These animals have meroblastic eggs and infold the endoderm through a primitive streak.
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This feature selection was done infold, to avoid producing results that are unfairly optimistic.
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A sweet spell of rest, of thankfulness, of quiet heart-satisfaction, seemed to infold her.
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Beat the mixture to infold oxygen, and then put in one-quarter cake of yeast plants.
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She felt that she must infold such a figure not only in swaddling clothes, but in love.
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Then he endeavored to infold his father in his embrace, but his arms inclosed only an unsubstantial shade.
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She stood looking down on his bowed head with a tenderness that seemed to infold him as with a mantle.
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The poet must hasten on, he must infold and bind together, he must be direct and synthetic in every act.
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They fold and infold as though they would shield the lake bereft of trees, as though they would shut out the world.
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The first phase of migration in Drosophila occurs when the pole cells move passively and infold into the midgut invagination. Active migration occurs through repellents and attractants. The expression of wunen in the endoderm repels the PGCs out. The expression of columbus and hedgehog attracts the PGCs to the mesodermal precursors of the gonad.
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65-66 However, Smart does not hide this fact; instead, he emphasizes it when he says: ::Under what sign to pluck the crop, and how ::To cure, and in capacious sacks infold, ::I teach in verse Miltonian :::(The Hop- Garden Book the First, 4-6).'' With these words Smart also introduces the georgic basis of the poem and that he would "teach" how to farm hops in order to use them to flavor alcoholic drinks. However, Smart does more than "teach in verse Miltonian" as he relies on various forms and styles to "express a variety of viewpoints."Poetical Works p.
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Lazzarini's installation "skulls" was first exhibited in the Whitney Museum of American Art in the 2001 exhibition, "Bitsreams," and brought the artist into wider public visibility. The installation was made up of four sculptural variations based on a specific human skull, each mounted to one wall at eye level in an offset square room measuring fifteen by fifteen feet. Bathed in diffused fluorescent light, the shadows within the room heightened the works “image aspect” where “the walls of the gallery become a kind of uninflected visual field against which the form of each object is defined.” The experience presented a new type of embodied viewing wherein “You feel the space around you begin to ripple, to bubble, to infold, as if it were becoming unstuck from the fixed coordinates of its three-dimensional extension.
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