The dinky abstractions, fictively remote, are smack on the surface.
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Speaking to PEOPLE, he surmises that a distraught Carter may have fictively accepted the blame as a way to deal with her own grief.
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To describe the geometry of graphical surfaces that illustrate equilibrium relations between thermodynamic functions of state, one can fictively think of so-called "reversible processes". They are convenient theoretical objects that trace paths across graphical surfaces. They are called "processes" but do not describe naturally occurring processes, which are always irreversible. Because the points on the paths are points of thermodynamic equilibrium, it is customary to think of the "processes" described by the paths as fictively "reversible".
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According to Planck, one may think of three main classes of thermodynamic process: natural, fictively reversible, and impossible or unnatural.Guggenheim, E.A. (1949/1967). Thermodynamics. An Advanced Treatment for Chemists and Physicists, fifth revised edition, North-Holland, Amsterdam, p. 12.Tisza, L. (1966).
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The text consists of a series of descriptive poems, fictively told to an unnamed auditor by a wise old man, in which the latter depicts a variety of whimsically-unfortunate characters, or situations wherein any character might be so, in comparison with whom the auditor might consider itself exceptionally fortunate.
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Then, by externally forcing ideally slowly the separating membranes together, back to contiguity, work is done on the mixed gases, fictively reversibly separating them again, so that heat is returned to the heat reservoir at constant temperature. Because the mixing and separation are ideally slow and fictively reversible, the work supplied by the gases as they mix is equal to the work done in separating them again. Passing from fictive reversibility to physical reality, some amount of additional work, that remains external to the gases and the heat reservoir, must be provided from an external source for this cycle, as required by the second law of thermodynamics, because this cycle has only one heat reservoir at constant temperature, and the external provision of work cannot be completely efficient.
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A midtempo slow-jam pop song, "If Only" exhibits elements of ballad and bubblegum pop. Multi- tracked harmonies, the song's instrumentation includes slow-bouncing piano tones and keyboard. The song was written by Adam Anders, Nikki Hassman and Peer Astrom and produced by the duo Twin. The critics of Fictively noted that part of the song is an internal monologue, meant to be fluid in the story.
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The historical originCarnot, S. (1824/1986). of the second law of thermodynamics was in Carnot's principle. It refers to a cycle of a Carnot heat engine, fictively operated in the limiting mode of extreme slowness known as quasi-static, so that the heat and work transfers are between subsystems that are always in their own internal states of thermodynamic equilibrium. The Carnot engine is an idealized device of special interest to engineers who are concerned with the efficiency of heat engines.
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An experimental demonstration may be considered. The two distinct gases, in a cylinder of constant total volume, are at first separated by two contiguous pistons made respectively of two suitably specific ideal semipermeable membranes. Ideally slowly and fictively reversibly, at constant temperature, the gases are allowed to mix in the volume between the separating membranes, forcing them apart, thereby supplying work to an external system. The energy for the work comes from the heat reservoir that keeps the temperature constant.
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He also compares the song to "Part of Your World", by Jodi Benson from The Little Mermaid (1989), and "I Won't Say (I'm in Love)", by Susan Egan and Cheryl Freeman from Hercules (1997). Shirley Li of Entertainment Weekly said that although Descendants is far from perfect, "If Only" is worth it. The critic of Fictively was positive, saying that the song is the best on the album and comparing Cameron's voice to the American singer Jewel. JS Magazine said the song is "amazing" and the best along with "Rotten to the Core".
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During the 1980s Nakagami was an active and controversial figure in the Japanese literary world, and his work was the subject of much debate among scholars and literary critics. As one reviewer put it, "Nakagami was the first writer from the ghetto to make it into the mainstream and to attempt to tell other Japanese, however fictively or even fantastically, about life at the rough end of the economic miracle."Mark Morris, "The Untouchables", The New York Times, October 24, 1999. Nakagami was at the height of his fame when he died, of kidney cancer, at the age of 46.
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Historical representations in video games (mostly Western-made strategy or action titles) include Shogun: Total War, Total War: Shogun 2, Throne of Darkness, the eponymous Nobunaga's Ambition series, as well as Civilization V, Age of Empires II: The Conquerors, Nioh, and Nioh 2. Kamenashi Kazuya of the Japanese pop group KAT-TUN wrote and performed a song titled "1582" which is written from the perspective of Mori Ranmaru during the coup at Honnō temple. Nobunaga has also been portrayed fictively, such as when the figure of Nobunaga influences a story or inspires a characterization. In James Clavell's novel Shōgun, the character Goroda is a pastiche of Nobunaga.
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The Doll, covering one and a half years of present time, comprises two parallel narratives. One opens with events of 1878 and recounts the career of the protagonist, Stanisław Wokulski, a man in early middle age. The other narrative, in the guise of a diary kept by Wokulski's older friend Ignacy Rzecki, takes the reader back to the 1848-49 "Spring of Nations." Bolesław Prus wrote The Doll with such close attention to the physical detail of Warsaw that it was possible, in the Interbellum, to precisely locate the very buildings where, fictively, Wokulski had lived and his store had been located on Krakowskie Przedmieście.
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It is allowed in equilibrium thermodynamics just because the initial and final states are of thermodynamic equilibrium, even though during the process there is transient departure from thermodynamic equilibrium, when neither the system nor its surroundings are in well defined states of internal equilibrium. A natural process proceeds at a finite rate for the main part of its course. It is thereby radically different from a fictive quasi-static 'process' that proceeds infinitely slowly throughout its course, and is fictively 'reversible'. Classical thermodynamics allows that even though a process may take a very long time to settle to thermodynamic equilibrium, if the main part of its course is at a finite rate, then it is considered to be natural, and to be subject to the second law of thermodynamics, and thereby irreversible.
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The oculus Mantegna's playful ceiling presents an oculus that fictively opens into a blue sky, with foreshortened putti playfully frolicking around a balustrade painted in di sotto in sù to seem as if they occupy real space on the roof above. Breaking with the figures from the scenes below, the courtiers who look down from over the balustrade seem directly aware of the viewer's presence. The precarious position of the planter above, as it rests uneasily on a stray beam, suggests that looking up at the figures could leave the viewer humiliated at the expense of the courtiers’ enjoyment. Mantegna's exploration of how paintings or decorations could respond to the presence of the viewer was a new idea in Renaissance Italy that would be explored by other artists.
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Wild Seed received many positive reviews, especially for its style, with the Washington Posts Elizabeth A. Lynn praising Butler's writing as "spare and sure, and even in moments of great tension she never loses control over her pacing or over her sense of story." In his survey of Butler's work, critic Burton Raffel singles out Wild Seed as an example of Butler's "major fictive talent", calling the book's prose "precise and tautly cadence," "forceful because it is focused" and "fictively superbly effective because it is in each and every detail true to the character's lives." In his 2001 book How to Write Science Fiction and Fantasy, famed science-fiction writer Orson Scott Card used passages from Wild Seed's opening paragraphs to illustrate principles of good fiction writing (e.g. how to properly name characters, how to keep the reader intrigued) as well as of good speculative writing (how abeyance, implication, and literalism may work together to produce fantastical realities that are nevertheless believable).
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