Word: seamlessly
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...exercise room, which is covered by a "seamless epoxy floor"--one of the hardest available--water has caused hundreds of bubbles, ranging in size up to three inches in diameter and a quarterinch high. One of the less logical aspects of the damage--and there are many, according to John Lach, director of Radcliffe's facilities--is that the bathrooms and showers, just a few feet along the same floor, show no bubbles...
...task makes them a trifle selfabsorbed. "The world is a seamless web," Susan declares at one point, which means that telling the story of how they met forces them to start all the way back at the Big Bang. A corollary of this notion troubles Susan: "We don't believe that Harry Truman created the Central Intelligence Agency for the sake of this story, do we?" Fenwick does not answer...
...singers to the sets and costumes. In Giulini's hands, the final masterpiece of Verdi's old age emerged not as a simple, sometimes cruel romp, but a wise, humanistic view of life's pleasures and follies. Brimming with a youthful freshness and ardor, the seamless music of Falstaff could have been written only by a man well versed in the ways of the world. Giulini's interpretation went straight to the heart of this central paradox: fleet and light when it had to be, yet suffused with touching sympathy for Shakespeare's fat, amorous...
Atwood's air of unflappability is exactly what one would expect from the assured, seamless flow of her prove and poetry. On one level her protagonists--especially Rennie Wilford, the young "life styles" journalist central to Bodily Harm--are smooth and sophisticated, gliding productively through life. It is this apparent power, most likely, that prompts so many feminists to claim her work as the ideological property of the women's movement, a tendency which leads naturally to the temptation to dismiss her male supporting characters as evil insensitive foils for the struggling females. The temptation is false, through: Atwood...
...piece throughout"-that, certainly, was true of De Stijl design. Its aesthetic was seamless, from painting to furniture to architecture, where it made few concessions to the flabby and imperfect human body. Gerrit Rietveld's penitential chairs, rigidly geometric and painted in their bright, winking primaries, go far beyond the ordinary level of Bauhaus discomfort as practiced in the '20s. Yet one cannot imagine Rietveld's masterpiece, the tiny Schroder house in Utrecht, being furnished with anything else. Such interiors were not open to redecoration: the pattern is absolute, the space a sermon. One would need...