She already sets each act in a distinctly different hue: She's a shyly brave girl in Act I; a coolly remote vision in Act II; a young woman illumined by love in Act III.
In Act I, her Aurora is learning to be a princess, still excited by the way everything is happening to her for the first time; in Act II, she's a remote, pure Vision but imbued by sorrow.
This installation piece with "surveillance dolls" that had their eyes replaced by cameras (what we know as the nanny cams today) would both understand the doll and the viewer as cyborgs, as the viewer used the doll's eyes in order to extend their own remote vision.
The add-ons include an infrared night vision camera with a remote zoom for use as a baby monitor.
In The Miracle of Castel dI Sangro, by Joe McGinniss (Broadway, $14.95), the author of "Fatal Vision" travels to a remote Italian village to chronicle the efforts of the local soccer team to recreate its Cinderella season of a year earlier.
All you need is vision, charisma, and maybe a remote farm to isolate your followers and feed them a steady diet of venison chili and mescaline.
The vision of a quick, clean strike at a remote desert installation for making weapons of mass destruction is seductive.
Jakub Julian Ziolkowski's idiosyncratic vision, meanwhile, is grounded in his childhood in Zamość, a remote city with a dark history of Nazi violence.
By Shantha Bloemen GISENYI, Rwanda, 23 June 2010 – Aspiring filmmakers in a remote village in Rwanda now have an exciting opportunity to share their vision of the world.
When done properly, a remote culture can be just as strong as a local one, because culture comes from a shared vision, not a shared space.
