From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #7835 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 Monday, November 15 2021 Volume 14 : Number 7835 Today's Subjects: ----------------- You've got to check this out...(2 days left) ["Microsoft Flight Simulator] Does your laundry machine stink? ["Laundry Machine Cleaners" ] Effective heater out there today but also super energy efficient ["Feel T] Brain Leak Causes Poor Eyesight ["Brain Leak" ] =?UTF-8?B?2YXYp9is2LPYqtmK2LEg2KXYr9in2LHYqSDYp9mE2KPYsg==?= =?UTF-8?B?2YXYp9iqINmI2KfZhNmF2K7Yp9i32LEg2YjYp9mE2YPZiNin?= =?UTF-8?B?2LHYqyAvICDYtNmH2KfYr9ipINio2LHZiti32KfZhg==?= =?UTF-8?B?2YrYqSDZhdmGIFVocmRhIEVkdWNhdGk=?= =?UTF-8?B?b24gINiu2YTYp9mEINin2YTZgdiq2LHYqSDZhdmG?= =?UTF-8?B?IDIxIOKAkyAyNSDZhtmI2YHZhdio2LEgMjAy?= =?UTF-8?B?MSAg2KzZgNmA2YDZiNin2YQgJiDZiNin2KrYsyA=?= =?UTF-8?B?2KfYqCA6IDAwMjAxMDkwOTQ2NDQw?= [] ---------------------------------------------------------------------- Date: Mon, 15 Nov 2021 02:56:27 -0500 From: "Microsoft Flight Simulator" Subject: You've got to check this out...(2 days left) You've got to check this out...(2 days left) http://hoponopono.co/qp0GTmYZBurF8Hx9eWKXZSOPt--RDhFXyOWRtIAUHgxXzAh6JQ http://hoponopono.co/CDLsfmJ-srTJs_UMY0tMyt4LcPN0CgEK1lQr03LpW6ltdCyVKw L. D. Reynolds From Wikipedia, the free encyclopedia Jump to navigationJump to search L. D. Reynolds FBA Born Leighton Durham Reynolds 11 February 1930 Abercanaid, Merthyr Tydfil, Wales Died 4 December 1999 (aged 69) Oxford, England Spouse(s) Susan Buchanan ?(m. 1962)? Academic background Alma mater University College Cardiff St John's College, Cambridge Influences R. A. B. MynorsNeil Ripley KerRichard William Hunt Academic work Discipline Classics Sub-discipline Textual criticism Institutions Brasenose College, Oxford Leighton Durham Reynolds FBA (11 February 1930 b 4 December 1999) was a British Latinist who is best known for his work on textual criticism. Spending his entire teaching career at the Brasenose College, Oxford, he prepared the most commonly cited edition of Seneca the Younger's Letters. The central academic achievement of Reynolds's career was his monograph The Medieval Tradition of Seneca's Letters (1965), in which he reconstructed how the text was transmitted through the Middle Ages and revealed that most of the younger manuscripts were of little use for the establishment of the text. He also wrote critical editions of Seneca's Dialogues, the works of the historian Sallust, and Cicero's De finibus bonorum et malorum. In 1968, Reynolds and his Oxford colleague Nigel Guy Wilson co-authored Scribes and Scholars: A Guide to the Transmission of Greek and Latin Literature, a well-received introduction to textual criticism. Writing about the set of critical editions authored by Reynolds, the Latinist Michael Reeve stated that Reynolds's scholarship had the ability to "to cut through dozens of manuscripts to the serviceable core". At the time of its publication, his work on Seneca was considered by some commentators to be difficult to surpa ------------------------------ Date: Mon, 15 Nov 2021 03:31:25 -0500 From: "Laundry Machine Cleaners" Subject: Does your laundry machine stink? Does your laundry machine stink? http://bellypowe.co/F1vluVWiT9lJW6mtsBjQ65lmLYEKIfUUkWPk1vbXkXuyNLxq4Q http://bellypowe.co/r1PtoRajqBF8JB8WbyQYB8Y2VfuIF0GAWNsV1MRbQ45GQEC2nA ve in canada. I was the only kid in school at 16. My dad was a big fan of me and didn't tell us about his dad being on the tv show. We watched those commercials and people wouldn't believe us. I didn't know why he was on the program. You know who's the first person to tell you that it was ok for you to see that? The guy you are now. Yeah, I'm saying. Then you said that the time that you did watch the show was about 13. That's 14 years ago? You know, when I was 14 I watched that show. No, 14 years ago. Oh, so the show was a lot older than that? Right. Was that an issue before you got to 14? I didn't have time to watch the show for 14 years. I was a student when it started. So when that show came out and you were 16? Yeah. And you were 16 when it started? What? I think it was in the early '90s. I remember seeing the show all the time when I was 13. Well, that's a long way from when it started. Yeah. And the show did start out like that. Do you think it was because you were younger then in that you actually got a second chance to ast of Classics tutor at Brasenose College, Oxford, had fallen vacant after its incumbent, Maurice Platnauer, had become the college's new Principal. In 1957, after the end of his research fellowship, Reynolds was selected as Platnauer's replacement and duly elected to a tutorial fellowship. He was also appointed a University Lecturer in Greek and Latin Literature. He held both appointments for the rest of his academic career. Reynolds played an active part in the college's governing body, where, according to the Brasenose fellow and chemist Graham Richards, he "held a position of quiet authority". From 1985 to 1987, he served as Vice-Principal and, in 1997, as acting Principal of the college. He supported Brasenose's decision to become the first all-male college of the university to admit female students. In 1996 he was raised to the rank of a professor. In 1962, he married Susan Mary Buchanan, an optometrist and daughter of the Scottish town planner Colin Buchanan. Their wedding reception was held at Brasenose College, where Reynolds was jokingly given an exeat, a permission required by undergraduates to spend a night away from the college, by a student. They moved into Winterslow Cottage in the hamlet of Boars Hill near Oxford, which they later bought from the college. Reynolds and his wife had two daught ------------------------------ Date: Sun, 14 Nov 2021 08:57:31 -0500 From: "Fat belly" Subject: Japanese âFixâ for Belly Fat? Japanese bFixb for Belly Fat? http://solaropno.co/eGQzz29H9e6oHjzrdcr5H6RsGpftKIzJ-XkZZ_ArJ92tmnmfNA http://solaropno.co/1cvC_6DMxgFSrOkdm858jn5rEkvIoHdTDTCq7ZW8mZsUlo5C8Q rous surface. Excessive or uneven gesso layers are sometimes visible in the surface of finished paintings as a change that's not from the paint. Standard sizes for oil paintings were set in France in the 19th century. The standards were used by most artists, not only the French, as it wasband evidently still isbsupported by the main suppliers of artists' materials. Size 0 (toile de 0) to size 120 (toile de 120) is divided in separate "runs" for figures (figure), landscapes (paysage) and marines (marine) that more or less preserve the diagonal. Thus a 0 figure corresponds in height with a paysage 1 and a marine 2. Although surfaces like linoleum, wooden panel, paper, slate, pressed wood, Masonite, and cardboard have been used, the most popular surface since the 16th century has been canvas, although many artists used panel through the 17th century and beyond. Panel is more expensive, heavier, harder to transport, and prone to warp or split in poor conditions. For fine detail, however, the absolute solidity of a wooden panel has an advantage. Process A man's finger sticks through a hole in a large wooden palette. One of his hands is dipping a brush into the paint and the other holds numerous brushes in reserve. A traditional wood palette used to hold and mix small amounts of paint while working Oil paint is made by mixing pigments of colors with an oil medium. Since the 19th century the different main colors are purchased in paint tubes pre-prepared before painting begins, further shades of color are usually obtained by mixing small quantities together as the painting process is underway. An artist's palette, traditionally a thin wood board held in the hand, is used for holding and mixing paints. Pigments may be any number of natural or synthetic substances with color, such as sulphides for yellow or cobalt salts for blue. Traditional pigments were based on minerals or plants, but many have proven unstable over long periods of time. Modern pigments often use synthetic chemicals. The pigment is mixed with oil, usually linseed, but other oils may be used. The various oils dry differently, which creates assorted effects. A brush is most commonly employed by the artist to apply the paint, often over a sketched outline of their subject (which could be in another medium). Brushes are made from a variety of fibers to create different effects. For example, brushes made with hog bristle might be used for bolder strokes and impasto textures. Fitch hair and mongoose hair brushes are fine and smooth, and thus answer well for portraits and detail work. Even more expensive are red sable brushes (weasel hair). The finest quality brushes are called "kolinsky sable"; these brush fibers are taken from the tail of the Siberian weasel. This hair keeps a superfine point, has smooth handling, and good memory (it returns to its original point when lifted off the canvas), known to artists as a brush's "snap". Floppy fibers with no snap, such as squirrel hair, are generally not used by oil painters. In the past few decades, many synthetic brushes have been marketed. These are very dura ------------------------------ Date: Sun, 14 Nov 2021 05:21:54 -0500 From: "Feel Toasty" Subject: Effective heater out there today but also super energy efficient Effective heater out there today but also super energy efficient http://carbofixn.co/Mq7CjtKRSfox6wCFPovOmNI8yOxx7FnTfctZtwqk3_VkZNWQ http://carbofixn.co/k6KhPQgBlOrRznHMsQ0xXTx3BBTwE1Lhl-yWCpDnWiaB3mVkdg ouched." Due to the magazine's readership of 485,000 during the 1930s, Time helped give Regionalist works a national audience while also eliciting resentment among some over the art movement's sudden popularity. For example, the American modernist painter Stuart Davis objected to Time's portrayal of Tornado over Kansas and other Regionalist paintings. In 1935, Davis even accused Curry of behaving "as though painting were a jolly lark for amateurs, to be exhibited in county fairs." Those who agreed with Davis included critics, historians, and even some of Curry's own friends who considered his paintings to be "labored", "conventional", or "embarrassing". The amateurish draftsmanship was noted by scholars including Kroiz, who disparagingly wrote that Curry's use of color created "a riot of tertiary hues that confuse the viewer's eye". She described the works green-blue shadows as "strange", and believed that the lighter halo-like region around the father's head was due to a mistake made while Curry was painting in the sky. Thus, Kroiz found that the painting is in stark contrast to more technically proficient works by the contemporary Regionalist painter Thomas Hart Benton. Benton even lamented that Curry's work sometimes had "a touch of vulgarity and cheapness." Curry himself admitted to both Tornado over Kansas's compositional shortcomings and his then lack of technical expertise, revealing what scholars interpreted as possible signs of the artist's depression, stress, and self-doubt. Nonetheless, Curry's openness instructed the public, and Kroiz believed it helped make painting more approachable for amateurs and common people. Sweeney was less critical than Kroiz in his assessment of the painting, describing Curry as "the least polemical and chauvinistic" of the Regionalists and writing that Curry's color and methods were "extremely sophisticated" in Tornado over Kansas. In 1931, real estate broker H. Tracy Kneeland offered to purchase Tornado over Kansas. In a letter to Curry, Kneeland explained his attraction to the work: I find ... a certain native quality which interests me because I was born and brought up in Michigan and while I have never seen a tornado of this kind I can well remember school being let out and running for dear life for home, with the branches torn off the trees ... the whole picture seems to strike a home chord in me. Nevertheless, Tornado over Kansas was acquired in 1935 by the Hackley Art Gallery (now the Muskegon Museum of Art) from Ferargil Galleries, a venue for exhibitions of Curry's work during the early 1930s. Laurence Schmeckebier wrote in his 1943 biography of Curry that Tornado over Kansas was its artist's "best known and in many ways his greatest painting." The work was widely reproduced in surveys of American art published in the 1930s and 1940s. It has appeared in over 150 publications, including the 1936 first issue of Life magazine, and the 1996 film Twister. Because of its artistic and cultural significance, Tornado over Kansas was described by the Muskegon Museum of Art as a "national treasure" and a defining work of Curry's career and the Regionalist moveme ------------------------------ Date: Sun, 14 Nov 2021 07:46:56 -0500 From: "Brain Leak" Subject: Brain Leak Causes Poor Eyesight Brain Leak Causes Poor Eyesight http://solaropno.co/o3HZqr8WluzOuoIvY3MFuSSZ29EGtJqKZzmXUbcJZvc9XNbgiw http://solaropno.co/M2UY3EYrXG2JCxRZLBH8s1c0sTIOnJzyusoMwKP9rFX5nHbr rthern climates. Renaissance techniques used a number of thin almost transparent layers or glazes, usually each allowed to dry before the next was added, greatly increasing the time a painting took. The underpainting or ground beneath these was usually white (typically gesso coated with a primer), allowing light to reflect back through the layers. But van Eyck, and Robert Campin a little later, used a wet-on-wet technique in places, painting a second layer soon after the first. Initially the aim was, as with the established techniques of tempera and fresco, to produce a smooth surface when no attention was drawn to the brushstrokes or texture of the painted surface. Among the earliest impasto effects, using a raised or rough texture in the surface of the paint, are those from the later works of the Venetian painter Giovanni Bellini, around 1500. This became much more common in the 16th century, as may painters began to draw attention to the process of their painting, by leaving individual brushstrokes obvious, and a rough painted surface. Another Venetian, Titian, was a leader in this. In the 17th century some artists, including Rembrandt, began to use dark grounds. Until the mid-19th century there was a division between artists who exploited "effects of handling" in their paintwork, and those who continued to aim at "an even, glassy surface from which all evidences of manipulation had been banished". Before the 19th century, artists or their apprentices ground pigments and mixed their paints for the range of painting media. This made portability difficult and kept most painting activities confined to the studio. This changed when tubes of oil paint became widely available following the American portrait painter John Goffe Rand's invention of the squeezable or collapsible metal tube in 1841. Artists could mix colors quickly and easily, which enabled, for the first time, relatively convenient plein air painting (a common approach in French Impressionism) Ingredients A close-up of glistening, golden flax seeds. Flax seed is the source of linseed oil. The linseed oil itself comes from the flax seed, a common fiber crop. Linen, a "support" for oil painting (see relevant section), also comes from the flax plant. Safflower oil or the walnut or poppyseed oil are sometimes used in formulating lighter colors like white because they "yellow" less on drying than linseed oil, but they have the slight drawba ------------------------------ Date: Mon, 15 Nov 2021 01:25:15 -0800 (PST) From: hebasuleiman993 Subject: =?UTF-8?B?2YXYp9is2LPYqtmK2LEg2KXYr9in2LHYqSDYp9mE2KPYsg==?= =?UTF-8?B?2YXYp9iqINmI2KfZhNmF2K7Yp9i32LEg2YjYp9mE2YPZiNin?= =?UTF-8?B?2LHYqyAvICDYtNmH2KfYr9ipINio2LHZiti32KfZhg==?= =?UTF-8?B?2YrYqSDZhdmGIFVocmRhIEVkdWNhdGk=?= =?UTF-8?B?b24gINiu2YTYp9mEINin2YTZgdiq2LHYqSDZhdmG?= =?UTF-8?B?IDIxIOKAkyAyNSDZhtmI2YHZhdio2LEgMjAy?= =?UTF-8?B?MSAg2KzZgNmA2YDZiNin2YQgJiDZiNin2KrYsyA=?= =?UTF-8?B?2KfYqCA6IDAwMjAxMDkwOTQ2NDQw?= CgogCgogCgoq2KfZhNiz2YTYp9mFINi52YTZitmD2YUg2YjYsdit2YXYqSDYp9mE2YTZhyDZiNio 2LHZg9in2KrZhyoKCirZitmC2K/ZhSDYp9mE2KfYqtit2YDYp9ivINin2YTYudix2KjZgNmKINmE 2KrZhtmF2YrZgNipINin2YTZhdmA2YjYp9ix2K8g2KfZhNio2LTYsdmK2YDZgNipKgoKKtio2KXY 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