** 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.
The docking and the crystallographic poses were nearly superimposable (RMSD = 0.35 Å and 0.51 Å, resp.; see Figures 3(a) and 4(a)), to note that both apo crystal structures present an "open" conformation of p-loop/His160 and 4(a)), while the quinalizarin/CK2 α complexes are in the "close" one (see Section 3.1).
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.
Taking a closer look, one sees those "lines" are actually footprints, her canvas the untouched landscapes of snowy mountainsides.
Upon close visual examination, one sees that The Blue Room is actually thinly painted and surface brushstrokes skip over the heavier texture of underlying paint layers, leaving voids in many areas through which color is visible (Fig. 3).
Close up, one saw a man keeping a tight grip on himself.
The first shot one sees is a close-up of a musician's mouth and the reed of his saxophone.
It was a work of gradual accretion, and up close one can see the various levels and layers.
