Answer:
Lamassu were supernatural spirits, sometimes called demons or genies depending on which language you're translating from, who served to protect the gods, as well as the important human structures. Lamassu always had the body
Explanation:
Answer:
18. The grid lines point to a Grid North, varying slightly from True North. This variation is smallest along the central meridian (vertical line) of the map, and greatest at the map edges. The difference between grid north and true north is very small and for most navigation purposes can almost always be ignored.
19. Most military maps will display the declination diagram in the lower margin. Some maps may not display the declination diagram and will only list the declination information as a note in the map margin. The G-M angle value is the size of the angle between grid north and magnetic north.
20. Must be oriented
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ok I'm done
Answer:
false
Explanation:
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Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
Answer:
Good stage, screen or vocal presence.
The ability to enter into another character and engage with an audience.
The ability to memorise lines.
Good understanding of dramatic techniques.
Having the confidence, energy and dedication to perform.
Creative insight.
Explanation:
