"It's an act that defies the necessary dramatic reduction". He demonstrates this assertion, by the way, with references to "Les Misérables" and a cluster of magician's balls as visual aids.
As the next section demonstrates, this assertion is strongly supported by a multiplicity of indirect evidence.
However, few studies have empirically demonstrated this assertion.
The claim is made that statistics demonstrate these assertions, but he fails to name the studies and identify who did them, and he doesn't say what exactly was being studied.
It would be important to formally demonstrate these assertions with rescue experiments in the different tissues, or as noted in prior reviews, to consider and test alternative explanations including the presence or absence of external stressors.
For the images, demonstrating these assertions, we refer to the Figures 13-15 in the Appendin.
We present results obtained by using training data generated from both simulators as a means to empirically demonstrate that assertion.
The evidence for this assertion comes from studies that demonstrate a differential treatment effect of artificial nutrition in different subgroups of ICU patients.
Here, we use the results of a carefully designed series of tests conducted in the Delta Flume, the Netherlands, as part of the Barrier Dynamics Experiment (BARDEX), to unequivocally demonstrate the validity of this assertion.
To demonstrate that dubious assertion, he picked up a sheet covering a body and said, "See, there he is; now I've found him," and flippantly put the sheet back down.
Grimacing, perspiring, gesticulating, he and the actors in "No Exit" demonstrate Roland Barthes's assertion, in his essay "Two Myths of the New Theatre," that "in the bourgeois theatre, the actor, 'devoured' by his role, is supposed to seem fired by a veritable conflagration of passion".
