeiron, central in Anaximander's philosophy. Anaximander defines the element from which all things originate with the Greek term ápeiron, commonly held to be formed from a (alpha privative, "without") and péras ("determination", "limit"), and thus translated as "endless", "unlimited".
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The origins of the legend are uncertain; perhaps one element is the story in Genesis of Cain, who is issued with a similar punishment—to wander over the earth, scavenging and never reaping, although without the related punishment of endlessness. According to Jehoshua Gilboa, many commentators have pointed to Hosea 9:17 as a statement of the notion of the "eternal/wandering Jew". According to some sources, the legend stems from Jesus' words given in Matthew 16:28: A belief that the disciple whom Jesus loved would not die was apparently popular enough in the early Christian world to be denounced in the Gospel of John: Another passage in the Gospel of John speaks about a guard of the high priest who slaps Jesus (John 18:19-23). Earlier, the Gospel of John talks about Simon Peter striking the ear from Malchus, a servant of the high priest (John 18:10).
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He wrote that a place near the gorge was where it had been said that "the bravest of the boys would walk the entire length of the narrow bridge-railing, a hundred feet or more above the stream bed, even (once) blindfolded." In Kirchwey's poem, the boy and the girl are lovers in a hollow near a heap of melting snow in May who "faced with the water's endlessness" and the "untranslatable grief of the bird's paraphrase" became wise in their lovemaking: "they were never wiser than in that knowledge," he wrote in the poem. In addition, events in his life, such as the death of his mother, have influenced his poetry. Kirchwey spent from September 1994 to July 1995 at the Academy in Rome as part of the Rome Prize, and described the experience as having "completely shaped" his third book of poems.
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"Bishop, T., 'Staging Beckett in France at the End of the Twentieth Century' in Moorjani, A. and Veit, C., (Eds.) Samuel Beckett Today/Aujourd'hui, Samuel Beckett: Endlessness in the Year 2000 (Amsterdam: Rodopi, 2001), p 45 The six performances took place at the Théâtre du Rond-Point in Paris and featured David Warrilow as Bam. The revised text (known as What Where II) did away with the opening mime, Bam's interventions and the characters were again represented only as floating heads. "Je recommence" (I start again) was amended to "Ici Bam" (Here is Bam). "Because of technical difficulties, the French stage production replaced the enlarged and distorted reflection of Bam’s face with a halo, a ring of diffuse orange light. Chabert’s production note is as follows: ‘rond lumineux = source de Voix,’" Additionally, "[i]n place of the cowl-covered heads that created the impression of floating faces, Beckett substituted shaved skulls.
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According to Semerano, though, since the word péras has a short e, whereas ápeiron has a diphthong ei that reads as a long closed "e", the diphthong cannot be produced by the short e of péras. Semerano derives it from a collision of the Semitic term 'apar, the biblical 'afar and with the Akkadic eperu, all meaning "earth". The notorious fragment of Anaximander, in which we read that all things originate and come back to the All'ápeiron would not be referred to a philosophical conception of endlessness, but to a concept of "belonging to the earth" that we can find in a previous sapiential tradition of Asian origin exemplified in the Bible: "dust you are and to dust you will return". On the basis of this interpretation, Semerano reviews the whole development of previous sophistic philosophy with an anti-idealistic and anti-metaphysic principle, reconsidering the differences and similarities between ancient thinkers and ascribing most of them to corpuscular physics, that brings together Anaximander, Thales and Democritus.
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David A. Campbell, Greek Lyric Poetry, Bristol Press (1982), page xxv Mimnermus employs the internal rhyme in the pentameter lines 2 () and 4 (). Here is the same poem paraphrased in English to imitate the rhythms of an elegy, with half-rhymes employed in the same lines 2 (far...for) and 4 (youth...bloom): ::What is life, what is sweet, if it is missing golden Aphrodite? :::Death would be better by far than to live with no time for ::Amorous assignations and the gift of tenderness and bedrooms, :::All of those things that give youth all of its covetted bloom, ::Both for men and for women. But when there arrives the vexatiousness :::Of old age, even good looks alter to unsightliness ::And the heart wears away under the endlessness of its anxieties: :::There is no joy anymore then in the light of the sun; ::In children there is found hate and in women there is found no respect.
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Onomatopoeia premiered with a performance at the Albuquerque Museum of Art and History in 2010 in conjunction with the exhibition Crossing Boundaries: Synesthesia in American Art. During her career, Stuart has been the recipient of a National Endowment for the Arts Painting Fellowship (1976), two National Endowment for the Arts mural commissions (1977 and 1985), a South Dakota Arts Council Artist Fellowship (1986) and a New Mexico Experimental Glass Workshop Fellowship (2012). Art critics and gallery directors place Stuart’s work in a broad context beyond the geographic residency of her career. “She emphasizes continuity, endlessness, surge, and strives for a broader concept of form through a-compositional devices and a tough, sometimes subliminal, and always subsidiary use of color,” Jan van der Marck observed in artscanada. Laurel Reuter, Director, North Dakota Museum of Art, felt Stuart became known “for her superb instinct for color, for her predilection for sparseness, and for her painted constructions of canvas and paper, both large and small.
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Considering the importance Beckett places on the role of music in this play, it is worthwhile looking at how three of his collaborations were handled. "The concerns of Words and Music are clearly related to Beckett’s general preoccupation with the limitations of the expressive powers of language. However, the fact that the music could not be composed by Beckett and therefore changes with the individual composer involved in each production has always rendered the word-music opposition, and hence the play as a whole, somewhat problematic. Beckett gives some instructions to the composer regarding the character of the music (asking for responses to specific concepts – ‘Love’, ‘Age’ and ‘Face’ – and demanding music of ‘great expression’, ‘Love and soul music’ and ‘spreading and subsiding music’), but this gives no indication of style or material content."Laws, C., ‘Music In Words And Music: Feldman’s Response to Beckett’s Play’ in Moorjani, A. and Veit, C., (Eds.) Samuel Beckett Today/Aujourd'hui, Samuel Beckett: Endlessness in the Year 2000 (Amsterdam: Rodopi, 2001), p 279 What is perhaps most amazing is the lack of input Beckett chose to have.
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