It studiedly resists the narrative pleasures and intellectual shortcuts of biography.
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On such occasions, she adopts a studiedly neutral look: dark pants; collarless jackets; scoop-necked, solid-color tops; black pumps; pearl earrings.
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While the screen is still black, at the start, we hear a rape in progress, and the opening shot is of a cat, studiedly pondering the deed.
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Where one sitter is stiff, directing a staid gaze out at the viewer, another is raffish, sprawled on an armchair with tobacco pipe at a studiedly jaunty angle.
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At a barbershop on Main Street in Logan, the county seat, customers with ties to mining tended to react negatively to Mr. Blankenship's candidacy, while the barber, Chad Browning, was studiedly neutral.
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Franklin and his friends, Max (Tommy Dorfman), who is white, and Bellamy (the very funny Kahyun Kim), who is Asian, all speak in the studiedly slouchy idiom that is native to such scenes.
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At a PTA meeting there last week, Ms. Phillips was studiedly neutral, but several teachers criticized the tests, with one comparing the stand against them to abolitionism and the fight for same-sex marriage.
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He strikes me as a strategist who is trying to stake out his territory in the contemporary artists' land-grab by fabricating studiedly awkward, ungainly objects on a public-address scale — Donald Baechler meets Jeff Koons, but without Baechler's illustrational nostalgia or Koons's kinky gaudiness.
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Even studiedly provocative groups like Philadelphia's long-suffering Sons of Ben, known for their occasional contempt for their team's management but also for a "No one likes us, we don't care" chant borrowed from the infamously hostile supporters of the London club Millwall, regularly show a softer side.
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"Studiedly neutral" would be a fair way to describe the reaction of General Joseph Dunford, Chairman of the Joint Chiefs of Staff, when asked on February 7th about President Donald Trump's desire to stage a big military parade in Washington, DC, modelled on the annual Bastille Day procession in Paris.
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Arthur Morgan "Arto" Lindsay (born May 28, 1953) is an American guitarist, singer, record producer and experimental composer. He has a distinctive soft voice and an often noisy, self-taught guitar style consisting almost entirely of extended techniques, described by Brian Olewnick as "studiedly naïve ... sounding like the bastard child of Derek Bailey".
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Writing in The World & I, Maude McDaniel reflected more broadly on Buechner's career as a novelist, suggesting that 'ambiguity has become Buechner's stock in trade [….] and is probably the key to his success as a religious writer in the studiedly nonreligious culture of the last half of the twentieth century'. Within this line of thinking McDaniel argued that The Storm represents 'the most ambiguous of all his books'.Maude McDaniel, "An Elusive Grace", The World & I, May 1999, p. 278.
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Richie called it "one of the most perfect movies in the history of Japanese cinema" and especially praised the beauty and morality of the film's opening and closing shots. Richie analyzed how the film starts with "a long panorama" and shots spanning from a lake to the shore and the village. He judged the ending's "upward tilting panorama" from the grave to above to reflect the beginning. Bosley Crowther, in The New York Times, wrote that the film had "a strangely obscure, inferential, almost studiedly perplexing quality".
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Bridge was the one novel that probably influenced him the most (Joshua Ferris is another admirer), said it and Mr. Bridge "capture the sadness, and boredom, of the unexamined life" and praises the compassion and precision of Connell's writing. British critic Matthew Dennison (who praised the "studiedly simple, undecorated prose, with few rhetorical flourishes") compared the main character to Jan Struther's Mrs. Miniver; both inhabit "an interwar world shaped by a promise of certainties — domestic, social, cultural and sexual — which are never wholly realised and remain frustratingly elusive".
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The song received polarised reviews from music critics. In his review of the album for the New Yorker, Nick Hornby mentioned the song as "an unpleasant free-jazz workout, with a discordant horn section squalling over a studiedly crude bass line". Mark Beaumont, who disparaged Kid A in Melody Maker on its release, wrote ten years later that the "free-form jazz horns" of "The National Anthem" produced a "mingus-in-a-tumble-dryer racket". Lorraine Ali, writing for Newsweek, described the song as "annoying pileup of squawking instruments".
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Jazz critic John Fordham said the album was a "sensational, terrifying exercise in abstract sounds, fragmented blues, feedback and slide-guitar splinterings," but also "one of the most effective antidotes to the prim and studiedly dramatic conventional jazz-guitar performances on the circuit" at the time. In the Spin Alternative Record Guide (1995), Guitar was ranked 86th on a list of the "Top 100 Alternative Albums". According to The Absolute Sound, Laswell helped produce Sharrock's playing within a glossy, expansive sound that offered both an intimate jazz feel and an intense rock quality, which in the process helped "shine a light into Sharrock's spiritual depths". In The Rough Guide to Jazz (2004), Ian Carr felt Guitar epitomized the breadth of the electric instrument, "ranging from impressionistic sound poetry to abstract-expressionist blitzkrieg".
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In 1943, artist Cornelia Geer LeBoutillier criticized the painting, comparing it unfavorably with Duchamp's Nude Descending a Staircase (a work with which it is often compared) and Picasso's Portrait of Daniel-Henry Kahnweiler, calling Balla's work "more crude, less mature, almost childish indeed ... Balla takes himself and his dog so seriously, so studiedly, that it is doubtful that any pleasure has ever come out of it anywhere; certainly no movement has." Writing in 1947, critic Henry R. Hope called Dynamism of a Dog on a Leash "a cliché of modern art". Writer Geoffrey Wagner declared Balla's painting to be anathema to the Vorticist aesthetic of British painter Wyndham Lewis, who criticized Futurism for its "romantic excess" and dynamism. However, S. I. Hayakawa credited Balla's "classic" for its introduction of the time dimension in its representation of its subject.
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