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The group imposed the severe vision of Islamic law that they had introduced across their zone of control. Dress was strictly regulated, and clothes manufacturers were told the acceptable measurements by Islamic State offices. Women were required to hide their faces and don black down to their fingertips. The fine for violations — even as small as the wrong kind of stocking — was 25,000 dinars, around 20 dollars. John Cantlie, a British journalist held hostage by the Islamic State group for four years, has made periodic appearances in videos filmed in Mosul, showing a market, an efficient IS motorcycle police force and a city continuing to function. Away from the cameras, however, the economy fell apart. The government in Baghdad cut off the salaries it had been paying civil servants, and airstrikes cut into Islamic State's oil revenue and cash reserves. Infrastructure and services initially provided by IS broke down. Electricity cuts forced people to rely on oil lamps. The fighters routinely herded people into squares and markets to watch, residents said. The woman's killing in Mosul's Samah district shook to the core those in the crowd forced to watch as their neighbor was dragged before them. It was in August, after the militants had lost strongholds in other parts of Iraq and Syria, prompting them to heighten their repression. Several witnesses described to The Associated Press how the woman and her alleged lover were paraded blindfolded through the streets. The man accused of being her lover was flogged 150 times and forced to go to Syria to fight in IS ranks. With food and work in short supply, people started selling anything of value.

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One fan theory holds that Tyrion is actually the illegitimate son of Aerys “The Mad King” Targaryen. Dany approaches her castle and she kneels in the sand, touching the ground. Everyone walks up the stairs to the front doors of the castle. Tyrion looks on as the Unsullied open the grand gates. Daenerys walks into her throne room, and up to the enormous throne, which is made of Dragon Glass. We know that Brynden Rivers, or Bloodraven, is the three eyed crow in books. Now that Bran is the Three Eyed Raven on Game of Thrones what will it mean? Laissez nous des commentaires sur vos theories et vos avis. Retrouvez Leonard sur Twitter et posez-lui toutes vos questions. Disclaimer: All photos are used under fair use and do not belong to FireAndBlood YouTube channel. Learn Light of the Seven from Game of Thrones Season 6 by Ramin Djawadi on piano with this tutorial. Light of the Seven is a track from the HBO series Game of Thrones, based on the television adaptation of A Song of Ice and Fire by George R. R. Martin. It was played on the season six finale of the show.

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It previously developed a drone for the non-destructive evaluation of power transmission systems. The company’s drone is equipped with a smart sensor that is able to detect the earliest signs of corrosion in conductors. It’s also able to land on a live wire without causing damage to the drone or wire itself. Unlike the drone, however, the LineRanger doesn’t have the same challenges regarding short battery life. That means that it could be deployed as a more in-depth inspector able to travel along large lengths of line spotting damage. There is no word from Hydro-Quebec on when the technology is being rolled out, or whether any companies or states have adopted it yet. Considering the possible risk of a human getting too near to power lines, however, we have to say that this is one dangerous job that we’re more than happy to hand over to the machines — especially one that looks as ingenious as this. Jones’ knack for controlling and contorting his exceptionally long, lithe body into almost inhuman shapes is undoubtedly what’s made him such a fixture of Guillermo del Toro’s films, and it can be easy to forget that the actor’s actually a 57-year-old man from Indianapolis. But Jones is still just a human, and there are times when members of our species have to take care of certain biological needs regardless of whether we’re in the process of filming movies about fish people falling in love. During a recent interview on Slate’s Studio 360 hosted by Kurt Anderson, Jones explained that unlike many of his other costumed roles which required him to sit in the makeup chair for up to seven hours, becoming the fishman—who, Jones revealed, del Toro apparently nicknamed Charlie Tuna—was relatively easy because many of the pieces could be slipped on quickly. But the relative ease of getting into the overall costume (complete with that painstakingly-crafted fish monster butt del Toro slaved over) came at a price. “You know that beautiful ass we were talking about. So what that meant is that Dougie has to take care of bowels in advance of pulling that suit. Because when I’m in the suit, it’ll be for a good 16,17 hours a day. So you have to make sure that you’re not going to have a little accident.

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By offering concurrent sessions, it is our goal to get the entire family involved. Saturdays at the Woods is most fulfilling when attended regularly throughout the season. Arrive at 9:30am before the 10am start and share a light breakfast with other families. Build drawing skills, including observation, composition, perspective, and shading, and create your own works inspired by objects at The Met. Explore the Museum's galleries, from Egyptian to Modern and Contemporary, and see things in a new way through sketching. Mix your own paints and learn a variety of techniques used in works of art in the Museum, by artists from Vincent van Gogh to Chuck Close. Use a variety of media, including watercolor, acrylic, and tempera, to build your own painting portfolio. British photographer Edmund Clark has spent ten years exploring structures of power and control in the so-called global War on Terror. Edmund Clark: The Day the Music Died presents photographic, video, and installation work focusing on the measures deemed necessary to protect citizens from the threat of international terrorism. It also explores the far-reaching effects of such methods of control on issues of security, secrecy, legality, and ethics. From Guantanamo Bay to Afghanistan to extraordinary rendition and the CIA's secret prison program, Clark's work finds new ways to visualize the processes, sites, and experiences associated with the United States' response to international terrorism. His engagement with military and state censorship defines the secrecy and denial around these subjects. Through photographs and declassified documents, Clark reveals how the unexpected connections between those who exercise control and those who are subject to it bring this covert torture trail to a human level. He highlights the everyday veneers under which purveyors of detention and interrogation operate in plain sight, brings light to the processes beneath, and reflects on how terror impacts us all by altering fundamental aspects of our society and culture. Organized by Director of Exhibitions and Collections Erin Barnett, this is Clark's first major solo exhibition in the United States.

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We engage with scholarly criticism exposing the supposed ubiquity of these structures and agree that the question of narrative models in interactive digital media requires both further exploration and intervention. We follow up on some proposed solutions by looking at non-Western narrative traditions to expand the corpus of narrative structures available to game designers and other narrative developers. With this paper we raise awareness of alternative structures and simultaneously introduce implementable narrative structures with the aim to expand the design space and range of analytical models for IDN. Yet, the discourse surrounding narrative in both scholarship and the professional ? ld does not address what this actually means in regards to narrative structures. In lieu of Ryan’s claimed pragmatic conceptual flexibility, we see only a small number of dominant underlying models at play. It seems peripheral awareness of structural alternatives is not enough; these structures also need to be supported by descriptions concerned with implementation. With this paper we address this dual challenge, by raising further awareness of alternative structures and by simultaneously introducing implementable narrative structures. With the advent of the digital medium, the necessity for medium-speci? perspectives of narrative has become increasingly clear. Furthermore, Aristotle’s work is often misunderstood as a general description of narrative, when a closer reading actually reveals the opposite: it is a medium-speci? understanding of narrative that distinguishes between epic (prose) and mimetic (dramatic) forms and focuses on the latter with a detailed analysis of the tragedy. Aristotle himself cautions his readers that narratives cannot simply be translated between epic and mimetic forms (and thus different media), arguing that episodic epic narratives are unsuitable for mimetic treatment. The Hero’s Journey traces its protagonist’s story roughly through the following stages: 1. A call to adventure, often initially rejected by the hero and then reluctantly answered; 3.

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