Angle Of Elevation Quotes

Abby must have been the one who found the safe house, because Townsend didn't like it. "The building across the street is under construction," he snarled as soon as we'd carried our bags inside. "The elevator has key card access, and I've hacked into the surveillance cameras from every system on the block," Abby argued. "We have a three-hundred-sixty-degree visual." "Excellent." Townsend dropped his bag. "Now the circle can see us from every angle." "Don't mind Agent Townsend, girls," Abby told us. "He's a glass-half-empty kind of spy." "Also known as the good kind," he countered. Abby huffed.

The Kissing Game goes like this, Shortcake. Press, retreat, tilt, breathe, repeat. Use your hands to angle just right. Loosen up until it’s a slow, wet slide. Hear the drum of blood in your own ears? Survive on tiny puffs of air. Do not stop. Don’t even think about it. Shudder a sigh, pull back, let your opponent catch you with lips or teeth and ease you back into something even deeper. Wetter. Feel your nerve endings crackle to life with each touch of tongue. Feel a new heaviness between your legs. The aim of the game is to do this for the rest of your life. Screw human civilization and all it entails. This elevator is home now. This is what we do now. Do not fucking stop. He

Golden hour, magic hour, l’heure bleue. Evenings when the beauty of the changing sky made us both go still and dreamy. Sunlight falling at an angle across the lawn so that it touched our elevated feet, then moved up our bodies like a long slow blessing.

All over Europe, all over the world, men were spying. While in government offices other men were tabulating the results of the spies' labours; thicknesses of armour-plating, elevation angles of guns, muzzles velocities, details of fire control mechanisms and range-finders, fuse efficiencies, details of fortifications, positions of ammunition stores, disposition of key factories, landmarks for bombers. The world was getting ready to go to war. For the cannon-makers and for the spies, business was good.

Brogan was all strong angles and broad shoulders. Normally my reaction to forced proximity with a hot guy in an elevator was that of a) glee b) praying I didn’t have horrible coffee breath, and c) the obvious hope of said hot guy jamming the big red stop button and proceeding to give a mind-blowing elevator romp.

Having perfected his arrangements, he would get my pipe, and, lighting it, would hand it to me. Often he was obliged to strike a light for the occasion, and as the mode he adopted was entirely different from what I had ever seen or heard of before I will describe it. A straight, dry, and partly decayed stick of the Hibiscus, about six feet in length, and half as many inches in diameter, with a small, bit of wood not more than a foot long, and scarcely an inch wide, is as invariably to be met with in every house in Typee as a box of lucifer matches in the corner of a kitchen cupboard at home. The islander, placing the larger stick obliquely against some object, with one end elevated at an angle of forty-five degrees, mounts astride of it like an urchin about to gallop off upon a cane, and then grasping the smaller one firmly in both hands, he rubs its pointed end slowly up and down the extent of a few inches on the principal stick, until at last he makes a narrow groove in the wood, with an abrupt termination at the point furthest from him, where all the dusty particles which the friction creates are accumulated in a little heap. At first Kory-Kory goes to work quite leisurely, but gradually quickens his pace, and waxing warm in the employment, drives the stick furiously along the smoking channel, plying his hands to and fro with amazing rapidity, the perspiration starting from every pore. As he approaches the climax of his effort, he pants and gasps for breath, and his eyes almost start from their sockets with the violence of his exertions. This is the critical stage of the operation; all his previous labours are vain if he cannot sustain the rapidity of the movement until the reluctant spark is produced. Suddenly he stops, becoming perfectly motionless. His hands still retain their hold of the smaller stick, which is pressed convulsively against the further end of the channel among the fine powder there accumulated, as if he had just pierced through and through some little viper that was wriggling and struggling to escape from his clutches. The next moment a delicate wreath of smoke curls spirally into the air, the heap of dusty particles glows with fire, and Kory-Kory, almost breathless, dismounts from his steed.

The photographer was taking pictures with a small pocket camera but the sergeant sent him back to the car for his big Bertillon camera. Grave Digger and Coffin Ed left the cellar to look around. The apartment was only one room wide but four storeys high. The front was flush with the sidewalk, and the front entrance elevated by two recessed steps. The alleyway at the side slanted down from the sidewalk sufficiently to drop the level of the door six feet below the ground-floor level. The cellar, which could only be entered by the door at the side, was directly below the ground-floor rooms. There were no apartments. Each of the four floors had three bedrooms opening on to the public hall, and to the rear was a kitchen and a bath and a separate toilet to serve each floor. There were three tenants on each floor, their doors secured by hasps and staples to be padlocked when they were absent, bolts and chains and floor locks and angle bars to protect them from intruders when they were present. The doors were pitted and scarred either because of lost keys or attempted burglary, indicating a continuous warfare between the residents and enemies from without, rapists, robbers, homicidal husbands and lovers, or the landlord after his rent. The walls were covered with obscene graffiti, mammoth sexual organs, vulgar limericks, opened legs, telephone numbers, outright boasting, insidious suggestions, and impertinent or pertinent comments about various tenants’ love habits, their mothers and fathers, the legitimacy of their children. “And people live here,” Grave Digger said, his eyes sad. “That’s what it was made for.” “Like maggots in rotten meat.” “It’s rotten enough.” Twelve mailboxes were nailed to the wall in the front hall. Narrow stairs climbed to the top floor. The ground-floor hallway ran through a small back courtyard where four overflowing garbage cans leaned against the wall. “Anybody can come in here day or night,” Grave Digger said. “Good for the whores but hard on the children.” “I wouldn’t want to live here if I had any enemies,” Coffin Ed said. “I’d be scared to go to the john.” “Yeah, but you’d have central heating.” “Personally, I’d rather live in the cellar. It’s private with its own private entrance and I could control the heat.” “But you’d have to put out the garbage cans,” Grave Digger said. “Whoever occupied that whore’s crib ain’t been putting out any garbage cans.” “Well, let’s wake up the brothers on the ground floor.” “If they ain’t already awake.

John Vernall lifted up his head, the milk locks that had given him his nickname stirring in the third floor winds, and stared with pale grey eyes out over Lambeth, over London. Snowy's dad had once explained to him and his young sister Thursa how by altering one's altitude, one's level on the upright axis of this seemingly three-planed existence, it was possible to catch a glimpse of the elusive fourth plane, the fourth axis, which was time. Or was at any rate, at least in Snowy's understanding of their father's Bedlam lectures, what most people saw as time from the perspective of a world impermanent and fragile, vanished into nothingness and made anew from nothing with each passing instant, all its substance disappeared into a past that was invisible from their new angle and which thus appeared no longer to be there. For the majority of people, Snowy realised, the previous hour was gone forever and the next did not exist yet. They-were trapped in their thin, moving pane of Now: a filmy membrane that might fatally disintegrate at any moment, stretched between two dreadful absences. This view of life and being as frail, flimsy things that were soon ended did not match in any way with Snowy Vernall's own, especially not from a glorious vantage like his current one, mucky nativity below and only reefs of hurtling cloud above. His increased elevation had proportionately shrunken and reduced the landscape, squashing down the buildings so that if he were by some means to rise higher still, he knew that all the houses, churches and hotels would be eventually compressed in only two dimensions, flattened to a street map or a plan, a smouldering mosaic where the roads and lanes were cobbled silver lines binding factory-black ceramic chips in a Miltonic tableau. From the roof-ridge where he perched, soles angled inwards gripping the damp tiles, the rolling Thames was motionless, a seam of iron amongst the city's dusty strata. He could see from here a river, not just shifting liquid in a stupefying volume. He could see the watercourse's history bound in its form, its snaking path of least resistance through a valley made by the collapse of a great chalk fault somewhere to the south behind him, white scarps crashing in white billows a few hundred feet uphill and a few million years ago. The bulge of Waterloo, off to his north, was simply where the slide of rock and mud had stopped and hardened, mammoth-trodden to a pasture where a thousand chimneys had eventually blossomed, tarry-throated tubeworms gathering around the warm miasma of the railway station. Snowy saw the thumbprint of a giant mathematic power, untold generations caught up in the magnet-pattern of its loops and whorls. On the loose-shoelace stream's far side was banked the scorched metropolis, its edifices rising floor by floor into a different kind of time, the more enduring continuity of architecture, markedly distinct from the clock-governed scurry of humanity occurring on the ground. In London's variously styled and weathered spires or bridges there were interrupted conversations with the dead, with Trinovantes, Romans, Saxons, Normans, their forgotten and obscure agendas told in stone. In celebrated landmarks Snowy heard the lonely, self-infatuated monologues of kings and queens, fraught with anxieties concerning their significance, lives squandered in pursuit of legacy, an optical illusion of the temporary world which they inhabited. The avenues and monuments he overlooked were barricades' against oblivion, ornate breastwork flung up to defer a future in which both the glorious structures and the memories of those who'd founded them did not exist.

Raucous laughter drew my attention and I looked into the far corner, spotting Roxy Vega clambering up onto the table while two of her powerless little friends watched excitedly. She still had her uniform on and I wondered how long they’d been here, hiding themselves with that spell. It was a pretty clever way to avoid the Hell Week chaos going on back at the House even if they were being stupid by staying out after curfew. But then I could hardly talk on that front “Far be it for you to not go through with the... for me to not to go through to do the daring...” Roxy was slurring and she stumbled, almost falling from the table even though she was only wearing flat pumps. The guy leapt up and caught her waist to steady her and my gut lurched irritably as his hand skimmed her ass. I bit my tongue, turning away from them as I crossed the room in search of my drinks. I didn’t think I’d seen her that wasted before and a Tuesday evening in The Orb seemed like an odd venue to choose for a bender. But that was her business. “I only came up with that dare because I didn’t think you’d actually lose!” the girl protested. “I am not usually one for losing, Sofia,” Roxy agreed. “But I will never back out of a dare and you ordered a strip show.” I paused a few meters from the ice chiller, fighting against the urge to look back over to them again. Roxy Vega might have been the most irritatingly rude and stubborn girl I’d ever met but she was fucking hot. And with the stupid games we played together while I was tutoring her in her fire magic I had to admit that I’d imagined her stripping for me more than once. The guy muttered something in Spanish and the tone of it made me think she’d started to pull her clothes off. I fought the urge to turn with clenched teeth then continued my mission for beer, deciding to skip the food in favour of sleep. I snagged a six pack from the chiller and turned back, meaning to head for the exit. Of course my goddamn dick wasn’t going to let me leave without looking over at Roxy again, it didn’t care that I had to get rid of her or that she irritated me more than any woman ever born. Her blazer already lay in a heap on the floor and she was fumbling with the buttons on her shirt, her inebriation obviously slowing her down. But the way she was swaying her hips and tossing her long, black hair still made her look sexy as hell. Her pleated skirt fell to her mid thigh, giving me a look at several inches of bare flesh between it and the top of her knee length socks, but the elevated angle of looking up at her on the table made it seem like her bronzed legs went on forever. “Why don’t you do another dare?” the boy protested. “Go for a run in The Wailing Wood?” “Don’t be crazy,” Sofia objected. “There could be a Nymph out there!” (Darius POV)

She smiled, nodded, and kept walking. She waved her badge at the proximity sensor, stepped into the revolving door, and entered the cavernous atrium. Right in the center, surrounded by tropical foliage, was a huge bronze globe, the continents sculpted in sharp relief. On the front of the globe, set at a jaunty angle, was the Gifford Industries logo, which couldn’t have been more hokey: retro squared-off streamlined script that must have looked futuristic when it was designed in the 1930s. A couple more people waved at her, flashed sympathetic looks, and she ducked into the express elevator to the twenty-fourth floor. She slid her security card into the slot, and the elevator rose. The lights in the executive suite were already on, which surprised her. She was normally the first one in. She passed her prox badge against the sensor until it beeped, then pushed open the glass doors. When she rounded the corner, she saw someone sitting at her desk. Noreen Purvis.         23.

You don’t necessarily have to find your exact idea on Amazon.  It’s good to have something unique to offer the marketplace.  But it’s important to know if similar ideas sell well.   For instance, let’s say you’re in the fitness and nutrition tips for women market.  You’re not sure if this topic has a readership in the digital platform.  So you’ll hop over to Amazon.com to see what sells.   What you find is a variety of titles that sell (at least) 10+ copies each day: ** 1 Day Diet (#8,598) ** Running Sucks (#4,626) ** Flat Belly Diet (#10,823) ** The New Abs Diet for Women (#8,910) ** Six Weeks to Sleeveless and Sexy (#9,973) All these ideas are geared towards the fitness/nutrition for women market.  So this is good evidence that people are buying this kind of information.  Step #4: Find a Hook for Your Book Right now, you might have a single great idea or you might have a bunch of different topics.  What you need to do next is to take each idea and find an angle that will help it sell. It’s not enough to write about a benefit (i.e.: lose weight, get a girl, start a business).  Instead you want a compelling title that grabs people’s attention.  What you want is a “hook.” A hook is the desired outcome the reader receives when he or she applies what you teach.  Done correctly, the hook is an elevator pitch that explains your core concept in a punchy sentence.  Personally, I think it’s important to find your hook before you write your book.  That way you’ll have a rough idea of what information to include.  A hook can include a number of factors: ** An attention grabber (Running Sucks, Super Brain, Why Men Love Bitches) ** A benefit-driven title (Getting Things Done, How to Win Friends and Influence People, Love Yourself Like Your Life Depends on It) ** A time-specific result (4-Hour Work Week, The 17-Day Diet, 21 Days to a More Disciplined Life) ** A numbered list of content (21 Prayers of Gratitude, How to Make Him Beg to Be Your Boyfriend in 6 Simple Steps, 52 Small Changes) ** A keyword-specific title (Make Money Online, How to Lose Weight Fast, Get a Girlfriend) You can use more than one hook. Some people combine a few to come up with an interesting title. EXAMPLE: Last month I published an eBook titled: My Blog Traffic Sucks!  8 Simple Steps to Get 100,000 Visitors without Working 8 Days a Week. This was a unique hook because it had multiple factors in the title: ** An attention grabber (My Blog Traffic Sucks!)

One of the most poignant of architectural metaphors is to be seen in the Holocaust Museum in Berlin by Daniel Libeskind (Figure 107). Its form abounds in sharp points from the plan to the shape of openings. Its cladding in zinc copper titanium alloy adds menace to the razor-sharp edges and angles. The apparently arbitrary positioning of openings in the elevations originate in lines connecting the addresses of Jewish victims of the Nazis across Berlin. Vigorously clashing shapes put the finishing touch to a building which is a most eloquent memorial to the suffering of the Jews in the Second World War. It is the architectural equivalent of Picasso’s Guernica .

Cassian angled his head. 'What happened before the disaster that was last night?' ... When Rhys didn't answer, Cassian said, 'Rhys.' Rhys didn't look at him as he whispered, 'The baby has wings.' Joy sparked through Cassian- even as the broken whisper and what those words meant made his blood go cold. 'You're sure?' 'We had an appointment with Madja this morning.' 'But he's only a quarter Illyrian.' It was possible, of course, for the baby to have inherited wings, but unlikely, given that Rhys himself had been born without them, and only conjured them through whatever strange unearthly magic he possessed. 'He is. But Feyre was in an Illyrian form when he was conceived.' 'That can make a difference? I thought she only made the wings- nothing else.' 'She shape-shifts. She transforms her entire self into the form she takes. When she grants herself wings, she essentially alters her body as its most intrinsic level. So she was fully Illyrian that night.' 'She doesn't have the wings now.' 'No, she shifted back before we knew.' 'So let her change back into an Illyrian to bear the babe.' Rhys's face was stark. 'Madja has put a ban on any more shape-shifting. She says that to alter Feyre's body in any way right now could put the baby at risk. On the chance that it could be bad for the baby. Feyre is forbidden to so much as change the colour of her hair until after the birth.' Cassian raked a hand through his hair. 'I see. But, Rhys- it'll be all right. It's not that bad.' Rhys snarled. 'It is bad. For so many gods-damned reasons, it is fucking bad.' Rhys was as close to being beside himself as Cassian had seen him since he'd returned from Amarantha's court. 'Breathe,' Cassian said calmly. Rhys's eyes simmered, the stars within them winked out. 'Fuck you.' 'Take a breath, Rhysand.' Cassian gestured to the window behind him, the lawn sloping down to the river. 'You want to go fight it out, I've got energy to burn.' The study doors opened, and Azriel walked in. From the grim expression etched on his face, he already knew. Azriel claimed the seat beside Cassian. 'Tell us what you need, Rhys.' 'Nothing. I need to not fall apart so my mate doesn't pick up a whiff of this when she comes home for lunch.' Rhys narrowed his eyes, and power rumbled in the room. 'No one says a word about this to Feyre. No one.' 'Didn't Madja warn her?' Azriel asked. 'Not strongly. She only mentioned an elevated risk during labour.' Rhys let out a harsh laugh. 'An elevated risk.

For destructive purposes—well, when it came to warfare, there wasn’t much a mounted elephant couldn’t do. The siege engines of the day, a fully armored elephant with spikes mounted on its tusks and a fortified howdah tower on its back could also function like a Sherman tank. Able to achieve speeds of up to twenty miles per hour, and covered with a hide that could absorb dozens of arrows and musket shots alike, a trained war elephant was more than capable of breaking even the most stubborn of enemy lines, trampling infantry and skewering cavalry horses on its bladed tusks. They provided an elevated vantage point for commanders, and a well-angled shot for mounted archers and snipers. A full complement of military elephants was essential for

Riley scooched through a hole he knew about in the fence and carefully headed toward Mr. Jenkins’s elevated back porch. It was made of concrete and free of snow, shielded by an angled aluminum awning overhead. As he moved closer, Riley could see the tops of a pair of tan boots peeking out of a wooden crate pushed into a corner where the porch’s railings met the house’s brick wall.

That’s when I saw it. From the elevated angle, looking down through the porthole-like glass door in the elevator, I could see a man’s wrist. It was thick and pale and on it was a Rolex. A gold Rolex with a black face.

The Benefits of Furniture 3D Rendering for Custom Designs Benefits of Furniture 3D Rendering for Custom Designs Customers crave personalization, especially when it comes to furniture. Imagine this: You’re shopping for a dining table, but none of the options fit your space or style perfectly. Wouldn’t it be great if you could tweak the design, change the color, or adjust the dimensions to suit your preferences? This is where 3D rendering for custom furniture designs comes in, revolutionizing the industry and making personalization a breeze. From offering lifelike visuals to streamlining the design process, 3D product rendering services have become a game-changer for furniture retailers, manufacturers, and customers alike. Let’s dive into how 3D furniture design, 3D product visualization, and 3D furniture models are reshaping the furniture customization experience. What is Furniture 3D Rendering? First, let’s clarify what we mean by furniture 3D rendering. In simple terms, it’s a technology that creates realistic, computer-generated images of furniture designs. These designs can range from simple chairs to complex modular systems. What makes it special? The ability to customize every detail and visualize the final product with stunning accuracy. Unlike traditional sketches or 2D drawings, 3D furniture models allow you to see how a piece will look from every angle, in various materials and finishes, even before it’s built. Why is 3D Rendering Essential for Custom Designs? Custom furniture design often comes with challenges: meeting customer expectations, managing production costs, and ensuring flawless execution. Here’s how 3D product rendering services solve these issues: 1. Bringing Ideas to Life Describing it in words or rough sketches can lead to miscommunication. With 3D product visualization, designers can translate these ideas into realistic models, making it easier for customers to see their vision come to life. Imagine being able to adjust the size, color, or material of a couch and instantly viewing the changes on-screen. This level of interactivity makes the design process exciting and collaborative. 2. Eliminating Guesswork One of the biggest pain points in custom furniture design is uncertainty. Customers often worry: “Will this color match my living room?” “Will the table fit in my dining area?” 3D furniture design removes this uncertainty by providing photorealistic visuals. Some services even allow customers to use augmented reality (AR) to virtually place the furniture in their space, ensuring it’s the perfect fit. 3. Reducing Costs and Errors In traditional furniture customization, errors during production can be costly. A miscalculation in dimensions or a misunderstanding about the design can lead to wasted materials and delayed timelines. By using 3D furniture models, manufacturers can catch potential issues early. How 3D Product Visualization Enhances Custom Furniture Experiences Customization isn’t just about making changes; it’s about making the process enjoyable and rewarding for customers. Here are some ways 3D product visualization elevates the experience: Interactive Customization Through interactive 3D tools, customers can mix and match materials, try different finishes, and even adjust design elements like armrests or leg styles. This hands-on approach makes them feel more connected to the product, increasing satisfaction and loyalty. Speeding Up Decision-Making The ability to see real-time changes to designs helps customers make decisions faster. They no longer have to imagine how a walnut finish might look compared to oak—they can see it immediately. Showcasing Versatility For businesses, 3D furniture models are a fantastic way to showcase a single product’s versatility. For example, a modular sofa can be displayed in various configurations, sizes, and colors, all without the need for multiple physical prototypes.

With a staff of 172, including 18 cameramen dressed as SA men so they would blend into the crowd, Riefenstahl shot the week’s events from every conceivable angle, using techniques that had never been tried in a documentary before—cameras on dollies moving along tracks, cameras mounted on elevator platforms for dynamic aerial views, cameras in pits dug at ground level for shots upward at the looming Nazi figures. And the cameras caught it all: a half million uniformed party members

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