The Chilean-born artist commemorates calamity while transfiguring its ruin into another tomorrow.
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To find this transfiguring apotheosis at the end of this ballet is astonishing.
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But a critical part of the venerated alchemy of transfiguring everyday objects involves shifting their context.
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He envisaged an audience of élite aesthetes who would carry a transfiguring message to the outer world.
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Politics does transfiguring and terrible things to the people who practice it, enough to provide any fiction writer with a career.
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Dreambit and the processes behind it will be presented at SIGGRAPH next week, but you can read the paper, "Transfiguring Portraits," right now.
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It's a self-aware way of reframing the role of photography in his relationships, by transfiguring it from a communication tool into a collaborative project.
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Yet where the poem ends with acceptance, the warmth of love transfiguring all and the troubled lovers walking off together, Ms. Loemij leaves Mr. Antoncic alone, reeling ambiguously.
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Some of the words, coming in widely spaced, suspense-producing phrases, were "soon, I'll pass by" and "now," which made the song a hymn to ephemerality, describing the whole occasion while transfiguring it.
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And at the appointed hour, just as their guidebook had promised, the transfiguring music of plainsong rose from the crypt below them, a few wide steps down from the main body of the church.
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To address these questions, the Berggruen Institute is building transnational networks of philosophers + technologists + policy-makers + artists who are thinking about how A.I. and gene-editing are transfiguring what it means to be human.
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It feels like a huge existential Apple ad transfiguring the space of art into something lacking any sincerity, art-historical reference, or concern for the social or political consequences of the events that are presently shaping Europe, much less the city of Berlin.
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Ward, with his direct-action sculptural politics, excels at taking materials identified with racist violence and oppression (fire hoses, baseball bats, a police surveillance tower), transfiguring them in a most hands-on way, and giving them entirely new, non-oppressive functions and meanings.
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By the time he was helpless with it he would have his students in stitches, with abrupt barks of clockwork hilarity coming from Charles and a dazzling flow of unsuspected lovely laughter transfiguring Josephine, who was not pretty, while Eileen, who was, dissolved in a jelly of unbecoming giggles.
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It was a beautiful moment, borne in memory, her head turned away to the transfiguring past, the grandmother with a gift for storytelling, something way back then, and he wanted to follow the smile into her life, to join her spell of recollection, a minute or an hour, in flawless time.
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Eli Giannini (born 1956 in Rome, Italy) is an Australian architect and director of MGS Architects in Melbourne. Giannini completed her architectural undergraduate studies at RMIT University in 1983 and Master of Design (Thesis) in 1903, entitled ‘Metro-scape’.van Schaik, Leon, ed. (1995). Transfiguring the Ordinary.
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The theme tune was "Release Me", a song which had been a hit for pop singer Engelbert Humperdinck. In the first series it was performed over the opening credits by Whitehouse in the guise of abnormally transfiguring singer Kenny Valentine. In subsequent series, the tune only appeared in the closing credits, played on the saxophone.
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That adaptation appears on Have Yourself a Merry Little Christmas, released in 1998. An instrumental cover by Santo & Johnny topped the Mexican charts in 1965. Jazz pianist Brad Mehldau included an extended instrumental trio version on his 2016 album Blues and Ballads, which an AllMusic review describes as "transfiguring the minor/major- key centers into something sweeping and operatic." McCartney has played the song live on various tours.
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He has forgotten the exact date (his birthday). This episode release David's emotional pain, writes Michael Hollington, obliterating the infected part of the wound. Beyond the admiration aroused for the amazing self-confidence of the little child, in resolving this issue and taking control of his life with the assurance of someone much older, the passage "testifies to the work of memory, transfiguring the moment into a true myth". The tone is nostalgic because, ultimately, the epilogue is a true moment of grace.
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The dragon chosen for Cedric was the Swedish Short-Snout and was to retrieve the Golden Egg the dragon was guarding. Cedric achieved this by transfiguring a rock into a labrador to distract the dragon whilst he retrieved the egg. The dragon was distracted by Cedric and burned half of his face. After completing the task, Cedric was informed by Defense Against the Dark Arts teacher Professor Alastor "Mad-Eye" Moody to place the egg underwater and listen to it.
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The bed, the bucket and the chamber pot underscore the human nature of Christ. Lastly, the right wing shows the Resurrection, in which Christ emerges from the tomb and ascends into Heaven bathed in light transfiguring the countenance of the Crucified into the face of God. The Resurrection and the Ascension are therefore encapsulated in a single image. Inner wings opened: \- The sculptures of Saint Augustine and Guy Guers, Saint Anthony, Two Bearers of Offerings, Saint Jerome, Christ and the Twelve Apostles are by Niclaus of Haguenau.
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"Similarly for its bracing sibling, awe: it figures in our experience of the sublime, of which Kant purports to find an entirely secular account". To connect the secular and the sacred emotions Pugmire looks at the emotions which can be experienced equally in both contexts. These are, "Love, humility, sorrow, pity, joy, serenity, ecstasy". Pugmire then suggests that devotional emotion is: "The transfiguring of mundane emotion into what one might call emotion of the last instance, to the reception and expression of which religious imagery is especially well-suited, and not accidentally".
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However, they both wrote dozens of mélodies that are still closely studied and often performed. Debussy is noted for a particular gift for marrying text and music, while Ravel based a number of his on folk song, in direct contradiction to the common practice for mélodies, transfiguring both forms. Contemporaries of Ravel who were noted mélodie composers include Albert Roussel, Reynaldo Hahn and André Caplet. Though more famous as a composer for the organ, Louis Vierne wrote several collections of mélodies with texts from Baudelaire, Verlaine, and others.
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Artweek critic Mark Van Proyen noted Brokl's "interest in light as a transfiguring pictorial element" in moody, "unpopulated interiors and landscapes that … capture a nocturnal mood of moonlit quietude." Robert Brokl, Midwest VI/VII, oil on panels, 72" x 96", 2001. In the 1990s, and 2000s, Brokl's painting and drawing has often been inspired by travels to Greece, India, Italy, Morocco and Spain; this work often fuses multiple images in surrealist-like collages, "puzzles" or grids that suggest narrative, dream states and the contemporary bombardment of sensations, as in the large oil, Midwest VI/VII (2001).
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David Friedrich Strauss (1808-1874), in his "Life of Jesus" (1835), argued that the resurrection was not an objective historical fact, but a subjective "recollection" of Jesus, transfiguring the dead Jesus into an imaginary, or "mythical," risen Christ. The appearance, or Christophany, of Jesus to Paul and others, was "internal and subjective." Reflection on the Messianic hope, and , led to an exaltated state of mind, in which "the risen Christ" was present "in a visionary manner," concluding that Jesus must have escaped the bondage of death. Strauss' thesis was further developed by Ernest Renan (1863) and Albert Réville (1897).
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David Friedrich Strauss (1808–1874), in his "Life of Jesus" (1835), argued that the resurrection was not an objective historical fact, but a subjective "recollection" of Jesus, transfiguring the dead Jesus into an imaginary, or "mythical," risen Christ. The appearance, or Christophany, of Jesus to Paul and others, was "internal and subjective." Reflection on the Messianic hope, and , led to an exalted state of mind, in which "the risen Christ" was present "in a visionary manner," concluding that Jesus must have escaped the bondage of death. Strauss' thesis was further developed by Ernest Renan (1863) and Albert Réville (1897).
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Branford Marsalis (photographed in 2011) played a saxophone solo for the song's soundtrack version. The Bomb Squad, Public Enemy's production team, constructed the music for "Fight the Power," through the looping, layering, and transfiguring of numerous samples. The track features only two actual instrumentalists: saxophone, played by Branford Marsalis, and scratches provided by Terminator X, the group's DJ and turntabilist—Marsalis also played a saxophone solo for the extended soundtrack version of the song. In contrast to Marsalis' school of thought, Bomb Squad members such as Hank Shocklee wanted to eschew melodic clarity and harmonic coherence in favor of a specific mood in the composition.
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Many literary critics have taken interest in the novella because its material was controversial for its time. One such literary critic is Christine Butterworth- McDermott, who sees this story as a transfiguring of the classic "Beauty and the Beast" story. She argues that Behind a Mask actually combines the characters, making Jean Muir both the "Beauty" and the "Beast". According to Butterworth-McDermott, the story is a criticism on the common literary trope of a woman spending her life healing a “Beast.” According to her argument, Alcott defies this literary trope by creating a character that is both beauty and beastly: Jean plays the role of a "Beauty" in order to hide her true nature as a "Beast".
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Born in Milan, the son of the author Valentino, in 1947 Piccoli founded and directed the stage company "Compagnia del Carrozzone" (also known just as "Il Carrozzone"), a company consisting of ten young actors (including Romolo Valli and Adriana Asti) who held stagings in about two hundred cities in three years. In 1950 he and most of his company moved to Bolzano, where Piccoli founded the Teatro Stabile, which he directed until 1966; in Bolzano, he "put into practice his idea of an anti-realistic theater, founded on the primacy of the poetic language, and on the expressive autonomy of a transfiguring imagination." At the Teatro Stabile he directed seventy four stagings, mainly based on Italian authors.
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Also that year, the young subsidiary Nintendo of America was just completing its test marketing of, and beginning its nationwide launch of, the new Nintendo Entertainment System and its flagship game, Super Mario Bros. This international adaptation of the Famicom platform had been deliberately delayed in the wake of the American video game crash of 1983, a regional market disaster which had not directly affected the Japanese market. Nintendo of America did not want the increasingly popular Mario series to be known for maximal frustration and thus inaccessible to a recovering, transfiguring, and expanding market — nor to be stylistically outdated by the time the Japanese Super Mario Bros. 2 could be eventually converted to the NES's cartridge format, localized, and mass-produced for America.
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He believed that Costin's parody of Don Quixote needed only "a mild process of purification" in order to join the "Romanian models" of its genre. Other avant-garde affiliates favorably reviewed by Perpessicius include: Ion Călugăru, whose fantasy writings and folk story parodies he considered suited for "the heaven of dreams"; Benjamin Fondane, a "reputable essayist" in whose poetic work, which reinterpreted the rural landscape, "patriarchy suffered and made itself seem outraged"; and the post-Symbolist Ion Minulescu, whose 1930 volume Strofe pentru toată lumea ("Stanzas for All") he deemed "fantasy poetry [...] transfiguring the every day and the trend [...], raising jokes to the level of poetic principle and conversing with God in a simpler, more citizen- like [...], more democratic [...] than [Minulescu] was conversing with himself some twenty years ago".
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Nas has been praised for his ability to create a "devastating match between lyrics and production" by journalist Peter Shapiro, as well as creating a "potent evocation of life on the street", and he has even been compared to Rakim for his lyrical technique. In his book Book of Rhymes: The Poetics of Hip Hop (2009), writer Adam Bradley states, "Nas is perhaps contemporary rap's greatest innovator in storytelling. His catalog includes songs narrated before birth ('Fetus') and after death ('Amongst Kings'), biographies ('UBR [Unauthorized Biography of Rakim]') and autobiographies ('Doo Rags'), allegorical tales ('Money Is My Bitch') and epistolary ones ('One Love'), he's rapped in the voice of a woman ('Sekou Story') and even of a gun ('I Gave You Power')." Robert Christgau writes that "Nas has been transfiguring [gangsta rap] since Illmatic".
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A Flowering Tree is an opera in two acts composed by John Adams with libretto by Adams and Peter Sellars, and commissioned by the New Crowned Hope Festival in Vienna, the San Francisco Symphony, the Barbican Centre in London, the Lincoln Center for the Performing Arts in New York City, and the Berliner Philharmoniker. The story is based on an ancient Indian folk tale of the same title with translations by Attipat Krishnaswami Ramanujan.Boosey & Hawkes, A Flowering Tree accessed 28 November 2014 The opera resembles Mozart's The Magic Flute in some ways; both operas adapt folk tales, in this case one from southern India, "describing a young couple undergoing rituals and trials to discover the transfiguring power of love." This parallel was intended by the composer as the opera was commissioned to celebrate the 250th anniversary of Mozart’s birth.
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According to the same author, Isac viewed his sources in the manner of a Renaissance humanist and "Vlach" author in his relation to Protestant Reformation. Together with the Minulescian or Bacovian elements, the Transylvanian author's poetry followed the other conventions of the Symbolist epoch, from depictions of the autumnal landscapes or everyday tragedies (the burial of an Anglican priest's daughter) to elements which, Călinescu notes, suggest a "tendency of transfiguring the real" (for instance, the ocean life trapped inside a jar, or a waiter's flight to Mars). One particular trait of Isac's poetic universe is his preference for strong chromatic contrasts. Călinescu, who notes this "pictorial aspect" (and likens it to poster art), supports his interpretation with the fragment from one of Isac's poems: Discussing the Symbolists' overall appreciation of "synesthesic" epithets, scholar Carmen Nicolescu writes about Isac's particular reference to the color white when suggesting suffocation: Maica cea tânără, a one-act verse drama called "neo-romantic dramolet" by Călinescu, shows an Orthodox nun committing murder against the bride of her former lover.
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It can be read as one of Stevens's poems about the transfiguring power of poetic imagination, which in this case need not accept the night of the dolorous criers, but instead find in it qualities, like a sheaf of brilliant arrows or the nimblest motions, that make it the delight of the secretive hunter. Buttel finds this poem noteworthy for its connections to Whitman. Like Whitman, Stevens prized the lyrical qualities of American place names and animal names, and the title of this poem is one of Buttel's examples.Buttel references Whitman's "Starting from Paumanok" to document this shared affinity: > The red aborigines, Leaving natural breaths, sounds of rain and winds, calls > as of birds and animals in the woods, syllabled to us for names, Okonee, > Koosa, Ottawa, Monongahela, Sauk, Natchez, Chattahoochee.... He reads "Stars at Tallapoosa" as partly a refutation of Whitman's "Out of the Cradle Endlessly Rocking" yet at the same time a variation on the mood and theme of that poem, even displaying some of Whitman's tone and manner, as in the lines about wading the sea-lines and mounting the earth-lines.
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