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€ť â€śI didnâ€™t fall for you, you tripped me! €ť â€śNo. You fell. Almost like that one time over there where you nearly broke your knee cap. €ť â€śWould it be okay if I told you I love you? €ť â€śNo. €ť â€śWell, too bad, because I do. I kissed you. Felt like chemistry, if you ask me. €ť â€śYouâ€™re Scared. Itâ€™s okay to be scared, yâ€™know. You are human, right ? €ť â€śAnd you are? €ť â€śAre you an angel. Just you and I.
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Rawhide (2006): a bouncy Western saloon font based on cover page lettering of the Belgian comic book series Lucky Luke. This is eighteen-stye sans family that extends Novarese's Recta. Noteworthy (2009). A font commissioned for the Apple iPad. It is based on Griffin's earlier revival typeface Filmotype Brooklyn. Griffin reconstructed this family from the metal typeface and from many scans from rare documents provided by Stephen O. Robur ( 2010 ): Done with Kevin King, this set of two fonts revives Georges Auriol's Robur Noir from 1909. Sailor (2005): digital rendition of West Futura Casual (late 1970s film type). Salden (2019, by Hans van Maanen and Patrick Griffin). A grand effort to collect the lettering of Dutch book and book cover designer Helmut Salden in a series of typefaces. Salome (2008). Done with Rebecca Alaccari, this is a revival and expansion of a photolettering era typeface called Cantini (1972, Letter Graphics). Santini (2004): Bauhaus-inspired architectural lettering. One of Heinz Schumann's unpublished typefaces from the early 1960s was revived in 2017 by Patrick Griffin and Richard Kegler at P22 as P22 Schumann Pro. Screener (2006): an extensive octagonal family, including Screener Symbols.
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Consistenza complessiva del Fondo Franco Marescotti: disegni 1700 ca. modelli 100 ca. documentazione allegata ai progetti e raccolte di libri e riviste. Lâ€™esposizione punta a valorizzare di questi documenti finora poco noti, che mostrano tra lâ€™altro le occasioni e le ragioni della nascita del quartiere di Montesacro. Il genio di Sergio Musmeciâ€ť proiezione del documentario. Gli architetti e le istituzioni sono coscienti delle differenze e delle difficolta poste dalla produzione di documenti digitali. Storico perche rivolto al Novecento, considerando le opere, i personaggi e le storie che lo hanno attraversato. Contemporaneo perche rivolto al presente, alle esperienze piu interessanti e innovative, ai temi emergenti dellâ€™architettura nelle sue relazioni con lâ€™attualita. Le collezioni sono state avviate nel 2002 con lâ€™acquisizione degli archivi di Carlo Scarpa e di Aldo Rossi e sono cresciute con diverse modalita: acquisti, donazioni, comodati, committenze e produzioni. Oltre che soggetti conservatori, gli enti museali diventano cosi soggetti critici, capaci di attuare una selezione ponderata tra i materiali del patrimonio degli architetti contemporanei,ovvero gli archivi di domani. E le acquisizioni piu recenti, come per Modus Architects o Maria Giuseppina Grasso Cannizzo, sono caratterizzate da documentazione per lo piu digitale. I materiali donati da Cannizzo sono interamente digitali: ideogrammi, schemi funzionali e disegni alle varie scale, fino agli esecutivi e al cantiere. Anche le campagne fotografiche, da Helene Binet ad Armin Linke, sono prodotte direttamente in formato digitale. E ritengo quanto mai efficace poter inserire allâ€™interno della riflessione archivistica il tema della documentazione digitale. Questo implica maggiori capacita da parte dei musei nel ricevere, e da parte dei progettisti nel donare il materiale.
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I thought the scene with Rickonâ€™s body really captured that. You could see that Jon couldnâ€™t even really acknowledge her, tried to walk away without saying anything to her, possibly even just because of the weight of it all, and when she calls out to him sheâ€™s all steely determination (not sadness), and he stiffens up before facing her. They both think they â€śget itâ€ť, but they donâ€™t, not completely. Lots of questions, but two have me perplexed and they both revolve around Sansaâ€™s two smirks. Did she get Ramseyâ€™s evil, in the divorce, along with the house and choice friends. I was more excited for the Meereen stuff because I didnâ€™t quite know what to expect. I was a bit dissapointed they didnâ€™t show the Greyjoy fleet arriving to attack the Slavers from the rear, fighting on ships, at least a minor naval battle, but I understand it might have been too much to fit inside one episode. Battle of the Bastards went pretty much how I expected it to, the cons of reading news from this site, but Im not complaining. This site is what keeps me going during the long GoT offseason, so to speak. Canâ€™t wait to see how they decide to end the season, if the Wall will drop, will Bran perhaps make it to Winterfell, or at least to the Wall, will we see the Walkers again (I think it has to happen) and of course Kings Landing should be awesome. Oh and Euron too, will he be showing up in Oldtown or Meereen. I really donâ€™t understand people who supposedly donâ€™t enjoy watching anymore but here they are bitching. By being overwhelmed with anger at the death of said brother. I rather Jon be an â€śidiotâ€ť then than a cold hearted bastard with no human response. Iâ€™m a bit upset that Sansa said nothing about the possibility of the Vale coming to Jon (not that she had confirmation they would, plus this probably wouldnâ€™t have stopped Jon or made him wait any longer to attack).
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Instead of seducing him, they have a nice conversation, and she leaves. He devises a plan, to take Gilly into Moleâ€™s Town to work and stay there. She isnâ€™t very happy about it all, but agrees at the end. The Wildlings are getting closer to Castle Black, led by Mance Ryder (Ciaran Hinds). With them is Ygritte (Rose Leslie), Jon Snowâ€™s slighted lover who is wants revenge on him for deserting her. Jon (Kit Harrington) has to deal with being disliked by the temporary Lord Commander, his contradicting feelings about Ygritte and the worries about the Watchmen who rebelled and is still living at Crasterâ€™s Keep. They decide to attack the rebels to protect any information their former friends could give to the Wildlings, and afterwards Jon agrees that the women who were still at Crasterâ€™s old home can go their own way, understanding that they might be tired of men after all theyâ€™ve been through. Daario Naharis (Michiel Huisman) the leader of a sell sword army under Daenerysâ€™ employ, volunteers to fight the warrior Meeren sends out. He is victorious, and the slaves are soon set free to meet out punishment on the cruel masters. He admits to being the one of the conspirators that helped with the murder at Kingâ€™s Landing, and admits that his allegiance with the Lannisters ended as soon as it no longer benefited him. Although Podrick (Daniel Portman) is willing to continue serving him, Tyrion knows that it will mean his loyal friendâ€™s death. Bronn admits to being brought out by Cercei and doesnâ€™t seem too worried that he is deserting the man who helped him become something. Only Jaime still regularly goes to visit his brother in prison, and he devises a plan to help his brotherâ€™s friends. He tasks Lady Brienne of Tarth (Gwendoline Christie) with finding Sansa Stark and protecting her, and they send Podrick with her. She realises that she needs to govern what she rules, and decides to postpone her invasion of Westeros.
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I don't want to nail it down and say I have any sort of connection with other worlds, but I've been able to tell whether or not my brothers or friends are playing around with things like this. One of my friends at school had been giving me a foul taste in my mouth and a squeeze in my chest whenever they spoke. I felt nauseous when talking to them, they always seemed distracted (this happened after a serious discussion I had with them and a guy in my class who believes in all of this after his mirrors in his home caused a gateway and he had nightmares for ages until he closed the gateway via covering the mirror with something meaningful to him and then moving them so they didn't face each other) and I told them (my friend) about these feelings. They told me that they had been planning to try out a board or even one of those ritualistic games and I just felt like they'd slapped me. I'm extremely paranoid about these things so I told them that they were giving bad things a chance to get attached to them and it could in turn attach to me because we were so close. I told them that if they continued with the rituals and stuff, I didn't want them to talk to me anymore. Same thing happened with my brother who went through a phase of fascination of the other world and watched videos about it occasionally and I got the bad feeling again. I went upstairs to his room (the door was closed) and opened his door to find him watching a video on the Dry Bones ritual. I told him to put it off and after some coaxing, he did but it took a while. I'm probably being overly-paranoid but this stuff is serious guys. Please, please, please whenever you attempt it, take consequences into consideration, it is EXTREMELY DANGEROUS. But whenever I watch your videos whenever you're talking about it, you make me feel so happy and safe, your positive energy is so damn strong. Most people just laugh and point out my grammar mistakes, but I wholeheartedly agree. But even better: Just don't play the game and risk allowing evil to come into your life. But playing with the right mindset, like you said, can really benefit you in some ways but not all, even that isn't enough for certain entities (especially the one from the board who I will not mention for safety purposes) who can do physical harm and get power from you playing the freaking board.
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The Institute for Energy Research also received from coal company Peabody Energy in 2015 and has been ExxonMobil and the American Petroleum Institute. While working at the Institute for Energy Research in 2015, Fisher wrote a that argued wind and solar power threaten the reliability of the grid: Despite issuing these warnings, Fisherâ€™s 2015 report did not cite any examples of clean energy policies leading to blackouts. Fisher also wrote an in 2014 that argued wind and solar are â€śunreliable sources of powerâ€ť and policies that promote them â€śundermine our electric system. €ť Fisher isnâ€™ t the only person involved with the study who has a biased background. Perryâ€™s memo calling for the study was addressed to his chief of staff, Brian McCormack, who until recently worked for the Edison Electric Institute, the primary trade group for the electric utility industry and an of net-metering policies that encourage rooftop solar power. While at EEI, McCormack in fighting policies that promote renewable energy. Industry trade groups appear to believe the study is likely to lean in favor of coal, as reflected in the coal lobbyâ€™s support for the inquiry and clean energy groupsâ€™ questions about how itâ€™s being conducted. Perry the study to look into whether renewable energy threatens so-called â€śbaseloadâ€ť power plants. Perry expressed concern that government policies that encourage the development of renewable energy are leading to the closure of baseload plants that produce power around the clock, most of which are powered by coal and nuclear. Perry wrote in his memo that â€śfederal subsidies that boost one form of energy at the expense of others. create acute and chronic problems for maintaining adequate baseload generation, â€ť implying that subsidies for wind and solar are hurting the coal and nuclear industries. But in fact, cheap natural gas is the main factor pushing coal and nuclear plants toward closure, not solar and wind, as. The president unleashed a series of tweets Saturday morning criticizing a Washington Post article focused on the attorney general, calling it an illegal intelligence leak. A new INTELLIGENCE LEAK from the Amazon Washington Post, this time against A. G.
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A Greek-ish plaster statue of a decapitated male a classical cast, save the tennis socks, and draped in a woven piece greets visitors. In 2011 Hibo helped elevate Hannah Ryggen, who died in 1970, to new visibility by co-organising a show of her work in Oslo, just before the tapestries she had adored for a decade were prominently presented in this years Documenta. In a similar gesture of homage, for this show Hibo worked with her former weaving teacher, the eighty-five-year-old artist Else Marie Jakobsen, on this work, Offentlig Utsmykking (2012). A third collaborator on it was ingenious performance artist Tori Wrnes, most often seen hanging from some ceiling or other or singing with her hair on fire. Big, kitschily coloured and cleverly loaded with allusions drawn from Western and Eastern art history, they pole-swapped edgily between the political and the cynical, the inscrutable and the transparent, the whimsical and the derisive, and the original and the banal. The answers China, art, life, communism, capitalism, cultural stereotypes, Yue Minjun, all artists, all people multiplied and refracted like the faces of Orson Welles and Rita Hayworth in the hall of mirrors shootout scene at the end of The Lady from Shanghai (1947). Twenty years on, Yue is among the most well-to-do Chinese artists of his or any other generation. One of the few painters worldwide with multiple seven-figure auction sales, and one of perhaps five alive with the instantly recognisable transcultural iconicity of an Andy Warhol, Gerhard Richter or Francis Bacon, he would seem to have every reason in the world to throw back his head and guffaw. For the rest of us, however, as this show makes clear, the joke is over. Find a new path. There are encouraging signs that the painter, too, is growing tired of his cataplectic conquest of ubiquity and would like to turn the corner, or at least pull the other leg. First of these is his Landscape with No One series, in which he erases figures from famous figurative paintings Mao from socialist realist murals, for example, or Marat from Davids Death of Marat (1793). Unfortunately, as strategies for generating artworks, these are, again, facile at best. More promising, in its confounding of past and present, is Anchoret in the Mountains (2008), a wall-size, mangalike depiction, in raw-stroked blacks, greys and whites, of a towering mountain peak labyrinthine with footpaths and tunnels. In shape and form, it looks something like what a teleported Song Dynasty ink-and-wash expert might sketch if hired to produce Donkey Kong backgrounds.
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Color film was possible at the time, but audiences associated it with fantasies such as The Wizard of Oz and Gone With the Wind. The color footage of Huston and Ford changed that, bringing reality and film closer than ever. World War II was horrible and many soldiers came home with post-traumatic stress disorder before doctors had acknowledged and labeled the problem. It affected the directors who filmed alongside the soldiers as well. He became so obnoxious that the military sent him home. Huston shot a documentary about the soldiersâ€™ experiences coming home as they went through debriefing. Let There Be Light detailed the psychological problems of a nation of men coming home from the front. Wyler was nearly deaf for the rest of his life after coming home. Huston lost his temper with John Wayne on the set of They Were Expendable when The Duke couldnâ€™t seem to salute properly for the camera. â€śCanâ€™t you salute like someone whoâ€™s been in the service? €ť he screamed, before crumbling into sobs and tears. The film was so unpopular nobody bothered to revive the copyright, which is why fledgling cable networks began to run it during the Christmas season. It was free. He never lived to see it become the cultural force it is today. He was with the 3rd battalion when it liberated Dachau and he filmed it all in horrid detail.
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€ť Sir Christopher Lee was knighted in 2009 (Abbie Trayler-Smith) His memorable roles included Lord Summerisle in The Wicker Man (1973) and Scaramanga in The Man With The Golden Gun (1974). He had a personal connection to James Bond: Ian Fleming, Bondâ€™s creator, was his cousin. Set in the hours leading up to the attack on the Twin Towers, it was due to start filming in November. His one remaining ambition, he said in 2011, was to work with Clint Eastwood. The film of which he was most proud was Jinnah, in which he played the founder of Pakistan. â€śIt is certainly the most important role I have ever played, because the responsibility on my shoulders was immense,â€ť he explained. Letâ€™s just say I was in Special Forces and leave it at that. €ť He married his wife, Birgit, known as Gitte, in 1961 and they had a daughter, Christina. Asked for the secret of a long-lived marriage, he replied: â€śMarry someone wonderful. €ť. The pair will go on to become good friends and appear in more than 20 films together. Lee's role is notable in that it features no lines - he hisses his way through the film. He later declares this role as his best performance. Goes on to reprise the role in the second and third instalments in 2002 and 2003. He goes on to play the same character in the trilogy's final 2005 instalment.
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