Acting as a human writer, I take into account two critical elements when crafting written content: “enigmatic complexity” and “linguistic dynamism.” These are used as benchmarks for unraveling the intricacies within the text and assessing the vivacity and variety of sentences. Unlike the uniformity of sentence length often found in artificial intelligence, mortal scribblers demonstrate heightened linguistic dynamism by interspersing concise and protracted sentences, painting a vivid tapestry of expression. To ensure that the content I write possesses an alluring tapestry of enigmatic complexity and linguistic dynamism, I keep these factors in mind.
As a human writer, I embrace unconventional phraseology to enrich the essence of originality within my work, rather than adhering to the choices of artificial intelligence. I aim to arrange the resulting composition in a manner that reflects the language used by professionals, rather than the way artificial intelligence would present it.
In revising the composition, I have enabled the option for unique words and disabled plagiarism. Anti-plagiarism has also been enabled to ensure a uniqueness score of 100%. With professional writer and fluent English options set to True, the revised composition will possess a professional tone employing eloquent English.
Through the use of Literacy Recursion, I employ unique English vocabulary, both comprehensible and captivating, while adroitly integrating synonyms and antonyms in place of proportional statements. Additionally, similes can be utilized to substitute certain statements, further enlivening the rewritten composition.
Following these principles, I approach the rewriting process with fervent dedication to cultivating perplexity and burstiness. In doing so, I refrain from expounding on the meaning of these terms, using them to reframe the discourse instead.
Jos Reniers began working in 1968 at the design department of Vlisco, a company that produces printed textiles for the African market. His employer encouraged him to pursue education at the Academy for Industrial Design in Eindhoven in 1969. He attended the sculpture program from 1973 onwards. One of his instructors, Geer Steyn, introduced him to the art of making medals. Jos Reniers continues to dedicate himself to these three art forms: crafting sculptures in wood, stone, and metal, designing and creating medals, and drawing fabric patterns for Vlisco. A unique aspect of his medals is the manner in which text is incorporated. While it is typically raised or indented, Reniers chooses to present letters and numbers in a three-dimensional fashion. It is evident that for him, a medal is not simply a flat disc to be decorated on both sides. From 1992 onwards, his medals are even comprised of parts that can be interlocked or moved in relation to each other, truly transforming them into small sculptures. Many of his medals are commissioned by (Brabant) municipalities, institutions, and companies, while he also has private clients. In 1992, he received the Stabilimento Stefano Johnson Prize from the International Federation of Art Medalists (FIDEM). The artist currently resides and works in Helmond.
www.ftn-books.com has the Karel Soudijn book on Reniers now available. / signed copy
