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Thu. Oct. 12, 6:45pm. Zachary Scott Theatre, 1510. Oct. 13, 8pm. The Vortex, 2307 Manor Rd. 440-7602. This party’s lineup is all over the place. Contained. Proceeds going to the bliss of vows one day we will.

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Much later they had one guy come in, only because I was on his route and he felt sorry for me. He’d come in twice a week and give me some therapy, moving my legs a little and show me some exercises I could do in bed. That’s it. My son would come, and after like six months, he said, “Mommy, try to move your toe. I couldn’t. But two months later he said, “Try again,” and I moved my toe. A new social worker started working there, he was young. He said, “Karen, why are you here? I explained to him. He said, “Why are you laying here in a nursing home. How come you’re not in sub-acute therapy?

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Good Job Kaushal Best of Luck Anil Jeengar 2. Except Mike Flanagan, one of the most idiosyncratic horror directors currently working, is no fool. At its best, Ouija: Origin of Evil shows up James Wan’s slick craftsmanship by complementing goose-pimply frights with an unabashedly naked emotional gravitas. That should come as no surprise to fans of Flanagan’s work, especially those lucky to have already seen Before I Wake, which remains in distribution limbo in the U. . due to Relativity Media’s bankruptcy woes. That film, also co-written by Flanagan and Jeff Howard, weirdly but confidently straddles many genres, from fantasy to melodrama; its sense of terror, so elegantly and successfully sustained, hinges on a heady linkage between all that goes bump in the night and the mind-altering intensity of grief. In many ways, Origin of Evil is a retread, as a dark figure not unlike the one that haunts the family from Before I Wake also lurks in the periphery of this film’s frames. But Falangan’s oeuvre, consistent in its fixation on how individuals process trauma, is like an onion, and with each new work, the filmmaker peels away another layer of reality. As Alice Zander (Elizabeth Reaser) drives her girls, Paulina (Annalise Basso) and Doris (Lulu Wilson), from school one day, the camera hangs close to the side of the vehicle while panning slowly to the right, collapsing our perception of the exterior world. For Flanagan, the artifice of his 1960s setting exists for him to stress in new ways how living with grief is not unlike being suspended in time.

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Dari kamar gelap tersebut, kemudian diciptakan “kamar gelap” miniatur yang lebih praktis. Pada bagian yang berlubang ditambahkan sebuah lensa, di bagian dalam dipasangkan selembar cermin dengan posisi 45 derajat untuk memantulkan gambaran yang tercipta oleh lensa ke arah atas yang ditutupi selembar kaca bening. Penjiplakan gambar menjadi lebih praktis, juga berkat dipergunakannya sebuah lensa, gambar yang terbentuk menjadi lebih kecil dari wujud aslinya, malah dengan memaju-mundurkan posisi lensa, ketajaman gambar dapat diatur sesuai jarak sasaran terhadap “kamar gelap” tersebut. Kamera lubang jarum dan daguerrotype Perkembangan lain dari camera obscura yang diminiaturkan adalah kamera lubang jarum (pinhole camera). Kamera ini berupa sebuah kotak dengan salah satu dindingnya dilubangi, dan pada dinding seberangnya dipasangkan kaca buram untuk melihat gambar yang terbentu. Kemudian lubang tersebut dipasangkan sebuah lensa untuk meningkatkan mutu gambar. Dengan hanya berpegang pada fenomena alam, fotografi takkan mencapai tujuan. Berkat penemuan Heinrich Schulze (1727) mengenai bahan-bahan tertentu, misalnya garam perak yang peka terhadap cahaya, dan warnanya yang semula putih dapat berubah menjadi hitam bila terkena cahaya, fotografi mulai menapak ke arah yang dituju. Thomas Wedgwood (1802) menemukan juga hal serupa, namun kedua-duanya tidak berhasil menjadikan perubahan warna tersebut permanen. Baru pada tahun 1826, Joseph Nicephore Niepce berhasil menjadikan warna hitam itu permanen, ia berhasil membuat semacam klise di atas lembaran timah dengan cara mencelupkan lembaran timah tersebut, yang sebelumnya telah dilaburi bahan peka cahaya dan telah dicahayai, ke dalam larutan asam; namun ia tak sempat melakukan percobaan lebih lanjut karena sakit dan kekurangan biaya. Berkat persahabatannya dengan Louis Daguerre, seorang pelukis yang kaya raya, beberapa percobaannya kemudian dilanjutkan, malah akhirnya diteruskan oleh Daguerre sendiri setelah Niepce meninggal dunia.

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It’s just a mentality,” he said after the Galaxy’s 1-0 win. “They played in a very cohesive manner. This is the best collective effort we’ve had in a while. In Colorado, the Galaxy need only protect a one-goal lead to advance to the Western Conference final for the sixth time in eight seasons. Whether Keane, who came off the bench to play a combined 46 minutes in the two postseason wins, will assume a more prominent role Sunday probably won’t be known until just before kickoff. But it may be hard to sit Gordon, 35, a two-way grinder who is more active defensively than Keane. The Galaxy haven’t allowed a goal from open play in the last three games Gordon started and he also scored the first goal in two of those, a vital stat given that Arena has lost just once in 27 playoff games in which his team scored first. Want another stat? Only one of Giovani dos Santos’s team-high 15 goals — including Sunday’s game-winner — has come with Keane on the field. And now they’re heading to Dick’s Sporting Goods Park, the most imposing MLS venue for opposing teams. Colorado, which finished with the league’s second-best regular-season record, is the only MLS team that hasn’t lost at home, where they’ve allowed just seven goals all season.

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She’s trying to. And it’s not that she’s coming from an unnatural place with it or a fake place with it because she really is over certain things. She realizes this is a love that is not going to be reciprocated, but at the same time, this is someone who is forever ingrained in her and in her head and in her feelings. So there’s just a part of her that’s always going to be there. AE: For Karma, she seems in a good place after a summer with a new boyfriend, befriended Shane, and being very “zen. But then Amy returns, she freaks out again. RV: She wants me. KS: I think genuinely Karma did have this change over the summer, and I think over the summer she probably was really zen and chill, and she was able to find herself without Amy, because that’s probably the first time she’s ever had to do that. But at the same time, it’s like, you can’t, in the course of two months, completely change who you are. But at the same time, Karma does feel like “I think I’m owed, at least, you apologizing for leaving me crying on the side of the road. Because it’s like, it’d be fine if you made the decision to leave, I think in Karma’s mind—it’d be fine if you made the decision to leave but you weren’t going to even say goodbye or give me a heads up.

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