Sentence examples for describing a space from inspiring English sources

"I heard them at Henley in July — they were beautiful there," she said, like a Deadhead describing a space jam.

"I'm not a writer, but what I try to do to set myself apart is write descriptions that somehow evoke a feeling instead of just describing a space," said Ms. Cangiano of Halstead.

So from Kant's point of view, although various kinds of motion are considered in the critical philosophy including the so-called motion of the subject in describing a space, the motion of a mathematical point through space, and the motion of a massive body through space no kind of motion can be considered within the context of the Aesthetic (see Pollok 2006).

A multilayered novel describing a space-station in a hollowed-out asteroid, built by a long-gone alien race who had left behind hundreds of space ships which humanity was learning to operate through trial and error, the novel also scooped the Locus, Nebula and John W Campbell awards and is considered a major milestone in SF writing today.

For example, the Puebla Panamá Plan which sought to facilitate commercial exchange and to develop common infrastructures used the concept of "Meso America" to describe a space defined by Belize, Costa Rica, El Salvador, Guatemala, Honduras, Nicaragua, Panama, and the southeastern states of Mexico.

In its report to the President, the shuttle panel describes a space agency as on the brink of disaster for months before the 74-second flight of the Challenger, an agency so driven to meet its own schedule that it was increasingly unable to train its crews properly or even find spare parts for its spacecraft.

The term "Existing Conditions" refers to an architectural report that describes a space as it is, before construction can start.

But I'm cautious about anything that describes a space within a certain distinct limitation.

Seeking to "construct an energy field describing a human space in space," Gormley buoyed a human form within wire-mesh clouds constructed along the orthogonal lines generated by the body's mass.

These strategies can be classified into four main categories: The first strategy is to constrain the complete set of EMs (or EXPAs) to a subset describing a phenotype space or a set of phenotypic data.

"Basically the hands are there to describe a certain space of the sound and to shape that imaginary material," Mr. Nézet-Séguin said.