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    high definition
  • High Definition was a Canadian radio program, which debuted on February 4, 2006 on the CBC Radio One network.

  • High Definition was a 1999 album by Bronx rapcore group, Shootyz Groove, which featured the songs "L Train" and "Blow Your Top".

  • High definition refers to the resolution used for the display of the video images during video or television broadcast. HD refers to 720p (1280 x 720 pixels) or higher. "720" stands for 720 lines of vertical display resolution, while "p" stands for progressive, or non-interlaced, scan.

    make up
  • Cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance

  • The composition or constitution of something

  • constitute: form or compose; "This money is my only income"; "The stone wall was the backdrop for the performance"; "These constitute my entire belonging"; "The children made up the chorus"; "This sum represents my entire income for a year"; "These few men comprise his entire army"

  • makeup: an event that is substituted for a previously cancelled event; "he missed the test and had to take a makeup"; "the two teams played a makeup one week later"

  • The combination of qualities that form a person's temperament

  • constitution: the way in which someone or something is composed

  • A very long time (used hyperbolically)

  • Used in slogans of support after the name of something or someone

  • For all future time; for always

  • everlastingly: for a limitless time; "no one can live forever"; "brightly beams our Father's mercy from his lighthouse evermore"- P.P.Bliss

  • constantly: without interruption; "the world is constantly changing"

  • for a very long or seemingly endless time; "she took forever to write the paper"; "we had to wait forever and a day"

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MAKE UP FOR EVER HD Elixir 0.40 oz

MAKE UP FOR EVER HD Elixir 0.40 oz

What it is:An innovative serum that instantly hydrates and adds radiance to the skin.What it does:HD complexion collection uses innovative formulas to create a new generation of makeup that is invisible on high-definition cameras and to the naked eye. This unique, lightweight elixir absorbs quickly into the skin, instantly hydrating and brightening the complexion. The breakthrough formula contains D-Panthenol and Glycerin to ensure an immediate boost of hydration (+520% after 15 minutes) that lasts throughout the day (+175% after 6 hours). Argatensyl is added to provide an immediate smoothing effect. Each ingredient was specifically added to prepare skin for high- definition makeup so you can count on the camera picking up the perks of this perfecting formula.What else you need to know:This product is oil and paraben free and dermatologist tested.

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Hrvatska / Croatia / Croácia

Hrvatska / Croatia / Croácia

A country to Visit
Is a country in central and southeastern Europe, at the crossroads of the Pannonian Plain, the Balkans, and the Adriatic Sea. Its capital (and largest city) is Zagreb. Croatia borders Slovenia and Hungary to the north, Bosnia and Herzegovina to the southeast, and Serbia and Montenegro to the east.
The Croats arrived in the early seventh century in what is Croatia today. They organized the state into two dukedoms. The first king, King Tomislav was crowned in AD 925 and Croatia was elevated into the status of a kingdom. The Kingdom of Croatia retained its sovereignty for almost two centuries, reaching its peak during the rule of Kings Peter Kresimir IV and Demetrius Zvonimir. Croatia entered a union with Hungary in 1102. In 1526, the Croatian Parliament elected Ferdinand from the House of Habsburg to the Croatian throne. In 1918, Croatia declared independence from Austria–Hungary and co-founded the Kingdom of Yugoslavia. An independent Croatian state briefly existed during World War II, during which Croatia was a dependency of Nazi Germany during 1941–1945. After World War II, Croatia became a founding member of the Second Yugoslavia. On 25 June 1991, Croatia declared independence and became a sovereign state.
Croatia is a member of the United Nations, the Council of Europe, the Organization for Security and Co-operation in Europe, NATO, the World Trade Organization and CEFTA. The country is a candidate for European Union membership and is a founding member of the Union for the Mediterranean. Croatia is classified as an emerging and developing economy by the International Monetary Fund and a high income economy by the World Bank.

Early History
The area known as Croatia today was inhabited throughout the prehistoric period. Fossils of Neanderthals dating to the middle Paleolithic have been unearthed in the area of Krapina and Vindija. More recent (late Mousterian) Neanderthal remains have been discovered in Mujina pecina near the coast.
In the early Neolithic period, the Starcevo, Vucedol and Hvar cultures were scattered around the region. The Iron Age left traces of the Hallstatt culture (early Illyrians) and the La Tene culture (Celts).
Much later the region was settled by Liburnians, Dacians and Illyrians, and Greek colonies were established on the islands of Vis (by Dionysius I of Syracuse) and Hvar. In 9 AD the territory of today's Croatia became part of the Roman Empire. Emperor Diocletian built a massive palace in Split where he retired from politics in AD 305. During the 5th century the last Roman Emperor Julius Nepos ruled his small empire from Diocletian's Palace before he was killed in AD 480. The early history of Croatia ends with the Avar invasion in the first half of the 7th century and the destruction of almost all Roman towns. Roman survivors retreated to strategically better defended points on the coast, islands and mountains. The modern city of Dubrovnik was founded by those survivors.

Kingdom of Croatia
The Croats arrived in what is today Croatia probably in the early 7th century. They organized into two dukedoms; the duchy of Pannonia in the north and the duchy of Littoral Croatia in the south. Emperor Constantine Porphyrogenitus wrote that Porga, duke of the Dalmatian Croats, who had been invited into Dalmatia by Byzantine Emperor Heraclius, sent to Heraclius for Christian teachers. According to Constantine, at the request of Heraclius, Pope John IV (640–642) sent Christian teachers and missionaries to the Croatian Provinces. These missionaries converted Porga, and also a great many of the clan that was under his immediate authority, to the Christian faith in 640. The Christianization of the Croats was mostly complete by the 9th century. Both duchies became Frankish vassals in late 8th century, and eventually became independent in the following century.
The first native Croatian ruler recognized by the Pope was duke Branimir, whom Pope John VIII called dux Croatorum ("duke of Croats") in 879. Duke Tomislav of Littoral Croatia was one of the most prominent members of the House of Trpimirovic. He united the Croats of Dalmatia and Pannonia into a single Kingdom in 925. Traditionally it's stated that Tomislav's state extended from the Adriatic Sea to the Drava river, and from the Rasa river to the Drina river, but the precise borders are unknown. Under his rule, Croatia became one of the most powerful kingdoms in Medieval Europe. Tomislav defeated the invasions of the Arpads in battle and forced them across the Drava. He also annexed a part of Pannonia. This included the area between the rivers Drava, Sava and Kupa, so his Duchy bordered with Bulgaria for a period of time. This was the first time that the two Croatian Realms were united, and all Croats were in one state. The union was later recognised by Byzantium, which gave the royal crown to Stjepan Drzislav and papal crown to king Zvonimir. The medieval Croatian kingdom reached its peak during the rei

A Critical Cinema by Scott MacDonald: Yoko Ono

A Critical Cinema by Scott MacDonald: Yoko Ono

Yoko Ono’s own relationship and partnership with John Lennon have given her access and opportunities she might never have achieved on her own, but her status as a pop icon has largely obscured her own achievements as an artist. Now where is this more obvious than in the area of filmmaking. Between 1966 and 1971, Ono made substantial contribution to avant-garde cinema,

Most of which are now a vague memory, even for those generally cognizant of developments in this field. With few expectations, her films have been out of circulation for years, but fortunately this situation needs to be changing; in the spring of 1989 the Whitney Museum of American Art presented a film retrospective along with a small show of objects - eighties versions of conceptual objects Ono has exhibited in 1966 and 1967 – and the American Federation of Arts re-released Ono’s films in the spring of 1991.
Except as a film-goer, Ono was not involved with film until the 1960s, though by this time she began to make her own films, she was an established artist. At the end of the fifties, after studying poetry and music at Sarah Lawrence College, she became part of a circle of avant-garde musicians (including John Cage and Merce Cunningham): in fact the “Chambers Street Series.” An influential concert series organized by LaMonte Young, was held at Ono’s loft at 112 Chambers. Ono’s activities in music led to her first public concert, A Grapefruit in the World of Park (at the Village Gate, 1961) and later that same year to an evening of performance events in which Yvonne Rainer stood up and sat down before a table stacked with dishes for ten minutes, then smashed the dishes “accompanied by a rhythmic background of repeated syllables, a tape recording of moans and words spoken backwards, and by an aria of high-pitched wails sung by Ono” (Barbara Haskell’s description in Yoko Ono: Objects, Films, the catalogue for the 1989 Whitney Museum show).

In the early sixties Ono was part of what became known as Fluxus, an art movement with roots in Dada, in Marcel Duchamp and John Cage, and energised by George Maciunas. The Fluxus artists were dedicated to challenging conventional definitions in the fine arts, and conventional relationships between artwork and viewer. In the early sixties, Ono made such works as Painting to See the Room through (1961), a canvas with an almost invisible hole in the centre through which one peered to see the room, and Painting to Hammer the Nail in (1961), a white wood panel that “viewers” were instructed to hammer nails into with an attached hammer. Instructions for dozens of these early pieces, and for later ones, are reprinted in Ono’s Grapefruit, which has appeared several times in several different editions- most recently in a Simon and Schuster/ Touchstone paperback edition, reprinted in 1979.

By the mid sixties, Ono had become interested in film, as a writer of mini film scripts (sixteen are reprinted in the Fall 1989 Film Quarterly), and as a contributor of three films to the Fluxfilm Program coordinated by Maciunas in 1966: two one-shot films shot at 2000 frames per second, Eyeblink and Match, and No.4, a sequence of buttocks of walking males and females. Along with several other films in the Fluxfilm Program (and two 1966 films by Bruce Baillie), Eyeblink and No.4 are, so far as I know, the first instances of what was to become a mini-genre of avant-garde cinema: the single-shot film (films that are or appear to be precisely one shot long), No.4 (Bottoms) (1966).

For the eighty minutes of No.4 (Bottoms), all we see are human buttocks in the act of walking, filmed in black and white, in close-up, so that each buttocks fills the screen: the crack between the cheeks and the crease between hams and legs divide the frame into four approximately equal sectors: we cannot see around the edges of the walking bodies. Each buttocks is filmed for a few seconds (often for fifteen seconds or so; sometimes for less than ten seconds), and is then followed immediately by the next buttocks. The sound track consists of interviews with people whose buttocks we see and with other people considering whether to allow themselves to be filmed; they talk about the project in general, and they raise the issue of the film’s probable boredom, which becomes a comment on viewers’ actual experience of the film. The sound track also includes segments of television news coverage of the project (which had considerable visibility in London in 1966), including an interview with Ono, who discusses the conceptual design of the film.

No. 4 (Bottoms) is fascinating and entertaining, especially in its revelation of the human body. Because Ono’s structuring of the visuals is rigorously serial, No.4 (Bottoms) is reminiscent of Edward Muybridge’s motion studies, though in this instance the “grid” against which we measure the motion is temporal, as well as implicitly spatial: though there’s no literal grid behind the bottoms, each bottom is framed in

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