By contrast, the Cars are pure consumer object: shiny, inexpressive, chilling.
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Ben Addi is a quiet, inexpressive performer, and his blankness places Ahmed's inner life firmly off limits.
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Think the harpsichord is an inherently limited instrument, too quiet, too inexpressive, too inferior to a modern piano?
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Most show a stiff, reserved, inexpressive, sword-bearing figurehead, a version, only slightly updated, of an antique icon of imperial might.
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But we found the wireframe meshes and stuff to be a little bit inexpressive and just kind of sterile and boring.
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It's how Ms. Childs's work makes her performers' body language look from the neck down: inexpressive and inhibited, glacial even when hurtling through space in complex jumps and turns.
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Thus there is an appeased consciousness here in which his early art of factual, inexpressive, neutral, depersonalized pessimism was really only the failure to imagine a transcendental indeterminacy yet to emerge.
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Today, computers — hyper-precise digital counterparts to the pantograph — can three-dimensionally scan a complete model and then carve marble to match, but the result can be as inexpressive as its maker.
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And to avoid the stiff, inexpressive look that Spider-Man's face has had in some previous film incarnations, the visual effects team devised a version of the mask that stretched when he spoke.
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To me, one of the most compelling and puzzling aspects of Porter's art is how, quite often, the human element seems frozen over or inexpressive while architectural features or the natural world evince a visual exuberance and animated depths.
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These inexpressive sequences, as well as a related series of palm trees and gas stations he shot in Los Angeles, bear the clear influence of Ed Ruscha's small books of serial photography, which Mr. Shore gobbled up in 2100.
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A good photograph can convey the attitude behind how businesses are run, as with Mark Zuckerberg's inexpressive and often awkward stare depicted by Wired or Evan Spiegel looking like a frat bro in Vogue (and possibly leading Snapchat like one).
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Over the past decade, hip-hop producer and composer of electronica Mike Volpe has been refining his minimalist ambient style: sputtering static, muffled keyboard melodies and occasional disembodied moans that coalesce into sluggish, blurry, immersive waves of sound, frozen and inexpressive, yet emit a mesmerizing pull.
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The new Lumière, for instance, is so very much like an actual gold or brass figurine, with a tiny, inexpressive metalwork face, that he can't really let loose on the musical's showstopper, "Be Our Guest," an affectionate homage to French cabaret that turns into a glorious Busby Berkeley extravaganza.
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For years, many kinds of Asian food were considered too loud, too aggressive, too expressive, for the American palate (even as we as people — according to recent reports — are considered too inexpressive by casting directors and producers to appear in movies or TV); the fact that this country's cuisine now includes fish paste, gochujang and black sesame alongside jalapeños, collard greens and sauerkraut is a reminder that sometimes, it takes the tongue to recognize what the eyes cannot.
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Simplicity, healthy goodness, the radiance of unsmirched youth seemed to his eyes wholly inexpressive.
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He ceased to imprecate only when, by repetition, his oaths became too inexpressive to be worth while.
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When Christopher Wilson played the role of Gregory Mitchell, it is said he portrayed the character shy and verbally inexpressive.
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" The visuals did have its detractors, however. Schager wrote the animation is "at times is vibrant and elaborately eerie, and at others is so stiff, inexpressive and flat." IGN thought the animation looked like "a bargain-basement ripoff of better films.
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Her weapon, used once, is a Franchi SPAS-12. Second generation. A quiet and inexpressive girl wearing men's clothing, June was built for speed and specializes in close combat. She uses throwing knives and, on occasion, a machete Second generation.
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Ron has a deadpan, inexpressive personality, and loves meat, hunting and breakfast foods. He has two ex-wives, both named Tammy, both of whom he hates. Ron Swanson has been praised as the show's breakout character, and some of his traits were based on elements of Offerman's real-life personality, like their shared affinity for woodworking and saxophone-playing.
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Peter Travers of Rolling Stone said "Batman Forever still gets in its licks. There's no fun machine this summer that packs more surprises." Travers criticized the film's excessive commercialism and felt that "the script misses the pain Tim Burton caught in a man tormented by the long-ago murder of his parents" seeing the Bruce Wayne of Kilmer as "inexpressive". James Berardinelli of ReelViews enjoyed the film.
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Joey Leung received her Bachelor of Arts (2000) and Master of Fine Arts (2007) from the Department of Fine Arts, Chinese University of Hong Kong. At the University, she started to pick up gongbi painting from 1998. Although this realistic technique of ancient Chinese painting is generally considered unimaginative and inexpressive, Leung imbues in it a modern spirit through her choice of subject matter, media and format.
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According to , the "current forms of antisemitism are serious topics, especially in Europe. This documentary pretends to present them to the public and to denounce them. But, between the intentions proclaimed in the title (...) and the result, the disparity creates the sensation of a big confused and biased gêchis."" He add that "the revelation flavour that animates this documentary leads to inexpressive accusations that are poorly documented.
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This rage must have festered beneath that inexpressive exterior for years."Boyd (2006), 259, 261. Boyd and Wood noticed a deterioration in Drake's performance, requiring him to overdub his voice separately over the guitar. However, the return to Sound Techniques' studio raised Drake's spirits; his mother recalled, "We were so absolutely thrilled to think that Nick was happy because there hadn't been any happiness in Nick's life for years.
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New York: Harper Perennial, 1991: 37. As a crewman aboard the Macedonian, a frigate, he also visited the West Indies, the Mediterranean, and Russia. In 1827, he returned to Baltimore to live with his grandmother, his aunt Maria Clemm, and his two cousins Henry Clemm and Virginia Clemm. Around this time, Henry was described as a "slim, feeble, young man with dark inexpressive eyes" who possessed a "singular personal beauty".
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In the first half of the study the actor was instructed to teach his material in a more monotoned and inexpressive voice. This lecture was then compared to the control lecture by the scientist. After the lectures, the students were tested on the information they had learned. The students who attended the lecture taught by the scientist learned more about the material and performed better on the examination.
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" During a 2009 performance in New York, the music critic Steve Smith wrote "For cognoscenti of vocal artistry the risks involved in Mr. Bocelli's undertakings, both then and now, need no explanation. Substantial technical shortcomings masked by amplification are laid bare in a more conventional classical setting. Mr. Bocelli's tone can be pleasant, and his pitch is generally secure. But his voice is small and not well supported; his phrasing, wayward and oddly inexpressive.
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These differing views on such a commonplace human behavior suggest that expressive suppression is one of the more complicated emotion-regulation techniques. As a solution to these opposing ideas, it has been suggested (and mentioned in the Externalizers vs. Internalizers section above) that people have a tendency to be either emotionally expressive (externalizers) or inexpressive (internalizers). The habitual use of one expressive technique over the other leads to different psychological and physiological consequences over time.
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Having seen his L'amico Fritz, he stated that: "Signor De Lucia succeeds [Fernando] Valero ... as artificial tenor in ordinary to the establishment. His thin strident forte is in tune and does not tremble beyond endurance; and his mezza voce, though monotonous and inexpressive, is pretty as prettiness goes in the artificial school."Shaw 1932, ii, 104. In 1894 Shaw speaks of De Lucia as a tenor of the Julián Gayarre school, without the "goat- bleat" of its extreme disciples.
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The series follows Koko Hekmatyar, a young arms dealer who sells weapons under HCLI, an international shipping corporation and illegal smuggling operation. As one of the company's unofficial weapon dealers, she sells weapons in a variety of countries while avoiding both local and international authorities. Traveling with her is a team of bodyguards, mostly composed of former soldiers. The newest addition to her crew is Jonah, an inexpressive and deadly child soldier who hates arms dealers.
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Overseas, Setsuna has received mixed criticism from English-language publications for anime, manga and other media. He has often been compared with the protagonist from Mobile Suit Gundam Wing, Heero Yuy, based on how inexpressive the two characters are. This bothered Chris Beveridge from Mania Entertainment as the series appeared to be borrowing elements from previous shows despite finding Setsuna interesting. Ross Liversidge criticized Setsuna's personality and found the other members from the cast were far more appealing that him.
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With this new connection between the city of Viçosa and the coast, the first families who would form the Lebanese and Italian colony of the municipality arrived in cities. Some Lebanese came as peddlers and began trading in fabrics, haberdashery and footwear, which was an inexpressive trade until the mid- twentieth century. Also at the same time came the first Italians, who were mostly craftsmen, tailors, caldereiros. Although small, along with the black population, these nuclei participated actively in the formation of Viçosa.
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In career he played for clubs Coritiba (1975), Marília (1976–1977), Juventus Paulista (1978–1979), Palmeiras (1979), America do Rio (1980–1981), He returned to Juventus Paulista (1981) and was still Farense closed his career in 1985 with Ginásio de Alcobaça. Then he worked as an assistant coach at Coritiba and Atlético Mineiro. being that in mining club acted as coach interim, in 2001. after only commanded teams inexpressive, mainly in the interior of the state of Minas Gerais, but during these passages.
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Jaque Catelain won considerable popularity in the early 1920s through his film roles as romantic lead or jeune premier. His good looks were of a rather bland and pretty kind which did not commend him so much to later audiences, and he was often criticised for wooden and inexpressive performances.E.g. by Noël Burch, "Ambivalences d'un réalisateur 'bisexuel': quatre films de Marcel L'Herbier", in Marcel L'Herbier: l'art du cinéma, [ed. by] Laurent Véray. (Paris: Association française de recherche sur l'histoire du cinéma, 2007.) p.204.
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In return for a favor performed for the mysterious Elohim long ago, the entire race of Giants are endowed with an innate ability to speak and understand all languages. The Giants' own language is very florid and verbose, and they find human speech to be rather curt and inexpressive. The Giants of the Land are sometimes called the Unhomed since they were separated from their homeland long ago. Although the Giants love children, they are not fertile as a people, and their numbers in the Land in the time of the First Chronicles have dwindled.
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UFO and abduction researcher Budd Hopkins has designed an image recognition test (known as the Hopkins Image Recognition Test, or HIRT) for Children that he claims is helpful in verifying legitimate occurrences of alien abduction. There are ten different illustrated flash cards in the HIRT, nine of which depict "images from myth, from the real world, and from popular culture." The tenth image is the "grey" type entity commonly associated with claims of abduction. The images are drawn simply in black and white, featuring characters drawn in what Hopkins calls a "neutral and inexpressive" fashion.
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Tezuka even risks it all during a match against Ryoma since he sees the boy as the one to succeed him as the team's new "pillar of support." Also, no matter the situation, he is shown to be rather inexpressive, never changing his stoic expression. However, when he re- injures his arm during his match against Keigo Atobe, he is shown to writhe in pain. This becomes a traumatic memory which makes him unable to lift his arm over his shoulders, fearing the thought of feeling that pain again.
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In fact, Sergei works as a simple aircraft technician at the Sheremetyevo-2 airport, and all the foreign accessories he brags to girls at sea are rented: the tape recorder, camera, and even sunglasses! Zverev begins his "ordinary" inexpressive life, but now he has a goal: to find the woman with whom Sergei fell in love. Alas, Sergei's search is futile, but here he is unexpectedly found by Aleksei, that same hooligan teenager. Having become attached to the boy with a father's sympathy, Zverev tries to help the "difficult" teenager.
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The images, myths, and narratives of these ideas imply that a "true" man is a relentless problem solver, physically strong, emotionally inexpressive, and at times, a daredevil with little regard for societal expectations and the law of the land. The never ceasing flood of signs, images, narratives, and myths surrounding consumers of media have the capability to influence behavior through the use of codes. Codes are maps of meaning, systems of signs that are used to interpret behavior. Codes connect semiotic systems of meaning with social structure and values.
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During renovations in 1957 those "ideologically alien" creations were replaced with inexpressive sculptural decorations. The complete height of the rathaus is , a height that at the time of construction made it the tallest structure in the city. Unlike the previous versions of the building, it was not used as a town hall, but rather as a symbolic representation of the past. The space in the building was leased to numerous stores which, after the "Golden September" (the Soviet term for the invasion of Poland in 1939), were closed.
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A single figure, dressed in a long garment, stands on a low dune sprinkled with grass. The figure, usually identified as a monk, has turned almost completely away from the viewer and surveys a rough sea and a gray, blank sky that takes up about three quarters of the picture. It is unclear whether he is standing on a high rock or only on a gentle slope to the sea. The dune forms an inexpressive triangle in the composition, at the farthest point of which is the figure.
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"A chaque séance, les spectateurs s'insultent, il y a autant de partisans frénétiques que d'adversaires acharnés. C'est dans un véritable vacarme que passent sur l'écran, à toutes les représentations, les images multicolores et syncopées sur lesquelles se termine le film. Des femmes, le chapeau de travers, exigent d'ètre remboursées; des hommes, les traits convulsés, se précipitent sur le trottoir où, parfois, les pugilats continuent..." Criticism was levelled at the old-fashioned scenario and at the inexpressive performances of the principal actors,Georges Sadoul, Le Cinéma français (1890-1962).
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Del Rey uses an inexpressive, ventriloquizing tone in the song, with her voice being layered into the track's production by means of reverberation. In addition, her vocals use a more sensual and sinister tone than in her previous discography, and are often sung in an anxious and "breathy" style, and in an octave just above a whisper. She also sings the track's backing vocals which in part contribute to the song's ethereal feel, through distant, faraway moans. MuuMuse's Bradley Stern observed that Del Rey's voice skipped between "breathy franticness and slurred, drugged-out ecstasy".
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This 28-bar duet has a duration of less than one minute. Unlike Fanfare for a New Theatre, this duet is one of the lesser-known miniatures by Stravinsky. Its structure is very simple and has the appearance of a sketch: no tempo indication is provided, no dynamics markings are specified anywhere in the score, and time signature changes are rare (Stravinsky changed time signatures a lot in the late 1910s, for example, in Renard and Les Noces). The general tone of the composition is rather inexpressive and carries little emotional intent: no accent marks are provided in the score.
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Léger wrote in 1945 that "the object in modern painting must become the main character and overthrow the subject. If, in turn, the human form becomes an object, it can considerably liberate possibilities for the modern artist." He elaborated on this idea in his 1949 essay, "How I Conceive the Human Figure", where he wrote that "abstract art came as a complete revelation, and then we were able to consider the human figure as a plastic value, not as a sentimental value. That is why the human figure has remained willfully inexpressive throughout the evolution of my work".Néret 1993, p. 98.
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Although, surprisingly, Ruben's version is considered even less remarkable than the models. This portrait of Johanna of Austria is overall an inexpressive image of a woman. He excluded the traditional 16th Century hieratic poise for a relaxed interpretation, where she wears regularized drapery and Rubens adorns her in that of the state of always being sick and weak. In contrast, no model for the portrait of the Queen's father is known, although it is questioned if he used ideas from one from Paris that, in which he wanted to convey the authoritative appearance of historical figures.
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Yet the movie never, to my mind, conjured quite the quirky effervescence of such brainiac animated features as the Jimmy Neutron or SpongeBob SquarePants movies." Michael O'Sullivan of The Washington Post gave the film one out of four stars, saying, "By visual standards alone, the characters, rendered in eye-popping 3-D, resemble nothing so much as Macy's Thanksgiving Day Parade floats. They're just as lifeless and inexpressive, too." Sean Daly of the Tampa Bay Times gave the film a B, saying, "Before getting sucked into a what-the-wormhole ending that will scramble young brains, time-travel romp Mr. Peabody & Sherman is a fast, fun 3-D getaway.
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A displaced alien race, the Xaja (Zai-ya), first encountered during the course of the war in a nearby sector of space, have thrown their limited but useful resources behind the Rebel factions. Although the war is far from settled, up to now things have fared well for the rebels. Despite being extremely short on resources, the Xaja technology is significantly advanced compared to that currently employed by either the rebels or the Imperium. Although the rebels are relieved to have the support, they remain understandably wary of the newcomers: the Xaja are a closed, inexpressive race, and their primary motivations are not entirely understood by humans.
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As creature design supervisor Adam Johansen later stated in an interview, "We tried to achieve a very home made feel for Possum but one that is twisted and disturbing." Using the film's script, Hailstone constructed storyboards showing possible designs for the character, which he then presented to the writer/director. The character's initial design proved to be not as effective as originally thought, with Holness feeling that the puppet's face was 'too expressive'. With only a week before filming was scheduled to commence, Holness and Hailstone came up with the idea of having the character's face be inexpressive in which the audience could project their own fears onto it.
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Traditionally, men have been raised to be more decisive, strong, successful and inexpressive which tends to lead males to be more private, intellectual and introspective in their grief; certain qualities associated with the instrumental grieving style. In addition, women have traditionally been raised to be more passive, dependent and emotionally expressive than males which tends to lead women to act as such in times of grief; aspects associated with the intuitive grieving style. Though there is correlation between gender and style of grieving, no pairing of gender and styles of grieving is right or wrong just as no particular style of grieving in general is right or wrong for an individual.
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She thought the storylines to be overcomplicated and called Byrne "bland" and "inexpressive". "Get Me a Lawyer" received two Primetime Emmy Award nominations: Allen Coulter was nominated for Outstanding Directing for a Drama Series, and Glenn Kessler, Todd A. Kessler, and Daniel Zelman were nominated for Outstanding Writing for a Drama Series. The pilot episode was submitted to the Primetime Emmys judging panel for determining the nominees for Outstanding Drama Series; Damages was nominated but did not win the award. Close chose the episode as her Outstanding Lead Actress in a Drama Series submission; she was nominated and went on to win the award.
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He felt that Paranoid Park was different from Van Sant's previous "experimental" films in that "it works", though he criticized Nevins's "clinically inexpressive" acting. Rolling Stones Peter Travers awarded the film 3.5 out of 4 stars and commented that the combination of the soundtrack with the "visual miracles" of the cinematography, "a defiant slap at slick Hollywood formula, is mesmerizing". In a review for The Hollywood Reporter, Kirk Honeycutt named the film "one of [Van Sant's] best movies yet". Alternatively, William Arnold of the Seattle Post-Intelligencer graded the film as a C+ and described it as "a movie about its teen hero's inability to express his feelings: to himself, to his parents, to his friends and, unfortunately, to the audience".
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Although she hailed Subotnick as a "very talented" composer and felt the album to be among the prettiest electronic works, she nonetheless felt it was a "bore" and complained that the album was too long "for a single electronic composition of this style and type." She also derided what she felt were inexpressive phrasings and articulations, feeling that "they either sound inflexible and mechanical, or aleatoric and unimportant." Although Silver Apples of the Moon pre-dated recordings containing the Moog by about a year, it was soon overshadowed by the popularity of Carlos' own album Switched-On Bach (1968), which featured classical compositions played on the Moog and became one of the biggest-selling classical albums ever. Subotnick was unimpressed with Carlos' album.
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Other reviewers found "The Warrior" to be typical of the Harry Dresden series. Richardson's "The Third Death of the Little Clay Dog" was called "a delightful tale" and "an intriguing mystery" that "neatly merges noir conventions with a fantastical plot", though the characterization was panned as being "flat and inexpressive". Though described as "a roller coaster ride of a story" and "wildly imaginative" Green's "The Difference A Day Makes" was found to employ "gratuitous macabre writing" in trying to describe "increasingly twisted and depraved scenarios, using the same stock descriptions and dialogue". Another reviewer wrote that "Green goes overboard" describing Nightside so that "story is more about the setting than any actual plot...[making] the ending feel like a letdown".
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During the 6 years who trained the team Telê broke a Brazilian stigma created in the 80s due his participations in the 1982 and 1986 FIFA World Cup when the coach was eliminated with Brazil National Team at the final stage of the tournament. In 1994, the assistant coach Muricy Ramalho, who made history playing for São Paulo in the 70s, took an important place again by winning the Copa Conmebol with only young and reserve players when the team was called as Expressinho (Little Express Train) in refer to the performance of the club during the tournament. In 1996 Telê Santana left the club after 6 years and then the team passed for a long period of fewer and inexpressive titles. Tricolor was champion in the Campeonato Paulista in 1998 being trained by Nelsinho Baptista and won it again 2 years later.
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During his years in the UK and Ireland, Toft worked continuously as an accompanist (lute and continuo songs). He realized that he could help vocalists animate songs in exciting ways by rooting their performances in period treatises, and as very few people studied historical approaches to singing in the early 1980s, he embarked on a long and rewarding journey to recover the old principles. Treatises from the 16th to 19th centuries document the old practices of singing, and Toft uses these sources to show performers how to complete the creative process composers had merely begun. In his workshops and master classes, singers explore period- specific historical techniques of interpretation to turn inexpressive, skeletally notated scores into passionate musical declamation, whether frottole, madrigals, English lute songs, continuo songs, recitatives and arias from operas and oratorios, or choruses from oratorios.For more details on his approach, see Toft, Bel Canto: A Performer’s Guide and With Passionate Voice: Re-Creative Singing in 16th-Century England and Italy, or Toft’s website, Bel Canto: Historically Informed, Re-Creative Singing in the Age of Rhetorical Persuasion, c.
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58 in 1911 she was at the Palace Theatre of Varieties in Hull;The Palace Theatre of Varieties, Hull - Arthur Lloyd.co.uk: The Music Hall and Theatre History Site Dedicated to Arthur Lloyd, 1839 - 1904 touring in the musical comedy Business As Usual (1915); in the pantomime Dick Whittington and His Cat at the Gaiety Theatre, Dublin (1916); in Fiddle-De-Dee at the Theatre Royal, Dublin (1918),Poster for Fiddle-De-Dee (1918) - National Library of Ireland Collection and Prince Glorio in the pantomime The Tale of Cinderella at the Scala Theatre (1928–29).J. P. Wearing, The London Stage 1920-1929: A Calendar of Productions, Performers, and Personnel, Rowman & Littlefield (2014) - Google Books p. 640 When the diarist and critic James Agate went on a round of pantomime visits ‘with the intention of rediscovering not only my lost youth but a lost young man, the Prince Charming of long ago' it was in MacDermott that Agate found ‘him whom I sought – the fair, the not too refrigerative, the inexpressive he of long ago . . .
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Dmitri Shostakovich criticized the work's weak movements, lack of development and thought that the materials were under-developed and not thought through. Even Nikolai Myaskovsky, Prokofiev's closest friend, did not like the work. The suite has been described as evoking cold, abstract and inexpressive images in an attempt to oversimplify for greater clarity and comprehensibility. However, the work does contain a wealth of melodic material and Prokofiev later used some of the ideas and motives for the film score to Igor Savchenko’s depiction of the events of the Great Patriotic War, Partisans in the Ukrainian Steppes (1942, film released 1943). In 1948, Party officials, namely Tikhon Khrennikov, deemed the music unworthy of truly depicting the momentous events of the Great Patriotic War, and the Central Committee criticized it for its “anti-democratic, formalist tendency.” Sovetskaya Muzyka (Soviet Music magazine) also noted that “the music of the Suite, while at times very poetic, does not penetrate to the core of the events which are indissolubly associated, in our minds, with the tragic year of 1941.” The Year 1941 remained unpublished and was subsequently barred from performance.
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She could however rely upon a voice of great power and volume and, at the same time, of considerable pliability, to which she added excellent interpretative capability and, moreover, extraordinary physical beauty. This last quality made her not only the subject of many love affairs but also the ideal model for many contemporary painters including Andrea Appiani. Faithful to her "old" Crescentini was in reality only seven years older than Grassini, but, given the very early training undertaken by the castrati, the separation between them in terms of duration of experience and artistic maturity probably appeared wider. master and partner Crescentini's musical ideals, Grassini would always stand beside such singers as the castrato Gaspare Pacchiarotti, the tenors Matteo Babini, Giovanni Ansani and Giacomo David, the prime-donne Brigida Banti and Luísa Todi de Agujar. These were the singers who opposed the belcanto drift of the second half of the 18th century, with its break-neck run after extremely high notes and aimlessly pyrotechnic, inexpressive, and therefore absurd coloratura; and who endeavoured, instead, to recover “the passion and vigour” that had permeated the golden age of singing of the first half of the century.
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