How to use more animate in a sentence? Find typical usage patterns (collocations)/phrases/context for "more animate" and check conjugation/comparative form for "more animate". Mastering all the usages of "more animate" from sentence examples published by news publications.
The artwork for Fall Forever also incorporates bodies but in a way that feels more animate.
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These figures, while alive, tend to be only slightly more animate than the art that surrounds them.
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But for all their possible clumsiness, when held against completed films, unfinished ones can seem more animate, even electrified, in the sense that they seem to mime more faithfully the insecurity — the fluctuations, frustrations, and losses — of human experience, and also more feelingly attest to those specific instances when risk and catastrophe have intruded upon this very experience.
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Proximate nouns refer to something that is near the speaker or most central to the discourse, whereas obviative nouns refer to something that is distanced or more remote from consideration. When two nouns or pronouns are conjoined, they can both be proximate or both obviative. In all other cases, when two or more animate nouns or pronouns appear in the same clause, one will be proximate (the focus of the clause) and the others will be obviative. Proximate is the "default" noun ending; obviative forms use different endings.
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In formal terms, critics note the work's technical facility, illusionistic perspective, and effective blend of periods and motifs, noting links to Vuillard's confined spaces, eighteenth-century idealizations of nature, and the Baroque; in psychological terms, they suggest it draws viewers in voyeuristically, through a dreamlike, vaguely unsettling presence and furtive signs that imply the traces left in vacated rooms or closely guarded secrets. Drasler created enigmatic, Magritte-like formal and psychological puzzles in paintings such as Changing Room (1994), whose surreal trompe l'oeil draped sheets, mirror reflections and painted landscape mural camouflage both architecture and purpose. Robert G. Edelman suggests these paintings slowly reveal "wry and portentous secrets" like Velázquez's Las Meninas or De Chirico's piazzas, which similarly resist resolution. In other paintings, such as Restless Bedroom (1992), Drasler conveys a more animate spirit with enveloping swaths of fabric or nature motifs that blur boundaries between organic and man-made, inside and outside, and figure and ground.
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