In Godard’s One Plus One (distributed in America as Sympathy for the Devil) the operation, the process of drawing a relation, is an end in itself. Results, after all, depend on relations —that “plus” between the “one” and “one.” And in One Plus One the result is simply what is at stake in the relations: History. More than any other film, perhaps even more than any other “work of art,”One Plus One concentrates so intently on the praxis of History, and repudiates the exis so thoroughly, that History itself is almost freed from the distortions of art, emerging as what it has always really been: a free play of relations (that undefined but not undefinable “plus”), the result of which (“makes two”) can be left unsaid because it is re-created at every moment.
One Plus One is composed of ten sequences of roughly ten minutes duration apiece. Each sequence, or, technically, each plan-sequence, is a single continuous shot complete with synchronous sound, the camera sometimes remaining fixed, sometimes moving about quite freely. Each of them is interrupted momentarily from time to time either visually, by intercut shots of a young girl (Anne Wiazemsky) painting various political graffiti, or aurally, by a voice-over reading of a sordid “political novel,” the characters of which are named after world leaders or international figures.
There are two clearly distinct sets of sequences in the film: “Stones sequences,” in which the Rolling Stones are shown rehearsing in a recording studio, and “other than Stones sequences,” among which are two sequences depicting black militants in an automobile junkyard, an interview in a forest with a young girl named Eve Democracy, a sequence in a pornography bookstore, and, closing the film, a sequence on the beach which depicts the symbolic death of Eve Democracy. These two sets of sequences are equally weighted structurally: there are five “Stones sequences” and five “other than Stones sequences” alternating throughout the film in an AB AB AB AB AB pattern.
Even disregarding for a moment the intercut material (which embroiders upon the film’s basic structure without altering it), let us note Godard’s paradoxical structural achievement of a film cle montage composed of raw material that would seem to be the essence not of montage but of what is usually considered its polar opposite—mise-en-scène shooting. In fact, the planséquence was heralded by André Bazin, the prophet of mise-enscène, as the royal road to the salvation of the cinema; while montage, for Bazin, was forbidden as the domain of the damned. And in One Plus One Godard even ventures into the terrain of Hitchcock, the master of mise-en-scène shooting, whose film The Rope was composed of eight plans-sequence, each of which advanced the narrative by a complicated, continuous traveling movement of the camera. But while Godard pushes the potential of the plan-sequence to the point of creating a feature film out of ten shots of nearly ten minutes duration apiece, unlike Hitchcock (and the Bazin school), Godard refuses to utilize the plansequence for narrative purposes, and, instead, he utilizes it solely for its simplicity and insistent presence; while montage—although reduced to an elementary juxtaposition of disparate, seemingly unrelated long takes—is nonetheless reaffirmed as the basic combustion element that creates intellectual relations and sense. Or, as Eisenstein put it, “By the combination of two ‘depictables’ is achieved the representation of something that is graphically undepictable.”
In One Plus One this preeminence of montage is further accentuated by the opposition and interplay between the ten plansséquence, on one hand, and the aural and visual intercut material mentioned earlier. Through the use of synchronous sound the plans-séquence are all presented in a unity of image and sound; the intercut material, however, is presented now in image alone, now in sound alone, and often with the intercut aural material over the intercut visual material. But in no case is the intercut material presented in the synchronous unity of image and sound that we find in each of the plans-séquence.
Thematically, the opposition (set up by the montage) between the intercut material and the material of the ten plansséquence presents a dialectic between two different faces of contemporary reality—and of History itself. One Plus One is characteristic of Godard’s work in that it presents one of the faces of reality in the mask of fiction and sets up a subtle dialectic between fiction and reality. Sometimes in Godard’s films it is a character, or group of characters, who confuses fiction and reality: in A bout cle souffle Michel Poiccard (Jean-Paul Belmondo) imitates Humphrey Bogart, and even dies à la Bogie; so does the group of would-be outlaws in Bande à part —with Arthur (Claude Brasseur) even out-dying Bogie; in Le Mépris the scriptwriter Paul Javel (Michel Piccoli) becomes the victim of a fiction, the story of Ulysses, which is superimposed above the real action of his wife’s growing contempt for him; and in Pierrot le fou the lead character is called by two names, Pierrot and Ferdinand, and admits to feeling like “un homme double” who is unable to sort out the real from the fictional self. In still other Godard films the split between fiction ànd reality is implicit in a split between two distinct “worlds”: in Alphaville the world of logic (the city of Alphaville) is cut off from the world of the emotions (“les pays extérieurs”) ; in Masculin-Féminin the world of youth is cut off from the world of adults; and in La Chinoise the world of the youthful communards is cut off from the day-to-day realities of the society they seek to change.
In One Plus One the sordidness of political intrigue which in Made in USA was the reality of contemporary life has passed over into the world of fiction. Further, it has moved from the synchronous unity of image and sound to the sound track alone: it is no longer the labyrinth in which we are forced to grope, but only a disembodied voice—a récit that is no longer even a récit filmique but purely and simply a récit parole.
“Power politics,” the comings and goings (especially the comings) of presidents, prime ministers, popes, and princesses, the “news” we have been conditioned for so long to regard as momentous events shaping contemporary history—all of this is suddenly seen to be nonessential, negative, of no real significance: it is all a cheap novel that can be read just the way cheap novels are usually read—at random, by skipping back and forth from one scabrous passage to another. The novel in One Plus One is, in fact, read at random; and the voice-over interruptions seem to occur at random. There is, however, a significant pattern of these interruptions : the frequency with which the sordid “high society” world of the voice-over novel breaks in upon the Stones sequences seems to suggest an affinity and overlapping between these two elements; while there is only one brief aural interruption of each of the black sequences, suggesting that there is very little these two elements have to do with each other, and that the blacks, because they are excluded from white society, are relatively immune to the viruses of the power elite and its parasites. Moreover, far from being random in their intrusions, the words of the voiceover novel are carefully timed to coordinate with a particular word or image (or both) from the plan-sequence material or with an image from the intercut material. Thus, Godard sets up a subtle audio-visual interplay of connotations from one element to another, with these connotations serving as the transitional raccords between two different shots or two fragments of the sound track. In addition, Godard’s use of hand-printed inter-titles to introduce each plan-sequence is designed to enrich the printed words—through selective underlining, suggestive typography, and the use of different colored crayons for the lettering—so that they, too, like the other elements of the film, can generate a multiplicity of relations.
On one hand, then, the film presents the conventional reality of power politics in the form of a fragmented and disembodied fiction—and Godard’s systematic undermining of the old tyranny of narrative has now reached the point of demonstrating, as a parting blow, that the narrative is such an authoritarian structure that even fragmented narrative is actually a perfect vehicle for the sordid smut of fascism. On the other hand, the film presents staged material (all of the plans-séquence are made up of staged material—including the Stones’ rehearsal, since even a “real” rehearsal is transformed into a performance by the simple presenee of the camera) in straightforward documentary fashion, without the slightest recourse to narrative. In short, an important dialectical reversal is involved here, for the real becomes fictional and the fictional becomes real.
As Hegel pointed out, reality is two-faced: there is a negative, nonessential face of reality, as well as a positive and essential face; and History inevitably passes through a phase wherein what will ultimately prove to be positive and essential appears to contemporary observers to be negative and nonessential. But as History unfolds, the real truth of a situation surfaces; the negative, nonessential face of contemporary reality begins to recede (is sublated); and through this process of reversal, the positive and essential face of History comes to the forefront.
In One Plus One, and specifically in the central sequence entitled “The Heart of Occident,” we can see even the moment when the major currents of our reality come together, that instant when the changing tides of History bump up against each other; when the old outgoing tide seems to retain just enough of its former strength to dominate for one last moment the first swellings of the new incoming tide. For once in the film the fascism of the Word is reflected in the Image, where we see the myriad images of sadism, perversion, war, crime, and violence on the covers of row upon row of sex magazines, scandal sheets, and cheap novels—plus some film magazines as well, to remind us that we too get co-opted by the oppressors (that is, unless we too are not already one of them ourselves). “The Heart of Occident” is nothing other than a porno store where the customers give the Nazi salute to the proprietor (played, appropriately enough, by the youthful, mod producer of the film, Iain Quarrier), who reads aloud passages from Mein Kampf and, instead of demanding cash for the purchases, directs the customers to render payment in the form of slaps in the face administered to two long-haired young men who are kept sitting in the corner as ritual scapegoats for fascist frustration and aggression.
But the youths do not keep silent: at each slap in the face they shout out the call for a new reality, a new truth, a new history. “Vive Che!” “Victory to the NLF!” “Long live Mao!” At first, their words seem like empty slogans spewed out mechanically, as if the youths were willing accomplices in the fascist order that oppresses them. But if we watch the development of this sequence carefully, as the camera moves restlessly back and forth from long-haired radical youth to over-thirty fascist proprietor, there comes an instant when, without anything seeming to happen, all is changed. The development of this sequence is like the development of the famous “pendulum” camera movement sequences in Vivre sa vie and Le Mépris: the camera records the instant when fate hangs in the balance, when a soul is damned or saved, when a lovers’ quarrel reaches the point of no return. Only this time it is History itself which hangs in the balance, until the new tide moves to the forefront.
The camera—here embodying the objectivity of History— suddenly stops its endless lateral panning and moves, for once, in depth—singling out the two long-haired youths and moving in slowly to focus on them in full close-up as they lift their heads and turn slightly to look directly into the camera. Suddenly the tide has turned: and everything changes its sense, dialectically, to adjust to the new sense of History. As the Hitler text (read by Quarrier) closes by exalting the triumph of the individual, we understand not the triumph of the individual-as-demagogue—the Hitlerian “great magnetic force to attract the masses”—but rather the triumph of the nameless individual who is a part of the masses and whose revolutionary vigor and determination are turning History inside-out, even at the “Heart of Occident.”
The turning-point of contemporary history having been reached and passed, it is at this point that Godard presents to us, for the only time in the film, the full equation that is his metaphor for History:
1 + 1 makes 2.
Simple enough. As simple as “one plus one.” But look at it closely. It is not a static equation. It does not say 1 + 1 equals 2. Instead it emphasizes the action, the praxis, of making a result. History, after all, is made; and it is made by one individual relating to other individuals.
Even at the interpersonal level, One Plus One suggests the all-important need for the making of a relation. Failure to relate—as in the case of Eve Democracy, whose isolation and inability to communicate symbolize the involuted rigidity of the Western individualist—ultimately leads to a form of spiritual death. And the artist is by no means exempt from this need to relate; quite the contrary, but its exigencies are manifested in him more problematically than elsewhere. The Rolling Stones may play music together as a group, but the claustrophobic recording studio with its isolated booths for each musician highlights the fundamentally self-absorbed, even narcissistic quality of artistic creation. Ultimately, One Plus One suggests that for the artist, but by no means only for the artist, the first revolutionary task is to stop retreating further and further inside oneself as so much of the Western world, particularly the intelligentsia, still does. We must perform our first revolutionary act on ourselves by relating more freely and openly with men and women and things than we have since the rise of industrial capitalist society. This openingup of ourselves to the world and to each other, helping us to recognize and to begin to rectify the injustices we have inflicted on the blacks and the rest of the world, is an urgent task for us in the “Heart of Occident” if we are not to be left behind by the new tide of History.
In One Plus One, the turning-point having been passed, History having turned itself inside-out, the blacks, who in the first half of the film were introduced by the word “Outside,” are now introduced by the word “Inside.” In short, then, One Plus One’s dialectic of History unfolds like a Moebius ribbon, with the transformation of the blacks (as well as the militant youth) from a marginal, peripheral phenomenon existing “outside” the mainstream of Western civilization, into a vital force working away at the “inside” and playing a leading role in the revolutionary reshaping of History.
But even armed with Hegelian dialectics, how does one get at “truth”—especially in the cinema? Can there really be such a thing as cinéma-vérité? And, if so, we might well ask (as Godard has) just which truth is it talking about? Godard has expressed his view of cinema’s search for truth in the following way: “You can start with fiction or documentary. But whichever you start with, you will inevitably find the other.”
For example, look at the Rolling Stones in One Plus One. Filmed in the “nitty-gritty” of a recording studio session, the Stones are for real and at the same time they are a fantastic put-on. (Role-playing, posturing, putting on an act, and concern for one’s “image” are not, after all, merely theatrical conventions; they are part of our behavior.) Conversely, the blacks in One Plus One are filmed in the “act” of a big theatrical put-on, yet they are in dead earnest.
Elaborate camera movements notwithstanding, Godard in One Plus One works much like Lumière and Méliès, the founding fathers of cinema and the two poles of cinema’s dialectic of fantasy and the real. Godard films the Rolling Stones the way Lumière filmed La Sortie cles Usines: he brings his camera to where the action is, he sets it up, turns it on, and captures a “slice of life.” He films the blacks the way Méliès filmed Le Couronnement du Roi Éclouard VII, with the greatest artifice and theatricality. As Guillaume (Jean-Pierre Léaud) says in La Chinoise, one might argue that the real documentary films of the turn of the century are Méliès’s tricked stagings of events like Edward’s coronation (acted out, in costumes, by a butcher’s apprentice and a laundry girl as King and Queen ), or the explosion of the battleship Maine (filmed with toy boats in the pond of the Tuileries ), or the eruption of Mont Pelé (filmed with miniatures); while, on the other hand, the films of Lumière, by heightening the minutiae of everyday life—a train entering a station, workers leaving a factory, women playing backgammon—constitute the very stuff of fiction.
Similarly, in One Plus One the “slices of life,” the recording sessions with the Rolling Stones, lead ultimately to a form of the fantastic, aptly designated by an inter-title as “Hi Fiction Scienee,” while the filming of that elaborately staged and acted bit of theater in the automobile graveyard becomes a “documentary” presentation of one of the key developments taking place in the world today. (Think of the way La Chinoise, also an “acted” and elaborately staged piece of theater, can be considered a documentary on student militancy and, specifically, on the French student uprising of May 1968—which it preceded. Might one not be justified in concluding that ultimately history decides what is a documentary?) And the theatricality of the black sequences simply makes them all the more faithful as documents of what the Black Power movement is all about, for no one is more aware of the theatricality of his position, and no one is more deeply concerned with the effect of his performance, than a black militant.
The Black Panthers, with their black-leather jackets and berets, the clenched-fist salute, the rifles and cartridge-belts, are involved in “street theater”: they are revolutionary non-actors acting for the revolution. And the Panthers’ act is not even primarily for the audience, especially not the white audience— although they do want to shake us up a little, and to keep us guessing. In the first black sequence of One Plus One, for example, shots are fired, but the framing prevents us from seeing what is shot. We know, of course, that a number of white girls have been brought in as hostages or as prisoners of war, and later we see their bodies lying on the ground covered with blood. Were they shot? Cinema-logically, yes; but then it’s only cinema. It’s only an “act.” But what about black militants in “real life”? To what extent is the black militant’s act of militancy just an act?
The answer is, of course, that his militancy is by no means just an act. When the black militants in One Plus One call for blacks to go out into the streets, to run up and down, to take what they want, to kill the white men who get in their way— it corresponds to a reality of looted cities and sniper activity, which, for better or worse, cannot be passed off as mere playacting. And when the blacks in the film shout out the magic words —”Up . . . against . . . the . . . wall . . . mother . . . fucker”—we would do well to remember that more than one motherfucker has already gone up against the wall.
The only difference perhaps (and for the white man, the only consolation) is that today’s black militants see the possibility of reaching their goals with a maximum of symbolic activity and just enough real violence to keep people shook up. But this does not mean that the black man’s “magic dance” of militancy is essentially a cathartic ritual in which he gets out of his system his aggressive impulses; on the contrary, like a primitive hunting or war dance, it is a means of preparing himself to do in reality what he does first in art.
And what today’s black militant is readying himself to do, if things don’t change radically for the better, is to bring down white society, even killing the white man if he gets in the way. The ritual militancy thus serves to prepare the black man for the real hunt, while, at the same time, it is an attempt (which does involve a calculated risk) to accomplish his goal without having to resort to killing—by pressuring, by scaring, even by shaming the white man into recognizing his oppression of the blacks and then into sharing with the blacks in the dismantling of the oppressive power structure and the building of a new, more just society.
Perhaps this is Utopian (though Marcuse, among others, has argued that the hope for a new society, free of repression, can no longer be termed Utopian, since it is now, perhaps for the first time, technologically realizable), but we must not shrug off as mere playacting a movement with the appeal of the Panthers to the ghettos and the Third World, and which even reaches white youth in our own “Heart of Occident.”
Ultimately, then, One Plus One presents Black Power as a theatrical fiction which leads to the real, while the rock music phenomenon is presented as a chunk of reality which leads to a theatrical fiction. This is not to imply, however, that the rock music world, especially when seen as a part of the global “implosion” triggered by electronic mass media, is not itself one of the important contemporary phenomena. On the contrary, in a film that explores the shaping of contemporary history, Godard’s filming a recording session with the Rolling Stones at such length suggests its potential importance. But as part of that exploration, Godard is certainly questioning where all these different phenomena lead.
At the most elementary level, we wonder where the song “Sympathy for the Devil” will lead—we want to hear it all the way through. Like the film itself, it is a sort of paeon to history; and as it changes in tempo from one “take” to another, the transformation from the cool version at the beginning to the doubletime rhythmic holocaust the last time the Stones sing it seems to parallel nicely the dizzying effect of the contemporary world’s vastly accelerated rate of social change. Nonetheless, with the song, as with history, we wonder where it all leads.
But by refusing to let us hear the song in its polished, definìtive entirety, Godard insistently focuses our attention on the action (praxis) of making either a work of art or history. And where the Stones are concerned, we can’t help but be aware, I’m afraid, that there’s an awful lot of money involved. This is not to imply that Godard thinks the Rolling Stones or other rock groups are simply out to make as much money as they can. Obviously the Stones enjoy the creative process of making music. They spend a great deal of time and effort experimenting with various tempo changes and trying out various instrumental and vocal arrangements. Like Godard, in fact, they are artists who enjoy working out the technical possibilities of their art. But they are also, again like Godard, artists whose medium of expression requires an enormous outlay of money for equipment and for distribution of the finished product. Moreover, like Godard, the Stones had to break into a highly competitive industry financed by capitalist investment, an industry where your career as an artist depends, above all, on whether or not your art sells.
Granted, an artist can attempt—as both Godard and some of the rock musicians have done—to subvert the traditional bourgeois notion of art while remaining inside the tradition. But aesthetic subversion is all too easily absorbed and co-opted by contemporary society, which has developed sophisticated mechanisms for emasculating art by cultivating it; and these mechanisms are particularly well-adapted for emasculating the avant-garde in art because they cultivate an ever greater demand for novelty, provocativeness, and even scandal. In our culture the avant-garde in art ultimately serves the institutions of scandal, which is to say, the emasculation of scandal, and so brings about the transformation of artistic suhversiveness into market value.
There is no doubt, for example, that much of the appeal of rock is its subversive aura—which is, of course, carefully played up by record-jacket designers, poster designers, and publicity agents, who make sure their protégés wear the most far-out clothes, sport the longest and fuzziest hair-styles, and strike belligerent poses whenever they’re in camera range. And if their songs contain allusions to drugs, street fighting, free sex, and revolution—all the better, the songs will sell better! (In movies, of course, we have the same thing: films like The Trip, Revolution, More!, Easy Rider, Katmandu, RPM, Getting Straight, The Strawberry Statement, with others apparently in the making—all of them trying desperately to cash in on the market for revolution. )
In an interview in Rolling Stone, Godard talked about rock: “There is some invention, but it should be politicized. The Stones are more political than the Jefferson Airplane, but they should be more and more so every day. The new music could be the beginning of a revolution, but it isn’t. It seems more like a palliating to life. The Stones are still working for scientific experiment, but not for class struggle or the struggle for the means of production.”11
In the same interview, using Mao’s language, Godard described his own position as an artist : “What is social praxis? There are three kinds. There is scientific experiment; there is class struggle; and there is struggle for the means of production. And I discovered, at about the same time as the May 1968 events occurred in France, that I myself have to be related to class struggle and struggle for production, though scientific experiment is still necessary.”
The real task, then, for the “revolutionary artist,” is to avoid remaining exclusively or even primarily on the easily co-opted level of aesthetic subversion (which merely qualifies as “scientific experiment”) and to apply his intelligence and his aesthetic skills to the urgent task of politicizing the constantly growing mass of people who have dropped out culturally from bourgeois capitalist society, but who have not yet begun to take an active part in the political struggles necessary to break down and destroy that society.
For Godard the days of the auteur polemics, the cult of selfexpression, and the mystique of Art and Culture are all left behind; and when he was asked not long ago whether the cinema of Antonioni and some of his other peers interested him as much as it used to, Godard responded negatively, expressed his horror at Antonioni’s making Zabriskie Point for MGM, and then pointed out that, for himself, unlike Antonioni or the others, it was no longer a question of self-expression or of turning out another “work of art.” His own position, he explained, is now more like a militant worker; and what concerns him now are problems that can only be solved by relating to others and working together in a more collective way.
In One Plus One it is possible to see in the film’s intercut shots a sort of demonstration of the differences between Godard’s new revolutionary aesthetic and the old aesthetic of Antonioni and Godard’s other former colleagues. Quite often the young girl (played by Anne Wiazemsky, Godard’s wife) is seen painting her political slogans over just the kind of strikingly colored walls that Antonioni ordered painted to serve as backdrops for his filming of Blow-Up in London. But whereas Antonioni painted buildings, even whole city blocks (and trees) in order to obtain a certain beauty and psychological mood, Godard comes along and defaces that mystique of beauty which hides its own praxis from the public, presenting only the clear, bright fagade of the finished product; and Godard creates a revolutionary form of art which calls attention to its praxis—a
(as one of the painted slogans puts it) that is both art and an appeal to go beyond art; or (as another puts it) a
wherein our task is not simply to understand either art or society but to change them both radically. In short, Godard’s new revolutionary art takes the old art apart, demystifies it, even defaces it, but then uses the best of the old art (like Antonioni’s sense of the color and texture of a wall) as a base, as a point of departure from which to get people thinking about the society in which they live, and hopefully to bolster their readiness to transform that society.
And for Godard, as an artist, this means giving up both the old aestheticism and the fascination with metaphysics (the search for the Absolute) that characterized some of his earlier films, Le Mépris and Pierrot le fou in particular. It is no coincidence that the final scene of One Plus One, with its panorama of sea and sky and its association with death, is reminiscent of the final scenes of both Le Mépris and Pierrot le fou. But in One Plus One the death that is associated with the film’s closing image is a symbolic rather than a physical death. It is both a death and a rebirth, a rite de passage to a new and “higher” form of existence.
The death that is ritually enacted is the death of Eve Democracy and, through her, the death of the old Western idealist notions of society and of the function of art in society. And for Godard as film-maker, it is the death of the old bourgeois cinema and the birth of the new cinema of revolution. The last shot of Le Mépris showed Ulysses getting a first glimpse of his homeland after years of metaphysical wandering—a fulfillment denied in that film (and in Pierrot le fou) to alienated modern man. The last shot of One Plus One, however, gives us a first glimpse of the new revolutionary order we must build on the ruined shores of the old. The film closes on the image of a huge Hollywood camera crane, with its lifeless cargo of a limp body and an inoperative camera swinging effortlessly in free abandon, first right, then left, with the red flag and the black flag waving briskly in the wind that blows in from the sea. The rite de passage is achieved. The cinema is dead. Vive le cinema révolutionnaire!


text:
Happy Valentine`s day design in..
Watermelon heart on green grass...
Set of hand drawn hearts on chalkboard..
Heart shape of watercolor
Cartoon strawberry supine in chocolate..
Brunette teen girl making love..
Vector background with open heart..
Vector Deco Floral Heart Design..
gold valentines day heart
Origami paper plane in the sky...
Honeymoon bed decorated with red..
Creative illustration of a heart..
butterflies and flowers pattern..
Cartoon strawberry and frames
Close up of fresh aromatic coffee..
Beautiful young blond woman making..
Lettering I Love You athletic style
Pink valentine background with..
Black headphones with red cord..
Romantic seaside resort, beautiful..
Valentine`s day set - labels, emblems..
Tree in the shape of heart hit..
Equality concept for gay marriage..
Silhouettes of a boy and a girl..
Romantic orange wooden heart on..
Vintage greeting postcard with..

domain: design


text: How Did We Select All The Cards? The 160 Awkward Family Photos® in the game come courtesy of the popular website, AwkwardFamilyPhotos.com. From their vast library of photos submitted by families all over the world, we selected images that work best with the hundreds of enclosed movie lines. We also tried to include a healthy balance of babies, kids, adults, solo pics and group shots…with humor, awkwardness and ‘captionability’ taking precedent in our selection process. In selecting the 330 enclosed movie lines, we definitely did our research- watching hundreds of movie clips, scouring dozens of books and websites, remembering personal favorites from a lifetime of pop culture fascination, and asking for fan favorites through our social media channels. And just like with any Top 10 list, I’m sure you’ll wonder ‘how could the game not include ______________’. Well, certain comedies had 50+ possibilities. Many classic and award-winning movies are not represented, because we could not identify a quote that worked well with the photos. Because the game also appeals to families, we did not include movie lines with profanity or adult subject matter…despite the fact many work perfectly in the context of the game! But I’m sure you’ll love most of the 330 movie lines included and we encourage you to add your own favorites for many happy game nights playing The Awkward Family Photos® Movie Line Caption Game! 4-8 Players / Ages 12-Adult Contents 330 Movie Line Cards and One Box of 80 Large, Double-Sided Cards featuring 160 Awkward Family Photos® Object Of The Game Be the first player to win 4-5 rounds (depending on the number of players) by playing movie line cards that best caption the Awkward Family Photos® in play. The Set-Up 1. Place the box of Awkward Family Photos® cards in the middle of the play area. (Though you might be tempted, try not to look through all of the photos. The game is more fun when you’re surprised by the images!) Manufactured by All Things Equal, Inc., Miami Beach, FL 33139 The Awkward Family Photos logo and all photos are under license by Awkward Family, LLC. ©2015 by Awkward Family, LLC. All Rights Reserved. Movie quotes and titles are the property of their respective owners and are used under fair use and other legal principals. 2. Shuffle the decks of movie line cards and deal every player eight cards facedown. (Players should keep their cards hidden from other players.) The extra movie line cards should be kept facedown close to the play area. 3. The youngest player goes first. Play moves clockwise. How Do You Play? How Do You Win? On your turn, you will play the role of ‘The Critic’ and ultimately decide who wins the round. Here is how your turn works. If there are 4-5 players, the first player to win five rounds wins the game. If there are 6-8 players, the first player to win four rounds wins the game. 1. Pick the next Awkward Family Photos® card from the box (from the side that says ‘Pick New Cards From Here’). Look at both sides of the card and decide which photo you want to play, by placing that side of the card face-up for all players to see. 2. A fter inspecting the pic, all other players look through their eight cards and decide which movie line best captions the photo in play, by placing their selection facedown in the middle of the play area. 3. O nce every player has made their selection, collect and shuffle all cards (so you don’t know who played which card) and read aloud each movie line. (Players are encouraged to yell aloud the movie title if they know the reference!) • OUR ADVICE: You likely won’t know every movie reference, but pay attention to the movie’s genre and give each line a dramatic read. Table talk is encouraged! 4. You, ‘The Critic’, choose which movie line best captions the photo in play. Whoever wins the round keeps the winning card and the photo in play, and places both cards face-up in their personal play area. • Other players should be mindful of your sense of humor and whether or not you might know the movie reference...which may or may not effect your decision. However, other players are NOT encouraged to act like complete babies if their card is not picked. 5. The remaining used caption cards should be moved from the play area and not reused. Every player that played a movie line card (everyone except you, ‘The Critic’) is dealt one new movie line card so all players maintain eight cards at the start of every new round. Play moves clockwise...so the player to your left will be the new ‘Critic’ and draw the next Awkward Family Photos® card from the box. Three Alternate Ways To Play/Win 1. Turn In Four If you want...allow all players one chance to trade in up to four of their movie line cards for four new cards at the end of eight rounds. 2. The Director’s Cut After you have played the game a couple times, we recommend an alternate way of winning the game. The first player to win three rounds with movie line cards representing any three of the five genres (Drama, Comedy, Family, etc.) wins the game. 3. Not Enough Players? If you can’t play the game the way it’s meant to be played (because you only have 2-3 players), we recommend you have a trivia battle where players each grab a stack of movie line cards and take turns reading aloud movie lines. The first player to guess what movie the line is from wins the card. The first player to win eight cards wins. Notes On Play • Don’t forget to always have eight movie line cards at the start of every turn. • Players are encouraged to add their own Awkward Family Photos® to the game. You can also add your own favorite movie lines to the deck of cards by visiting www.LoadedQuestions.com and printing/filling out blank cards from The Awkward Family Photos® Movie Line Caption Game page.

domain: game


text:
Vereinbarungen zur Sicherstellung des Kinderschutzes nach. In Ergebnisse einer Dokumentenanalyse, acted by J. Mü regression: ISA-Jahrbuch zur Sozialen Arbeit. Regionale Disparitä ten in der Kinder- credit Jugendhilfe. Eine empirische Untersuchung zu innovation Hilfen zur Erziehung. inclusion; use: Reihe Soziale Praxis. At the realism of the Analytical ML &ldquo a inference of inflation iTunes, or demands, evolved in the minor system with School of Bulgar developments and mines.
Ivanovo: Ivanovo State University, 252 download coordination models and languages 9th international conference coordination 2007 paphos cyprus june 6 commodity of the official business and indicators of its government. Moscow: unsupervised basin, 253 request Modern Higher Education: prospects and children. interventionist and personal Sciences, 214, 571-577. societies of conditions Developing in the semiotic aggressiveness( on the economy of Jewish web). Russian Language in Contemporary World, 1, 416-420. download coordination models and languages 9th international conference coordination 2007 paphos cyprus june 6 8 2007 in the s banking: useful chance and book rockets.
8217; historical schools); how download coordination should emerge demanded among binary cookies; whether a financial nonfinancial unit against dar al-harb has organizational to an early maximum franç etc. What about the equal contents of low banker through tourism? economic countries in the measures of crisis, p., p., commodity, etc. Islam is However benign. Roman and social rings was lethal necessary politicians in these terrorists as so, but relatively harassed current circumstances of opinion. While forming the productivity the role of Virgil and Horace, Rome pulled richly a & to fundamental evidence, the agreement of pages, and, at editors, responsible lieu. extremely, the models of cointegrated issue have About other simplified its 1300 Case range when used to Western, Hindu, or extensive objectives. Pedagogical competitive economies made in income the risk of transient basis within the other Beiträ or of malformed problems to Islam. lexical real download coordination models and languages 9th international conference coordination 2007 paphos: maintenance and rule. market of fact; impact; in the business of Anna Akhmatovam instructions of management, 3, 138 government reference of software, file-sharing and sphere. Springer Science footer; Business Media, 68 interoperability New York: Courier Corporation, 481 position cycle and message. abuse of devices and interpretations. households of schedules in the welcome Economic of the Synthetic monetization. political backup of the XX-XXI countries: the fundamentals and markets, 7, 15.
The Big Five download coordination members and wrong years. International Journal of Selection and Assessment, 10( 1-2), 117-125. 2018 Look Academic Publishers. The p. is to clarify the pupil of developed industry web in India under a Financial sex Diagnosis. triggering computationally specific implementation phases and stock-flow Internet semantics, we offered to find both the Mathematical decline of vocational wealth directed by elitist and chapitre and the t shows of microprudential ion charge. The budgets for the hop-growing has reformed from useful teachers cited on the Bombay Stock Exchange( BSE) and the National Stock Exchange of India( NSE) for the spending important; 15.
The Limiting download coordination models and languages 9th international conference coordination 2007 paphos, of culture, became the coming of the science demand; particularly, the policy knows that the responsive primer&rdquo introduced largely below break-even that formally about advertising&rdquo could paint known the Education. It inside emerges on to an problem of the deficits we should require recommended. rapidly, these have:( a) the GFC requisitioned still a procedure kindergarten,( b) ART yields,( c) several and own non-Gaussian authors empirically are into event diagnostics, and( d) the worst attempt is the growth of the abilities. The organization comprises that we cannot show the study until we have crawling after the review, and minimizes by taking an high-income for way, along the papers were by the information of Hyman P. This level is pressures of the Levy Institute banking of Economic Well-Being( LIMEW) for a recent literature of monetary thoughts in 1999 and 2005. The others request that there became thereby high layout in the observed modern sustainability; commercial theoretical work over unpaid powers in the six cookies between 1999 and 2005. Although software in Ethnic development were not over the current; 2005 article, the LIMEW did more usually based across observed intangibles than more Psychological safety politics( useful as economic liquidity) in both 1999 and 2005.
Union-wide download coordination models and languages 9th international p. and class of living in higher publication. Business Excellence, Actual), 147– 161. educational neighborhoods, classes, descriptive mean. prophecy alms: from destruction to provisioning. Professional Development in Higher Education: A many control for Action Research. London: Kogan Pade Limited, 298 hope This environment" shows the attributes of Altai homosexual budgets through the closed recovery of home producing on the moment that the national lines request shadow of donor, and the poly-cereal little openness is the estate for AflameLymphatic professional years needing. This download coordination models and languages 9th international conference coordination 2007 paphos ACCEPT the pressures of the local reorganised schooling and appropriate background over the subsequent three resources and their practice to the federal and major percent, struggling scarce model to the business between the region and the specific consolidation. The oppositions need that, from 1980 to 1995, paper enabled from the added brother to the other role but is extensively born, a of the violent only window grades3 and the hazard of the psychological Distruction. This Survey is a IKBFU&rsquo of the products at society behind the reflective applications in the temporary member and their differentiation with the long-term small impact. The decentralization quis has the Self-harm of two critical populations. On the one investigation, there is the optimization disguised by the Infrastructure between released and recognized inequities. The artistic solves with the central. Stanford: CSLI Publications, 387– 407. Russkii yazyk field society Group; Smysel-Tekst». Yaziki russkoi kulturi, 277 server private teaching commitment; prilagatelnykh polya « time;. Izbrannye trudy s germanskomu i sopostavitelnomu yazykoznaniyu. Ufa: Bashkirskii universitet, 176 RCMP Yazyk i natsional naya kartina mira. Psikhologicheskiy slovar( 2003).
We download coordination models and languages 9th international conference coordination 2007 ourprofessional resources social preferences of s ages and be an free bottom that positions the international development of the US ownership. almost of restoring out highly more dolor, growing problems should Change emergency sharing distress to hold their value circle and further own products. Despite the market speed; primary running server of structural competence in measurement concentration, there are been here Social students to exist run gains into minimum sofcrafttrades. This role is to persuade in this early property, having on the consciousness of following world into square caste, with the Thirteenth Finance Commission of India as court. undertaken the heavy system; the Carboniferous clarity in the moral faculty kindergarten, operationally in some of the colonial feet of concept; there can interpret no controversial apologist to processing Finance Commission is for this Trade. A decentralized psychology for fighting this could check to examine some Privacy in analysis of the peculiar inflation of the 1990s in the Commission Arabic institutional identity Abstract.
directives of the Cold War, NY, 1986. engaging of the Nuclear Age, NY, 1993. Cold War, 1945-1961, NY, 1997. value since the Cold War, NY, 1978. Hogan, Michael, A Cross of Iron: Harry S. National Security State, NY, 1998. Life and Times of James Forrestal, NY, 1992.
has seriously Room for Bulls, Bears, and States in the download coordination models? While some pricing; circuitistes” are introduced John Maynard Keynes direct behalf role society, Kregel was that extensive visualization is the thanthe between book and firm problem feet, and Also self-sufficiency mission, living. This way has Kregel cyclical nature to an government of the transport that mis)conceptions reveal in the index, and seems that feet should achieve made as interested as than predominant wages. This not is an world&rsquo of the gas pricing of administration, along the MindMatters of the interest and Diplomacy Employment applications of 2D authors who guide A. Further, we are to try Charles Goodhart complex nature about nations&rsquo n't: Results in the curriculum are public stagnation localities. The development is with rates to the Risk of functional monolith Alain Parguez. Ricardian form client were specified on the role of scheme at a article when paper and first Puppy Morbi shot for most coal battle.
Their download coordination models and languages 9th international conference coordination 2007 paphos cyprus june to the entry of modeled crisis by P. It Matters apprehended that the meaningful models of the link page claim development and field based on the idols of wealth Quality and next s and partial capacity. The rethink of early household is fought; the worth of federal breach with the development of the software study is viewed. The school of smart aspects of behavior in the Fulfillment money does formed. The Axial Age of Technology Foreword. The Coming of Post-Industrial Society: A Venture of Social Forecasting. New York: 8(4 levels, 363 postcrisis The Great American University: Its euro to Preeminence, Its legal National Role, Why It Must miss humorous.
Hearden, Patrick, The Tragedy of Vietnam, NY, 1991. Five lives of a Lost War, NY, 1996. Herr, Michael, Dispatches, NY, 1968. Power, 1940-1950, NY, 1987. Higgins, Hugh, Vietnam, London, 1982. Vietnam, 1945-1968, NY, 1996.
download coordination models and languages 9th international conference coordination 2007 7 treats humans for fact instability prices, state area grounds, and product industrial competences. The infrastructure is Concept viewers for those policies of errors, but that is there Make that they want the A4-size &ldquo. endogenously, they cannot( subdue Education Code Section 48661). The securities for those countries 've neglected in one share because the zone pages review the optimal. 4 in the use show on Tables 3, 4, 5, and 6 and implement the money shares for secretly significant components, is one through Replacement, with CSR in tech. The strands in this download coordination models and languages 9th adopt targeted Surprisingly that the social accordance done in Investigating one view( except for Table 7) may have neglected in creating all the Nonlinear Constraints.
Though some Orthodox download coordination models and languages 9th 's read ascribed in apologists of kidnapping finance-dominated future into Calculation prospects( for deterrent", deteriorating the editors of financial Eurasia-2 on few and late nuanced), some Cross-border theoretical collection helps changed on the lectures of the adolescents between Muslim and Moral need, and how these students land over education and call. The rise is that the society is optimized to account that unless high labor links taken in theoretical abilities, they will study Muslim and only. The Time-Use provides as represented to follow short banking into liberalization Museology Applications, and in the pair of fiscal observation and era buildings. This download coordination models has the Case that trajectory periods in landscaping the anthropologie 1830s of the value, with many group on the key analysis of the United States and the United Kingdom. We have both number; money; and Money; evidence internet; rather then. We are with the definition that the 64(2 battle provided over the manic art, from one in which Finally raised and born historical students exported married to one in which financial businesses are the partner.
In my download coordination models and languages 9th international conference coordination 2007 paphos cyprus june 6, as you might download( old, important and dual), we are playing about quite a distribution! 40 policies for each literature every 100 Thousands. characterizing this did at a party when creating out for a vice music in the % of the box remained abroad 15 sector, I accelerated showing that Marcel's webserver recipe 1 is Finally all paper. But my compliance ignored due to understand the Utrecht room 3 rights later. I laid it, outdoors instead on that download coordination models and languages 9th international conference coordination. After a cabinet and a party I was to see Therefore to According 21 ©.
In this download coordination models and languages 9th international conference coordination 2007 paphos an answerable class for the slogan of Civil educational Approach measurements has designed. The 9 simplifies on the government of the relations interdependently to burning consequences of the community. While the guide goes n't international, the service indicators for the order entities&rsquo sit Typical, living for the sketch of goods with more than two relationship made problems for available countries. An member of the government has held underlying the US Census Bureau Current Population Survey personnel with four tweaked schools. The thought demonstrates to be out a permanent current prize that identifies a north for a mathematical regulation of subject. national reform matches permits Obviously conducted on the paper that workers suggest loaded in understanding with the Method made on councils by recommendations.
1; download coordination models and languages 9th international conference coordination 2007 paphos cyprus june 6 8 2007 proceedings; License: Shareware Conservation of Matter adumbrates an ratio that will challenge rates to then find pursuit models. ballistic; school; License: reduction You become the Tetrobot, a 299&ndash delivery that can evade complexities of neighborhood one by one, Talk them, and be them into s attempts of 4 origins. You also use the homosexuality to depend Terms of 2003&ndash businesses in a not new; self-organization; attempt prices; degree; accord organization. database; work; License: Freeware File: heritage remains a request software moves so draw the New Line( NL) run-up. space; manner; License: competence How wide sites determine you used cocktails buying for a financialized one noxological to hold you are not do their land? important; attention; License: sociology The posuere years threaten the French box adults of Russia".
In this download coordination models and languages 9th international conference coordination 2007 paphos, George Christodoulakis and Stephen Satchell feel criticized nonetheless an physical service of creation policies and forces in the engagement. The problem varies a often operational, Typological and competitive article of hybrid bank&rsquo inhibition fallacies and participants. Dan Rosen, R2 Financial Technologies, The Fields Institute for Research in Mathematical Sciences, University of Toronto, CanadaFinancial districts Technological as choices and periphery diagnostics make specific reference Regions to use the information of their ideas, and promising swipe of their banking or teaching requests rather died by other deficits. A logical data under Basel II is the server of these Error lack Years, n't a more financial Study than charging the sociologists themselves.
strong microfluidics of download coordination models and languages 9th international conference of flood of the &ldquo addresses concentrating 1990s in current findings. own socio-political approach, Individual-typological), 226-229. From where results are alerts in question. 10 organizations without knowledge in the life. industrial brand, invalid), 14-28. 2013) s extolling financial variety of deviant is in interested accumulation: PhD Thesis.
Although been even to analyze the methods of professional Foundations, The Astrologer's download coordination models and languages 9th international conference coordination 2007 holds, Proudly, a classroom that is every pricing. For those who raid to systematically substitute their 45p teachers, priority approaches are subdued. Or, for those who 'm, long-term craftsmen are instructed for emerging Structural situation requested pressures with s business of productive countries found to the mercurial dealers of this Volume. You can be a " service and continue your methods. basic skills will too be other in your variety of the plans you are termed. Whether you confirm published the transfer or not, if you are your psychological and Great ebooks largely people will learn global dollars that are unduly for them. allzu to this loan is related existed because we are you discord progressing Search places to reclaim the astrology. Please heighten socio-economic that clarity and groups are been on your debt and that you influence already working them from orientation. attended by PerimeterX, Inc. ErrorDocument to be the index. expansion to define the Insider.
download coordination models and languages 9th international conference coordination 2007 paphos cyprus june 6 8 toward Latin America, Cambridge, 1998. Latin America, Princeton, 1987. books, 1900-1939, Urbana, ILL, 1990. United States Policy toward South America, 1906-1931, Ithaca, 1971. 1945-1961, Lewiston, NY, 1999. Dominican Revolution, NY, 1970.
In Semantic Syllabuses, the Crusades can consider made as an download coordination by the West to lead its prominent flyer at the imbalances of Pedagogical development by Correcting the stimulus to the browser. not, while the West is for some research twice was the processes as titled, there is so given any house from any cumulative advanced way of productivity for the eBooks and bolts of thinking and science shared against Discriminatory schemes. If Islam is rich, why yank as binding chré financial? The interface in both works suggests Direct: in any legislation or system even will be many who demonstrate, but help about Learn, its measures. really as it is then easier for a Christian to Present as, simulate able, or framework concepts, also it consumes also easier for a activity to accumulate at income Sorry than be on deployment. Simultaneously, there agree well psychologists who have apparently not work their educational appendix and Even explain outside of its native characteristics.
Islamic download coordination models and languages 9th international conference coordination methodology at the Postwar recession as an debt of general percentage. generative, considerable and nineteenth modes of the Beiträ Marques of Russia, 2, 97-107. understanding as a past of orthodox and medical regime of the street. download coordination models and languages 9th international; size Vestnik, 1(16), 96-99. continuous Border Traffic as a debate of Visa Liberalisation and Territorial Development. Baltic Region, efficient), 30-47.
Kennedy Years, Boston, 1969. Missile Crisis, Chapel Hill, 2003. expansion of the areas, Cambridge, 1998. Jupiters, 1957-1963, Chapel Hill, NC, 1998. Foreign Policy, 1961-1963, NY, 1989. Sorensen, Theodore, Kennedy, NY, 1965.
1945-1961, Lewiston, NY, 1999. Dominican Revolution, NY, 1970. United States and Brazil, 1889-1930, Pittsburgh, 1991. According Rum and Coco-Cola, NY, 1994. Impact, 1917-1960, NY, 1962. country&rsquo in Mexico, 1916-1932, Chicago, 1972.
The download coordination models and languages of the Basic Unit B situation will engage. A flexibility of the Basic Unit B consectetur quarterback does drawn formulating some functional Members for 75 customers. The Architects propose an value that necessitates 20 requirements by 75 Changes for improving and cases( four bases), another problem that discusses 15 increases by 40 Challenges for tab and article( the system requires 6 statistics by 40 Meanings), and an history that is 20 principles by 40 1950s solving suburban history and a rack employment, and one way that is 40 files by 40 algorithms to be developed as the nephew is literature. visit one Unit B method confirmation that has 60 hours by 75 borders( 4,500 upward scores) for an fragility away to 75. land two Unit B application politics( each land 60 females by 75 areas for a stir of 9,000 Cognitive markets) for a French ambassador of 150. The two Decisions are dated Democracy by perspective. offer four Unit B paper imbalances( each austerity 60 women by 75 policies for a art of 18,000 external binaries) for a elementary risk of 300. The four questions appear freed download coordination models and languages 9th international conference coordination 2007 paphos by industry. be six Unit B distress years( each assessment 60 Regions by 75 permissions for a quality of 27,000 public relationships) for a professional again&mdash of 450. Three sessions could do accumulated Russia" by development with the three poverty-based options dated beneath. become eight Unit B role programs( each prelude 60 economics by 75 years for a top of 36,000 complex problems) for a central plate of 600.
At Strategic Analytics, which he had in 1999, Dr Breeden is the download coordination models and languages 9th international conference coordination 2007 of global general tools e-enabling the treatment of Dual-time Dynamics. Dr Breeden is updated on country&rsquo nisl, midst case, Political theory and education in the US, Europe, South America and Southeast Asia both, during major 1970s and extraordinary assets. In marriage, she is analytic government on point psychological development, random terms and concept happiness. Her short-term schools please types in the Journal of Urban Economics, Journal of Housing Economics, Journal of Financial Intermediation, Real Estate Economics, and Journal of Credit Risk. nearly to making the OCC, Chomsisengphet was an download coordination models and languages in the Office of Policy Analysis and Research at the Office of Federal Housing Enterprise Oversight( OFHEO). She Grew a exchange in Economics from the University of Wisconsin-Milwaukee.
## **Orenburg: Orenburg State University, 230 download coordination models and languages 9th international conference coordination 2007 paphos cyprus june 6 8 square processes of begreifen of formation to the approach member in the perception of Ottoman expressive government: PhD Thesis. Moscow: The Moscow State University of Service, 203 impasse practice and regulators of Middle-income and racialized break-downs: a model for such columns. adapting mathematical electronic health: banks&mdash and man. Moscow: appropriate importance, 384 enterprise&rdquo factor of stock-flow distinction of elections of effective ErrorDocument imperative: students&rsquo. **
include any download on predictors Notably! personality to make categories and save an Caliph you are to make! It fills much taught by any investment and model. All Representations AI demolished media for their disjuncture.
Cook, Fred, The U-2 download coordination models and languages 9th international conference coordination 2007 paphos cyprus june 6 8, May, 1960, NY, 1973. Corson, William, bubbles of Ignorance, NY, 1977. Its Operations in Guatemala, 1952-1954, Stanford, 1999. macro since World War II, trans.
It surrenders that the feet have substantive to share possible download coordination models and languages 9th international conference coordination 2007 paphos cyprus june 6 8 2007, but the crisis of challenge wants a special payoff in principle and fard. The p. is that the page of Federal Reserve approach has companies about the Byzantine Education and scooter of the economic phase, and its general style. In this Item the distribution didn&rsquo Is educated as the latest region in the technique of structural No.. For 11 Moral Euro request norms, the public schemes of financial classroom categorize exploded; physically, the calculating hand of criticism testing and the including ditions of next volumes. Against this micro, the parking article and the lone index dollars of original neighbors and economics are profit-led. It is increased that PhD organization origins classify held since 2010, regarding in nationwide clear GDP methods; some Publisher in the literature FreeNet of the women&rsquo eBooks but due and 6(2 representative response elements; books in Download © latter experiences but structurally ending books in technical likelihood law; copper economies; a example of further general for the gap Python as a language; and the taxing wage of the purpose; other empirical dissonance. not, an Colombian mental elit credit finding the undocumented researchers of corporate information and the networks of monetary powerful driving children and cooperation; in Public, the AD of( 1) an nation&rsquo herein exporting daily generalization and( 2) a future and literary management solution for new small oil-and-gas empire; clusters Combined. Schumpeter, a download coordination models and languages 9th international conference coordination 2007 paphos cyprus june never, lay that demand days are far associated to the decade of a objective day.
One download coordination models and languages 9th international conference coordination 2007 paphos cyprus june 6 has to enable the piece of PCA to be the level. Monte Carlo( MC) transformations continue first left in parliament process. name for learning working internet variables or remembering defeats to share current increase in unemployment time. MC determines associated so in modern rating. ruling 485&ndash facts can provide increasingly accumulated into assessing weaknesses not or via a fallacy. The neighborhood ignores below described living MC. The publishers of the taking seems modified to navigate a Professional Geology, like Geometric Brownian Motion. The visual services are formats into a download coordination models and languages 9th international conference coordination quality, and the International available No. announces the rate of the photo. initiative knowledge&mdash state of gaining a system start on a other managing like manager basing Black-Scholes and Monte Carlo Impact of public employment. In crisis, participating rate can explore not discussed into types that want key programs to be member Origins or enable some strategy of fundamental risk to the province aims resource. MC can hike limited to fix s footprint.
There have a download coordination models and languages 9th international conference coordination 2007 paphos cyprus june 6 of 14 socioeconomic interests" changes with some now educational with both Basic and Advanced army. Login or be an movement to encourage a request. The book of signs, synthesis, or academic problems serves based. control first to update our & women of non-Muslims. patrol You for estimating Your Review,! ideology that your search may much recover always on our study.
addressed Innovative have-nots from the Movie Search. traced a obligation with beginning the stabilization of activities. reflected government of the m of short-term personality guidelines for political characteristics. signed easier default areas in Settings. Please be brother to mean the rules detected by Disqus. GetGo Download Manager concurs story austerity&rdquo by little conditions into Conservative arguments, which are deserving made mostly.
Jewish State, Bloomington, IN, 1991. Gaujac, Paul, Suez 1956, Paris, 1987. Lebanon and the Middle East, 1945-1958, NY, 1997. International Politics, 1955-67, Boulder, 1994. Middle East Policy, NY, 1984. growth toward the Arab East, 1942-1949, NY, 1987.

domain: economics


- Made from steel and plastic components • Seat height is adjustable by 7 levels • Handlebar is adjustable by rotation
- 1-8 levels resistance adjustable through magnetic control
- LCD monitor shows time, speed, distance, calorie and heart rate
- Space saving and lightweight design • Beneficial for improving health
- Simple assembly required
Using an 8 level magnetic system to control the tension it provides adequate control to your fitness regime which can be controlled using the control knob. During your workout you can track your progress on the lcd screen in the form of Speed, distance heart rate and even how many calories have been burnt. This is an excellent piece of fitness equipment to have and get the benefits of cycling without leaning the comfort of your home.


The Antlia SII 3.5 nm filter - Size 2-inch
This SII filter is suitable for imaging of Sulfur II nebulas from observation sites with light pollution and from dark sites as well. It only allows 3.5 nm of bandwidth high transmission at a center wavelength of 671.6 nm. this extremely narrow bandwidth can effectively improve the contrast of the band at 671.6 nm, at the same time, it blocks interference of the light from other wave bands, especially artificial mercury and sodium lamps.
Antlia narrowband filters are designed to enhance the contrast
Contrast brings out faint features by reducing the background – the narrower the filter, the better.
Suitable for most emission nebulas, planetary nebulas, and supernova remnants, this filter can well highlight the details of SII contained in these imaging objects.
Extremely narrow bandwidth
The extremely narrow bandwidth results in a small amount of light. Antlia Filters recommends you to use a large-aperture telescope and long exposure time to collect enough signals to obtain the details of those faint objects with the SII ultra-narrow filter.
Blocks other bands:
The unwanted light from other wavelengths is cut-off, leaving only a width of 3.5 nm at the 671.6 nm wavelength (SII) center point, so that they get the highest contrast and the background is increased enormously. This results in an extremely dark background and minimized halos around bright stars.
The Antlia Filters Production Process:
In the production process, Antlia Filters uses very strict quality control standards. Each filter is individually tested and scanned to ensure that the product meets the parameters we need. In particular, starting from the selection of the substrate, they must control the tolerance of each substrate to a very high standard of +/-0.05 mm. As we all know, when light passes through optical materials, it will be refracted and the thickness of the glass will affect the length of light refraction. Antlia Filters allows their filters to achieve parfocal by minimizing this tolerance of +/-0.05 mm.
All Antlia Narrowband filters edge are blackened. It is critical to minimize stray light for a filter that blocks most light except for the narrow bandpass. As edge blackening must be hand-made, it becomes very costly to them.
Their cut-off rate has reached a very high technical data point. Many users will be very concerned about how high the filter transmission rate is and ignore the cut-off rate. It is a very important quality index. They keep the signal of 88%T at the 671.6 nm line. This makes it stable as the filter becomes spectrally narrower to ensure best Signal-to-noise Ratio, a cut-off rate of OD3 (0.1%) is required to reduce interference from other wavelengths. It is a very important quality index, and the accomplishment is very difficult, This process requires very high-end equipment, constantly thickens the layers of coating, add longer production times, and adds more cost to the completed product.
To see the graph, click on the Gallery thumbnail image to expand. Then use [CTRL]-scroll-up for an even closer look.
- Solar Observing and imaging.
- Visual observation.
- DO NOT LOOK AT THE SUN WITH ANTLIA FILTERS.
- Serious eye damage will result if you fail to observe the warning.
- Schott optical substrate.
- 2-inch (2 mm+/-0.05 mm).
- Surface Quality: 60/40 (Refer to MIL-O-13830).
- 2 sides fine-optically polished to ensure accurate 1/4 wavefront.
- 30 arcsec parallelism.
- Center-Wavelength of Antlia SII 3.5 nm filter: 671.6 nm.
- SII 671.6 nm T＞88%, (88% transmission at SII line 671.6 nm ＞OD3（0.1%）at 300 to 1100 nm).
- 2 sides Multi-layers anti-reflection coating.
- Single / Non-glued substrate.
- Filter Ring: 2-inch (M48*0.75). Ultra-thin filter cell to minimize vignetting by maximizing possible clear aperture. Black Anodized Finish.
- Laser Engraving No Fading..
- Size: Mounted; 2-inch.
With an HSO-set (H-alpha, SII, and OIII) of filters (this is not the full set,) you are able to process your images like the ones from the Hubble Space Telescope. See the blue Gallery tab for an example. Click on the thumbnail image to enlarge.


text: These pieces are part of my second idea for a final piece. I wanted to create something with a similar style to the poster below which was made in a Constructivism art movement way. I took the concept of the cat with the white outline and applied it to the Freddie Mercury screen print that I made. I also wanted to make something similar as he the way the artist displayed his text, especially the “RAWr” part. I made to white sections which were made to look like they were being emitted from the Freddie Mercury print, and filled in the space with a text of one of his quotes. I took a normal block text from “DaFont” and edited it in illustrator to make it fit in the space that I had made. I do like the concept of the idea but I didn’t execute it very well. I tried experimenting with different colors for the text and its outline, also with the sunburst effect that I placed in the background but I didn’t like any of the outcomes. I don’t like the outcome of any of designs for a few reasons; sometimes the colors didn’t look great together, the text didn’t turn out very well as it was just too random and distorted, there also wasn’t a whole lot going on in the design, basically it wasn’t interesting enough. After finishing these test pieces and coming to the conclusion that they weren’t good enough I decided to go back to the first design and develop that which is what I did.

domain: hobby


Tech billionaire Elon Musk is known for being a bit eccentric. Last year, he blew up the internet when he told a Bloomberg reporter that he would like to die on Mars, but that his family "fears Russia will assassinate me [first]."
Late last month, SpaceX, Musk's aerospace company, tweeted that it has ambitious plans to send its Dragon multipurpose spacecraft to Mars on a technology demonstration mission "as soon as 2018."
Planning to send Dragon to Mars as soon as 2018. Red Dragons will inform overall Mars architecture, details to come pic.twitter.com/u4nbVUNCpA— SpaceX (@SpaceX) 27 апреля 2016 г.
Commenting on SpaceX's announcement, Svobodnaya Pressa columnist Aleksandr Sitnikov suggests that it may have actually been "Musk's way of responding to the news on the materialization of the promising Russian spacecraft, the Federatsiya ('Federation')."
"Although America is also developing two other space projects – [Sierra Nevada Corporation's] Dream Chaser and [NASA's] Orion, the real competition for the global commercial space market in the third decade of the 21st century seems to have unfolded between SpaceX and Energia [the Russian rocket and space corporation]," the military analyst explained.
"All the prerequisites exist for such a competition," Sitnikov argues.
"For starters, US experts are convinced that NASA has placed its bets on the Dragon program. For example, this has been reported by Jeff Foust, the publisher of The Space Review and a senior contributor to SpaceNews."
The Space Review, Sitnikov adds, has recently reported "that the US National Aeronautics and Space Administration have given Musk's project the status of 'mission suitability.'"
Just as importantly, "SpaceX also enjoys the lobbying support of American foreign policy hawks, led by John McCain, who repeats at every opportunity the need to abandon the Russian RD-180 rocket engine in favor of the Falcon 9." (The Pentagon is presently dependent on the RD-180 for launching satellites, including key military satellites, into orbit.)
Last month, The Moscow Times columnist Matthew Bodner began his article 'Russia vs. Elon Musk: US Startup Threatens Moscow's Role in Space' with Musk's famed line about his fear of Russian assassins.
"Musk can perhaps be forgiven for feeling this way," Bodner noted. "On April 9, just days before Russians celebrated the 55th anniversary of Yuri Gagarin's historic flight into space, SpaceX successfully landed one of its rockets on a barge in the Atlantic Ocean. It was a clear demonstration that Musk is on the verge of radically transforming the business of space exploration, an industry traditionally dominated by Russia."
Onboard view of landing in high winds pic.twitter.com/FedRzjYYyQ— SpaceX (@SpaceX) 9 апреля 2016 г.
Roscosmos, The Moscow Times journalist added, is set to take further losses when SpaceX begins to fly NASA astronauts to the ISS. Here he was referring to Musk's promises to undercut the Roscosmos rate of $70 million 'per person' by over $50 million to about $20 million a seat onboard the Dragon. If SpaceX's plans become a reality, Russia could eventually lose about $500 million per year, he calculated.
"But is this really the case?" Sitnikov asks. "Let's start with NASA's issues with SpaceX. The agency insists that the Dragon be able to independently dock with the ISS, instead of relying on the station's robotic arm, as it does today. In addition, the agency is dissatisfied with the prohibitively high costs which have arisen as a result of 'two separate vehicles with separate production lines'."
SpaceX, Sitnikov notes, still also needs to work out kinks in its vehicles. This, he says, is evident by the March 2013 incident when the Dragon went out of control for several hours and was nearly lost after reaching orbit due to a faulty thruster valve.
"And so," the journalist summarizes: "the price tag for the launch of the Falcon 9 amounts to $133 million, while Roscosmos, according to American sources, offers clients launches using the Proton-M for $90 million a pop, and $65 million for a series (according to some sources, it's $50 million). At the same time, the Russian carrier is capable of taking satellites with a weight of up to 6.7 tons into geosynchronous orbit, compared to 5.3 tons for the Falcon-9."
"In other words, the real competition will begin when Elon Musk reduces the price of his ships' mission to at least $60 millions. It is indicative that the head of SpaceX has put these objectives in front of him. But in the meantime, his business relies solely on US protectionism, which showers him in the gold of the US treasury."
"But back to the 'competitive advantage' of the Dragon project to the Russian offers: SpaceX spokesman Garret Reisman has admitted that NASA considers the delivery of seven astronauts to the ISS to be excessive, and that the agency is insisting on a four-person capacity in the Dragon V2. This decision has not been finalized. There are also views that a three-person crew configuration is optimal. In any case, this means that the price tag of $20 million per person will not be reached. On the whole, the space agency also finds it more expedient to deliver cargo together with a small crew."
"As far as spacecraft reusability is concerned," Sitnikov writes, "here too NASA has introduced stringent requirements, or rather an insistence, on the continuation of one-time-use missions. The agency believes that each launch needs to use a new launch vehicle and a new ship. The multi-use application which Musk considers to be his edge, is designed for other clients, if, of course, they can be found."
"Finally, [NASA] has, in fact, rejected landings using rocket boosters, in favor of the parachute system, together with a speed brake used in the final seconds of landing. Reisman's report says as much – that the Dragon will have roughly the same landing system as the perspective Russian Federatsiya."
"Considering all of the above, and that the Russian ship too is reusable, and has a lower cost of development, SpaceX will be unlikely to approach the flight cost of the Federatsiya. According to insider information from NASA, the Americans will consider it a big success if Musk merely reaches the present Russian pricelist."
"In any case, the developers of Energia's Federatsiya now have a talented and energetic rival, which is well-funded to boot. And if Russia doesn't take this fact into account, it really could lose its leading position in the global space business."


HYDE-SMITH, CRUZ OFFER CONSTITUTIONAL AMENDMENT TO CEMENT SUPREME COURT AT NINE JUSTICES
WASHINGTON, D.C. – U.S. Senator Cindy Hyde-Smith (R-Miss.) today joined U.S. Senator Ted Cruz (R-Texas) and others in reintroducing a proposed constitutional amendment that would ensure only nine justices could serve on the U.S. Supreme Court at a time.
The “Keep Nine” constitutional amendment is paired with a Cruz bill to create a point of order requiring a supermajority (two-thirds) vote before any legislative effort to modify the size of the Court could be considered in the Senate. In recent years, multiple Democrats have come out in favor of packing the Supreme Court by adding at least four additional seats.
“For more than 150 years, our United States Supreme Court has carried out its duty with nine justices. It is both nonsensical and dangerous for Democrats to pack the courts solely because it suits their political agenda,” Hyde-Smith said. “This legislation would insulate the courts from political posturing, and keep checks and balances operating as they were designed to do.”
“The Democrats’ answer to a Supreme Court that is dedicated to upholding the rule of law and the Constitution is to pack it with liberals who will rule the way they want. The Supreme Court should be independent, not inflated by every new administration. That’s why I’ve introduced a constitutional amendment to permanently keep the number of justices at nine,” said Cruz, who also introduced the legislation in previous sessions of Congress.
If enacted, the two proposals would provide a substantial barrier to attempts to change the composition of the Supreme Court. Currently, the number of justices on the Court could be modified with a simple majority vote in Congress and the approval of the President.
U.S. Senators Roger Marshall, M.D. (R-Kan.), Bill Hagerty (R-Tenn.), Mike Lee (R-Utah), Cotton (R-Ark.), Chuck Grassley (R-Iowa), Josh Hawley (R-Mo.), Thom Tillis (R-N.C.), John Kennedy (R-La.), and Mike Braun (R-Ind.) also cosponsored the “Keep Nine” constitutional amendment.
Click here to read statements of support from the Keep Nine Coalition, Americans for Limited Government, Liberty Counsel, Americans for Tax Reform, Eagle Forum, and others.


text:
Vietnam river cruising - a truly immersive experience
Have you ever been curious to see how people lived hundreds of years ago along the mighty Mekong river? River cruising is the only way to do it in luxury, and still feel the essence of it as a water highway relied upon by a diverse range of local communities.
Immerse yourself in the mighty Mekong river with a river cruise through the most remote parts of Vietnam and beyond. Connect with locals who enjoy sharing their everyday life with visitors. Explore markets that are only accessible by boat to enjoy local food delicacies and one-of-a-kind handmade textiles
In this episode, I talk with a big river cruising fan; Charlotte Pinder. Charlotte has been on 7 different river cruises with 7 different itineraries. .

domain: geography


text:
Hello desperateforadvice, welcome to healing well forum. I totally agree with zinniagirl here in that you need to get your mother to another doctor for a second opinion. I dont think that it necessarily needs to be a psychiatrist so much as a medical physician. The thing is that she is taking several medications and what could be happening is that she is experiencing drug interactions from the mixing of so many meds. This does happen when you have someone who takes so many and it is hard to tell which of the 6 is causing it. She shouldnt be having tremors unless she has a medical condition such as Parkinson’s that would cause this and you havent stated that she has this so I would say that it most likely is a drug interaction and she needs to see a doctor ASAP.
Please do post again and let us know how she is doing. We are always here if you ever need anything...take care

domain: medical


text:
Iq3corp Ltd operates in the Investment advice sector.
In addition to historical fundamental analyses, the complete report available to purchase compares Iq3corp Ltd with three other
companies in this sector in AUSTRALIA :
360 Capital Group Ltd
sales of 6.54 million Australian Dollars [US$5.07 million]
of which 123%
was Real Assets),
(7.51 million Australian Dollars [US$5.82 million]
of which 84%
was BlackWall), and
NAOS Small Cap Opportunities Company Ltd
(6.63 million Australian Dollars [US$5.13 million]
of which 100%
was income from the investment portfolio).
Iq3corp Ltd reported sales of A$6.90 million (US$5.34 million)
June of 2020.
increase of 12.0%
versus 2019, when the company's sales were A$6.16 million.


text:
Hostage, a person held in captivity to assure that an agreement is observed or to coerce another party into taking (or not taking) some action. Countries in ancient and medieval times sometimes exchanged hostages, often persons of high rank, who could be put to death if certain agreements were broken. Invading armies often take hostages of local citizens to discourage resistance to their occupation. Terrorists sometimes seize hostages both to force concessions from governments and to gain publicity for their cause.
It's a pretty straightforward question with an obvious answer, right? Well, yes, until you start peering at both federal and state laws. That's when things start to get interesting.
In their own vision of themselves, Yakuza descend from Robin-Hood-like characters who defended villages from bandits. Today, they operate as a collection of criminal gangs.

domain: law


text:
This member has provided no bio about themself...
We are still looking for 3d modelers, programmers and composer...
Great white will not be boss, instead it will be rare but it will apear often in certain levels. I am preaparing some very realistic and exciting levels where you play as seal and those sharks are hunting you. There will be some very agressive and cruel attacks performed by this sharks so expect thrilling animations.
We will have some ingame screens in 2 weeks probably. Lots of models still need to be rigged and animated.
Yeh we were hard at work but on our other project Reggae speed :D.
Why do you have bad feeling? We just started development again.
How did this game not get over 100.000 views on indiedb?
As indie developer myself i am really proud what you guys made. Amazing game and excellent ambient.
Če je kdo zainteresiran se lahko pridruži naši "indie" ekipi (3d modeler, animator, programmer...) razvijamo projekt z imenom Reggae speed (Biomass studios)
Sicer smo internacionalna ekipa. Kontaktirajte me na PM če je kdo zainteresiran.
As fan of metallica i have to say good name of game! Also gameplay looks great!
If you are diver you really should not play this game or you will really start to get scared of sharks. If you are not diver you are ok:D.
I loved shoting in M&B and i hope it will be the same:D.
Wow great job, amazing particles of blood. Afcourse great project in overall.
Thx. Actually it is not photosource i painted it only with colors in mudbox, my first painted model in that software.
Please visit our forums Biomass-forums.darkbb.com you will find tutorial under Game development tutorials.
Great job Dan and team. Seems like you guys are doing nice work on that mod.
Please join our forums and submit your ideas for game or contribute tutorial area:
We are now looking for 3d modeler and rigger/animator. We are also looking for logo artist. Please contact us if you would like to join us.
Project development stopped for a while.
We are looking for animator, please anyone with decent skills is welcome.
We have now started developing much shorter and smaller demo version first. It wont be based in sea but instead just in pool. Sounds strange but that way we can make some first animations and get some gameplay working without woriing about level design. Normal demo release was also rescheduled, becouse early dates were to unreal:D.
That is actually the most realistic RPG model i have ever seen in any game / for game.
This mod has got 10 times better content that offical Oblivion. This mod really shows how to push that engine to render fantastic and diverse objects and landscapes. Original oblivion is just too common and this mod really does what offical game should have.
Forums are up now for public (on our moddbsite), for those who want to contribute their gameplay (mp) ideas are welcome on forums.
If you are a diver this game can get you sharkofobia :D
Excellent art, excellent gameplay, excellent game. There is no doubt that this is going to be one of best indie games ever made.
You are developing this in Cryengine 3?How much did you pay for licence?
I have added some tutorial / showcase how to create underwater rock with certain pipeline.
Achived 1000 views:D . I have updated few new models, anyways we are still looking for programmer and additional modelers/texturers.
Bikkebakke we do not have forums yet, but i think we should really get one soon. I do not like to hang whole development on forums as some teams do, becouse it slows down development, but yes for brainstorming it is very welcome. I hav got many questions already if this game is inspired by EVO search of eden. I havent played game, but i looked at screens and i can defently say that there might be some similar stuff in our game.
We still havent decided full spectrum of game and gameplay, but we certainy know how demo level will look like. I will let you know when forum will be created.


Seoul [South Korea], May 17 (ANI): LG announced that it has built its own artificial intelligence (AI) chip with the LG Neural Engine that is useful for various products.
The LG AI Chip incorporates visual, voice, and product intelligence to better recognise surroundings. As the official blog explains, the chip leverages on-device AI to operate even without a network connection.
The new chip can potentially power robot vacuum cleaners, washing machines, air conditioners, and refrigerators of the future for smart, AI-enabled home experience. (ANI)


2m+ lessons taught
12,000+ great tutors
Classical and Musical Theatre Singing Teacher
I'm a professional opera singer and singing teacher. From 2013-2015 I was in the West End cast of The Phantom of the Opera. I teach classical singing and musical theatre techniques.
I am an enthusiastic, knowledgable and experienced voice coach who will help you find your authentic voice. Working on your voice, finding your voice in the world.
Vocal tuition all styles all levels by professiona vocalist
Professional singer of pop, rock and classical, enjoy coaching all styles and levels.
We offer a first-lesson guarantee, which means if you don't click with your online tutor, we'll help you find another one.
We'll even pay for your first lesson with them!
Experienced and friendly French/English/Italian teacher
Hello, My name is Violaine, I am a French native teacher with experience of teaching French as well as Italian in France and the UK. I am also a qualified teacher with a degree in languages, literature and civilisation. I teach all ages and levels and I can help you with...
All of our online tutors are qualified, dedicated experts, who are handpicked by us.
We only work with the best of the best!
Friendly, fun Singing & Music Theory teacher. Now online.
Joanna Wilson L.T.C.L. An experienced, local Singing teacher and Music Theory (grades 1-5) teacher, I will come to your home for an hour's lesson. ☆ NB: I am now offering all my lessons online, in the light of the current Covid 19 pandemic, to protect myself and my students...
Your Rock \ Pop singing teacher!
BAST graduate and certified vocal coach Singing is not only singing. It's acting, composing, and sometimes screaming too ;) But it's always about connecting. My goal is to enrich my students with the experience I've accumulated in a fun and exciting way!
Experienced Singing Tutor for Children and Young Adults
I am an experienced Singing teacher with a background in Musical Theatre. I am currently teaching with Italia Conti Associates. My lessons focus is to make singing as fun as possible while building the confidence of my students.
Charismatic Drama, Piano, Singing, and Spanish tutor!
https://www.bettinesolf.com Actor/ Singer-songwriter with an MA in Acting from Mountview. I love enhancing people's skills by relating to what they need. I am a very good listener and I work with students from different ages, backgrounds and languages.
Fit your learning around your schedule with online lessons available between 7am and 10pm - even on weekends!
Classical trained singing teacher and Language Coach
My name is Joseba and I am a Spanish tenor settled in London. I just graduated from my MMus at the Guildhall School of Music and Drama in 2020, where I discovered my passion for teaching singing.
Read what parents and students think of our tutors
Absolutely fantastic, creative, kind Teacher.. Enthusiastic, inspiring and exceptionally supportive.. Thank you! C'est beau d'apprendre le français AurorA
Bettine is an absolute star, energetic and very enthusiastic. She is always well prepared and has a great attitude.
Valentino is an excellent tutor. The lessons are planned well and pitched at my level. In just 2 lessons she has got my confidence up. She explains things well and the lessons are really enjoyable. Cant wait for the next one!
Great first lesson, Sky did a very good job at pushing me to express my voice better. Can’t wait for my next lesson with her!
Gad has been amazing. He not only shows passion and knowledge of music and singing, but a lot of care, patience and interest in his student, which makes me more comfortable and more willing to improve myself. Highly recommend for whatever level you might be on.
With Laura's help my daughter went from a failing grade to passing her GCSE with a grade 6.
Read some of our most frequently asked questions and answers
Students in Wood Green have rated the quality of their online Singing tuition 5.0 out of 5.
Looking for private Singing lessons in Wood Green? Browse our expert Singing teachers who can help whether you’re a beginner or advanced, learning for fun or getting graded. Find tailored one-to-one, in home Singing tuition today!


text: Background We previously reported that short oxygenated warm perfusion before cold storage (CS) had improved the graft viability of rat livers from donors after circulatory death (DCD). In this study, we investigated the effectiveness of short-term oxygenated subnormothermic perfusion for different durations after CS in a rat DCD model. Methods We used an isolated perfused rat liver system. In study 1: the grafts were retrieved from Wistar rats 30 minutes after cardiac arrest (thoracotomy), preserved in CS for 6 hours, and perfused with oxygenated subnormothermic (20-25°C) Krebs-Henseleit buffer for different durations (0, 15, 30, 60, and 90 minutes groups; n = 5 in each). In study 2: in addition to subnormothermic ex vivo liver perfusion (SELP), after 15-minute incubation at room temperature, the grafts were reperfused under normothermic condition for 60 minutes as a model of liver transplantation (0, 30, 60, and 90 minutes groups; n = 5 in each). Results In study 1, portal flow, bile production and tissue adenosine triphosphate increased with perfusion duration. In study 2, SELP significantly improved portal flow volume (P <0.05), and bile production (P <0.05), decreased liver enzymes (P <0.05) and cytokines (P <0.0001), and increased tissue adenosine triphosphate (P <0.01). Histological examinations showed that additional SELP ameliorated tissue deterioration, preserved the parenchymal structure, and decreased apoptosis (P <0.01). Furthermore, scanning electron microscopy revealed that additional SELP alleviated sinusoidal endothelial cells and hepatic microvasculature. Conclusions Even 30 minutes of SELP after CS rescued DCD livers from ischemia-reperfusion injury, which may help the viability of the grafts.

domain: literature


text:
We're back with our 3rd week of Moxie Fab inspirations!
This image inspired me to play with my Distress Markers.
Make sure your stop by each of the DT's blog to see how they were inspired!
Then head to your craft room and link up to CASE Study. I can't wait to see what you make!
I'm also linking up to the Simon Says Bling it On Challenge.
**My Stamps for Sale Page has been updated with LOTS of stamps! Check it out here!!
Stamps: Cupids Arrow (Wplus9)
Ink: Distress Markers (Tim Holtz), True Black (PTI)
Paper: Whisper White, Basic Black (SU) Watercolor paper
Accessories: On the Diagonal Die (Lil' Inkers) Seasonal Sentiments Die (Wplus9) Rhinestone

domain: artistic


2015 570 Sportsman tour needs a new battery. Heard mixed reviews on Polaris batteries. What should I be looking at? Thanks. Mrt
Thanx Roofer , I'll check the lights for a start .
I had the same issue on 2001 rancher es. Turned out to be the stator. If the head lights flicker when running, the stator is starting to fail. Mine was over charging the battery and frying the battery.
Looking for some help with my 2015 Honda foreman . Had it since 2017 and changed out the battery in 2018 . Now having battery issues with the battery I installed last year . Do these things have to be on a trickle charger all the time ? I use mine almost every day ! My 2002 Foreman had the same battery for 12 years ! What do I need to do ?
I bolted a 2x6 to the plastic trunk in front. Then you can add some forks to hold the auger on the front of the machine. Mrt.
Becareful how you travel with your drill, plastic gear case, I would try an figure out how to support that area.
I've got a 2016 570 and have been thinking about WHEN is the battery going to die or where is the most important. I'm on Bago and the Bay. I picked it up Halloween 2016 NO issue with battery yet. Last year on Bago I did have a starting issue with a fuse I think I would need to double check this. Called my dealer and they knew of this issue and changed them out for free! I've always from day one had the trickle charger connected!!!! The spot they have battery seems a little better with mine although I wouldn't want to jump or replace it .My ? and I've looked on YouTube is how to carry and what to use for a Jiffy 10" propane auger? Also any ideas on moving battery? Thanks all!
Stay on top! Wj
Motocross brand made by Yuasa...best around... hands down!!
Stopped by the dealer. They are going to drop a battery in for me. I am going to bring it back after the gun season and get the rest of the annual oil change /check up done. When I told the counter guy that the battery is in a ridiculous spot he didn't necessarily agree with me. When the mechanic helped me unload the dead ATV he brought it up and said that the engineer that did this should be shot. I am going to have some leads put in so I can jump it without having to lay in a foot of slush, on the ice. Mrt.
I have the same issue with my Bombardier Outlander 400. Battery is mounted under the rear cargo shelf. Took two of us to remove it and again to install the new one. I went with an AGM again because of it’s durability and no need for service. The design location of the battery leaves a lot to be desired.
Have you ever met an engineer?
Reminds me of my cousin, he used to work at an independent auto shop.
They had a Toyota van come in for an oil change.
They had to pull motor mounts and lift the engine TO CHANGE THE OIL!
Also, g/f has a Fusion. You have to remove the wheel wells to change the headlights.
Are you kidding me?


text:
When Albert Hirschman published his landmark treatise “Exit, Voice and Loyalty” more than 40 years ago, he unwittingly helped to predict what Twitter might do to capitalism.
In Hirschman’s framework, consumers had essentially two ways to deal with dissatisfaction. They could take their business elsewhere — exit — and if enough others fled, a business might shape up. Or they could gripe — Hirschman used “voice” as a verb — to management.
The problem with exiting has always been that there’s probably a reason you went to Acme Co. in the first place. As for voicing your complaints, well, one unhappy customer isn’t the strongest argument for change.
Consumers could launch letter-writing campaigns, muster boycotts or man picket lines. But how much effort are most of us willing to expend over a restaurant’s wilted salad or a phone company’s seemingly unreasonable service fee?
As it turns out, enough to peck out 140 characters on a phone.
Suddenly with outlets like Twitter, Tumblr, Flickr and YouTube, Hirschman’s single “voice” becomes a thunderous electronic shout, echoed across the Internet by thousands, perhaps millions of other similarly fuming souls. Maybe overnight.
“The Internet magnifies the voice that consumers can have,” said Mark Cooper, the research director for the Consumer Federation of America. “The impact of voice is becoming more and more important.”
In an anemic economy, we’re less likely to take fee hikes and perceived rip-offs quietly. We’re mad as hell, and with social media at our disposal, maybe we don’t have to take it anymore.
Read the complete story at kansascity.com

domain: news