line

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Line

1. In technical analysis, a situation in which the supply and demand for a security are largely the same. A line means that the security is unlikely to see any rapid fluctuation in price. It is called a line because, when plotted on a graph, it looks like a roughly horizontal line. Technical analysts look for signals that a line is ready to break one way or another before recommending that investors take a position on a security.

2. Informal; workers in a large, industrial company. They are called the line because, historically, they assembled the parts of a product while literally standing next to each other in a long line, also called an assembly line.

line

In technical analysis, a horizontal pattern on a price chart indicating a period during which supply and demand for a security are relatively equal. Technical analysts generally look for the price to break away from the line, at which time they are likely to take a position in the direction of the movement. See also making a line.
References in periodicals archive ?
According to Smith's "A Life of Pure Immanence," the divergence is also due to Deleuze's conception of life in terms of successful and failed lines of flight as immanent ethics of "good/bad" life.
Understanding is not predetermined; rather, as new knowledge is assembled and constructed, and connection/heterogeneity activated and accumulating, understanding emerges, multiplicity erupts, and this understanding in turn produces new statements, insights, lines of flight. But because "the fabric of a rhizome is the conjunction 'and ...
What Julie Webber and I proposed in Expanding Curriculum Theory (2004) was that the curriculum studies field dwells in lines of flight research, research that demonstrated the possibilities of multiplicity.
At its best, Lines of Flight provides sophisticated readings of specific scenes and elements within the novels.
(14) Likewise, Marian's response is neither simply an adaptation of defense nor a passive behavior, for, here, she begins to become her surroundings, to become a stain, losing her identity to a space in the way that characterizes the schizophrenic lines of flight in Part II.
Where should one begin in writing about the artist and his work - the organization is rhizomatic, the intentions don't proceed in a single direction but are a system of tangled paths twisting through a thicket that's never been cleared, paths that are also perhaps lines of flight? Dieter Roth often fled out of shame, out of all "aggressive modesty," as he himself called it.
."(7) Instead, you should use these strata as stationary points on which to lodge your foot so that you can push off and hopefully land on "possible lines of flight" which enable you to deterritorialize.
Lines of Flight: Mervyn Peake, the Illustrated Work will include almost 200 of the author and illustrator's delicate images, bringing to life characters from his famous Gormenghast trilogy and others, including Dr Jekyll & Mr Hyde and Treasure Island.
a social field is less defined by its conflicts and contradictions than the lines of flight running through the social life" (13) in "a series of interlocking, overlapping, discrete systems of regulation of desire, language, thought and behaviour." (14) No political theory and social philosophy but only theory of affects brings us "biological values of what are useful, beneficent, life enhancing" (15) to our understanding of social.
Firstly, the molar lines, called break lines, leading to hard segmentation, implicated in binary divisions (from the point of view of social classes, ethnicities, sexes ...), actualised at the level of history; secondly the molecular lines drawn in the milieu of the first, at the thresholds where becomings emerge, occurring in a non-chronological time; thirdly, the lines of flight, abstract, at the steepest gradients, called lines of rupture, meaning a change of threshold, a 'nothing has happened, but everything has changed', a becoming-minor, a becoming-imperceptible, which dissipates the subject to the benefit of a haecceity and which relies on a war machine.
Against this negative tendency of cartographic cinema to immobilize viewers and manage perceptions, Conley proposes that maps in films offer viewers the possibility of lines of flight, providing "a point of departure for an interpretive itinerary" that "lifts the viewer from the grip of the moving image and thus allows our gaze to mobilize its faculties." This "mobile geography," as Conley calls it (referencing Christian Metz), is a liberating prospect that stands to enlarge our appreciation of a wide range of films.