When viewing a Close portrait up close, one sees abstract marks on the canvas, concentric rings of dazzling color laid out in a grid of sometimes more than 1,000 little squares.
Up close, one sees that their fidelity is impressionistic: Wilson worked with painterly certainty to sum up atmospheres and rock forms in a few decisive strokes.
Up close one sees a pulsating pattern formed from infinitesimal circles, each consisting of a ring of three open fans, all densely and randomly overlapping but nonetheless clear.
** Auden understood, with a clarity enforced by distance he saw the shapes the blood was making, where up close one saw only the spill that Europe's murderousness took a logical form.
In an Alabama log cabin quilt, from up close one sees humble fabrics used for everyday apparel, while a distant vantage point transforms them into fields of glowing colors.
Since F ( T ) ∩ F ( S ) ∩ EP ( F ) is closed, one sees that { z n } converges strongly to z ∈ F ( T ) ∩ F ( S ) ∩ EP ( F ). Since p ∈ F ( T ) ∩ F ( S ) ∩ EP ( F ), we find from Lemma 1.6 that 〈 z n k − p, J x n k − J z n k 〉 ≥ 0. Notice that J is weakly sequentially continuous.
From afar, Kader Attia's piece looks like a sandcastle, but up-close one sees the grains which the artist carefully sculpted to look like a model of Ghardaia, a city in Algeria, that designers Le Corbusier and Fernand Pouillon borrowed from heavily but without any acknowledgement to the Mzab influence.
Indeed, this account is simply a rigidified version of metalinguistic descriptivism (for a view close to this one, see Pelczar and Raisbury 1998).
Close up, one saw a man keeping a tight grip on himself.
It was a work of gradual accretion, and up close one can see the various levels and layers.
