From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #16855 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Thursday, October 30 2025 Volume 14 : Number 16855 Today's Subjects: ----------------- Ancient Vietnamese secret to getting rock hard ["Cesar" Subject: Ancient Vietnamese secret to getting rock hard Ancient Vietnamese secret to getting rock hard http://lunexa.sa.com/UatxudlWdst47-6axY5nxKpul1YGByNCabPj0nxbOTeXCbNV2g http://lunexa.sa.com/DkPxFOd1KDmR2zuqv8nTAvzebTnDjVu_VddmoMzC_VBitDo3qw ontally. However, horizontal alignment maximizes exposure to bending forces and failure from stresses such as wind, snow, hail, falling debris, animals, and abrasion from surrounding foliage and plant structures. Overall leaves are relatively flimsy with regard to other plant structures such as stems, branches and roots. Both leaf blade and petiole structure influence the leaf's response to forces such as wind, allowing a degree of repositioning to minimize drag and damage, as opposed to resistance. Leaf movement like this may also increase turbulence of the air close to the surface of the leaf, which thins the boundary layer of air immediately adjacent to the surface, increasing the capacity for gas and heat exchange, as well as photosynthesis. Strong wind forces may result in diminished leaf number and surface area, which while reducing drag, involves a trade off of also reducing photosynthesis. Thus, leaf design may involve compromise between carbon gain, thermoregulation and water loss on the one hand, and the cost of sustaining both static and dynamic loads. In vascular plants, perpendicular forces are spread over a larger area and are relatively flexible in both bending and torsion, enabling elastic deforming without damage. Many leaves rely on hydrostatic support arranged around a skeleton of vascular tissue for their strength, which depends on maintaining leaf water status. Both the mechanics and architecture of the leaf reflect the need for transportation and support. Read and Stokes (2006) consider two basic models, the "hydrostatic" and "I-beam leaf" form (see Fig 1). Hydrostatic leaves such as in Prostanthera lasianthos are large and thin, and may involve the need for multiple leaves rather single large leaves because of the amount of veins needed to support the periphery of large leaves. But large leaf size favors efficiency in photosynthesis and water conservation, involving further trade offs. On the other hand, I-beam leaves such as Banksia marginata involve specialized structures to stiffen them. These I-beams are formed from bundle sheath extensions of sclerenchyma meeting stiffened sub-epidermal layers. This shifts the balance from reliance on hydrostatic pressure to structural support, an obvious advantage where water is relatively scarce. Long narrow leaves bend more easily than ovate leaf blad ------------------------------ Date: Tue, 28 Oct 2025 08:53:52 -0500 From: "Member Survey Panel" Subject: Survey Registration Confirmation Survey Registration Confirmation http://shopilo.ru.com/6uZmlsz8dtoVsjSKFjCywkcmIFhTj2d2y9tmR86XhbLZ4da_oQ http://shopilo.ru.com/9iSByUmdyBvz9GDnmHf-UJC-c3WS4NEwz9AtXc_av4zjriPPaw couraged her son's artistic bent, promoting the relocating of the family to London to help develop contacts at the Royal Academy of Art. He later said "I owe everything to my mother." In 1840, his artistic talent won him a place at the Royal Academy Schools at the still unprecedented age of eleven. While there, he met William Holman Hunt and Dante Gabriel Rossetti with whom he formed the Pre-Raphaelite Brotherhood (known as the "PRB") in September 1847 in his family home on Gower Street, off Bedford Square. Pre-Raphaelite works Millais's Christ in the House of His Parents (1849b50) was highly controversial because of its realistic portrayal of a working class Holy Family labouring in a messy carpentry workshop. Later works were also controversial, though less so. Millais achieved popular success with A Huguenot (1851b1852), which depicts a young couple about to be separated because of religious conflicts. He repeated this theme in many later works. All these early works were painted with great attention to detail, often concentrating on the beauty and complexity of the natural world. In paintings such as Ophelia (1851b1852) Millais created dense and elaborate pictorial surfaces based on the integration of naturalistic elements. This approach has been described as a kind of "pictorial eco-system". Mariana is a painting that Millais painted in 1850b51 based on the play Measure for Measure by William Shakespeare and the poem of the same name by Alfred, Lord Tennyson, from 1830. In the play, the young Mariana was to be married, but was rejected by her betrothed when her dowry was lost in a shipwreck. This style was promoted by the critic John Ruskin, who had defended the Pre-Raphaelites against their critics. Millais's friendship with Ruskin introduced him to Ruskin's wi ------------------------------ End of alt.music.moxy-fruvous digest V14 #16855 ***********************************************