With video, it's all about focusing on the sequences, thinking in sequences and then shooting the next sequence.
In 1963, the year Betty Friedan published "The Feminine Mystique," Rich published her first great book, "Snapshots of a Daughter-in-Law," with its indelible title sequence: A thinking woman sleeps with monsters.
Taken together, they form a suite of sorts — "Nemeses: Short Novels," as Roth has taken to calling them, "a sequence of thinking on my part about cataclysm". Yet here again, Roth raises a compelling set of distinctions, between the writer and the character, between the author and his work.
We have a general sequence, we're thinking of each individual sample individually, each one of those pops the system, and because of linearity, the response is the sum of those individual responses.
One of the signal differences between traditional television and online video is that few things on the Internet even pretend to be live, and the heavy-handed editing of these interview sequences characterizes that thinking.
With the advent of next-generation sequencing, this thinking is now becoming possible.
"Whenever we see a peculiar fragment of DNA, we're thinking about sequencing it, characterizing it, and putting it in the context of the genomes of the world," Mason says.
Although the perfect reconstruction criterion is suitable in the context of carrier screens, when thinking about sequencing in the context of association studies, a more suitable criterion for optimization is the probability of successfully sequencing an individual at a given location.
The advent of molecular biology has made it possible to classify bacteria on the basis of similarities among DNA sequences, and has revolutionized thinking in bacterial systematics.
You must go to the actual books, where those sequences are enacting and thinking about the poem as a mind, as you say, like, sort of at war with itself.
