Sentence examples for line of movement from inspiring English sources

Taylor-style, the dancing is a continuum, a line of movement studded with curves, little beats, tilted bodies and the high lifts common to ballet.

Whereas Earth-bound observers see the collision in the Bullet Cluster from the side, the Hubble sees the new collision along the line of movement, as if standing on a train track watching two locomotives crash head-on.

To ascertain minimum force during FA movement, the projected line of movement trajectory on x-y plane was parallel to the projection of strut which connects the moving node.

We hypothesize that an organized cluster of cells leading the line of movement occasionally shed cells along the way, and that these cells subsequently divided, decreasing the amount of 32P per cell (Figure 2d) and filling in the line of growth between the center and the edge of the plate after the leading cluster of cells halted at the edge of the plate.

The chemotactic index (CI) is equal to the cosine of the angle formed between the line of movement of the cell and the line representing direct movement to the chemoattractant (Iijima and Devreotes, 2002).

The turbulent sea, evoked in their rocking, pulling conjoined lines of movement, becomes an analogue of their emotions, even though their faces remain blank, frozen by terror.

This work for 16 dancers has an improvisatory quality, spinning lines of movement to match the winding phrases of Berio's violin duet.

The solitary line of the piano is wound through a series of improvisatory solos, while the architecture of Bach's composition is embodied in powerfully hewn lines of movement, the dancers' muscular hieroglyphic gestures writing a commentary on the score.

RICK OWENS designs are decidedly kinetic; the pieces are made to elongate lines of movement in three dimensions, whereas most clothing is spatially flat — conscious mainly in front and back, and best when standing still.

By contrast, there's a later section where the lines of movement are so speeded up and crowded together that the dancers seem to converge thrillingly and recklessly into a human threshing machine.

With a chorus of 12 and three principal couples, he fills the stage with swerving, criss-crossing lines of movement, and the space is made even more concentrated by John Macfarlane's set, a painted canopy streaked in greys and blacks (to match the grey-white-blue palette of the costumes) and a steep rank, down which the dancers frequently make a sliding, skidding entrance.