Ardneh is apparently a supercomputer formerly known as ARDNEH ( an acronym for Automatic Restoration Director – National Executive Headquarters, though the full name is not widely known ) made self-aware during The Change.

( Compare the originals ( 800k image ) to the paperbacks ( 60kb image )) The later printings are consistent with a description of wooden sword cases used to hold Woundhealer ( white ), by the Temple of Ardneh, and Soulcutter ( black ), by the Silver Queen.

The growth center depicted here, in the distal phalanx of the second finger, is listed as the fifth of those in the seven short bones.

that is, by being placed in such relation to the forms depicted within the illusion that these forms left no room for the typography except near the surface.

It was because of this chain-reaction as much as for any other reason -- that is, because of the growing independence of the planar unit in collage as a shape -- that the identity of depicted objects, or at least parts of them, re-emerged in Braque's and Picasso's papiers colles and continued to remain more conspicuous there -- but only as flattened silhouettes -- than in any of their paintings done wholly in oil before the end of 1913.

" The Rail Candidate "— Lincoln's 1860 candidacy is depicted as held up by the slavery issue — a slave on the left and party organization on the right.

Apollo as a handsome beardless young man, is often depicted with a kithara ( as Apollo Citharoedus ) or bow in his hand, or reclining on a tree ( the Apollo Lykeios and Apollo Sauroctonos types ).

Aquarius is identified as " The Great One " in the Babylonian star catalogues and represents the god Ea himself, who is commonly depicted holding an overflowing vase.

She is often depicted nude in many of the images she is in.

She is the symbol of the United States Women's Navy and was depicted on their Unit Crest.

Athena is depicted in the obverse of the coin, representing the Austrian Republic.

In ancient Greek mythology, ambrosia () is sometimes the food or drink of the Greek gods ( or demigods ), often depicted as conferring ageless immortality upon whomever consumed it.

The Caucus Race as depicted by Carroll is a satire on the political caucus system, mocking its lack of clarity and decisiveness.

He is generally depicted with a sceptre and diadem, conventional attributes of kings.

* In the 2004 epic war film Troy, Agamemnon is depicted as a ruthless power-mad king played by Brian Cox.

Alexander is depicted troubled by his lack of direct heirs, having no child with his wife Sybilla of Normandy.

In Marion Zimmer Bradley's The Mists of Avalon, Aurelianus is depicted as the aging High King of Britain, a " too-ambitious " son of a Western Roman Emperor.

In contrast to most of the figures depicted in the Pāli Canon, Ananda is presented as an imperfect, if sympathetic, figure.

He is often depicted with the Buddha alongside Mahakashyapa, the first Indian patriarch.

In the film, the monster is called a Kraken, although it is depicted as a lizard-like creature rather than a squid ; and combining two elements of the myth, Perseus defeats the sea monster by showing it Medusa's face, turning the monster into stone.

Andromeda is depicted as being strong-willed and independent, whereas in the stories she is only really mentioned as being the princess whom Perseus saves from the sea monster.

His value as a war god is even placed in doubt: during the Trojan War, Ares was on the losing side, while Athena, often depicted in Greek art as holding Nike ( Victory ) in her hand, favored the triumphant Greeks.

* Lisa Simpson is delighted at the sight of a rack with Tintin and Asterix comics in a comic book store, depicted in The Simpsons episode " Husbands and Knives ".

What is the history of criticism but the history of men attempting to make sense of the manifold elements in art that will not allow themselves to be reduced to a single philosophy or a single aesthetic theory??

With classical art, all is settled.

There is the unexplainable, and there art raises questions that it does not attempt to answer ''.

Apart from the categorical imperative they derive from the metaphysics of the orgasm, the only affirmation they are capable of making is that art is their only refuge.

But it is characteristic of him, we are told, `` his little artifice '', to be able to introduce `` into a fairly vulgar and humorous piece of hackwork a sudden phrase of genuine creative art ''.

The specific analogy to the dilemma of love is the problem of the `` breakthrough '' in the realm of art.

That this abandonment takes place on a stage, during an ' artistic ' performance, is enough to associate Jacoby with art, and to bring down upon him the punishment for art ; ;

The `` reality '' to which they respond is rationally empty and their art is an imitation of the inescapable powerfulness of this unknown and empty world.

The presence of genuine mimesis in art is marked by the persistence with which the work demands attention and compels valuation even though it is but vaguely understood.

Bertha Szold was more like Meg, the eldest March girl, who `` learned that a woman's happiest kingdom is home, her highest honor the art of ruling it, not as a queen, but a wise wife and mother ''.

Let us not confuse the issue by labeling the objective or the method `` psychoanalytic '', for this is a well established term of art for the specific ideas and procedures initiated by Sigmund Freud and his followers for the study and treatment of disordered personalities.

If art is to release us from these postulated things ( things we must think symbolically about ) and bring us back to the ineffable beauty and richness of the aesthetic component of reality in its immediacy, it must sever its connection with these common sense entities ''.

The natural and primary aesthetic attitude is to enjoy contemporary art, to despise and dislike the art of the recent past, and wholly to ignore everything else ''.

It is obvious that the historian who seeks to recapture the ideas that have motivated human behavior throughout a given period will find the art and literature of that age one of his central and major concerns, by no means a mere supplement or adjunct of significant historical research.

Understanding, as he did, the difficulty of the art of poetry, and believing that the `` only technical criticism worth having in poetry is that of poets '', he felt obliged to insist upon his duty to be hard to please when it came to the review of a book of verse.

My other nugget of art and architectural knowledge -- besides remembering that it was Ghiberti who designed the doors of the baptistery in Florence -- is the three styles of Greek columns.

Criticism is as old as literary art and we can set the stage for our study of three moderns if we see how certain critics in the past have dealt with the ethical aspects of literature.

When we turn to Aristotle's ideas on the moral measure of literature, it is at once apparent that he is at times equally concerned about the influence of the art.

He assures us, early in the Poetics, that all art is `` imitation '' and that all imitation gives pleasure, but he distinguishes between art in general and poetic art on the basis of the means, manner, and the objects of the imitation.