[89505] in Discussion of MIT-community interests
THIS Activates Alzheimer's...
daemon@ATHENA.MIT.EDU (Restore Lost Memory)
Wed Oct 5 10:06:36 2016
Date: Wed, 5 Oct 2016 16:06:33 +0200
From: "Restore Lost Memory" <Restore-Lost-Memory@rememoris.bid>
Reply-To: "Restore Lost Memory" <Restore-Lost-Memory@rememoris.bid>
To: <mit-talk-mtg@charon.mit.edu>
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THIS Activates Alzheimer's...
http://rememoris.bid/VYbyD3MP8bNhKpzrYOXpv1xhcyq50wWlGsmbEsjw9ZY
Memory Loss Could Lead To...
Improve Your Memory In 15 Days...
15 Days To Reverse Memory Loss...
THIS Activates Alzheimer's...
Forgetting Things? Try This Now!
http://rememoris.bid/mPKSc_OOm3W4vHMYstT_Zvc5heG16yj4Wg-cem21Ymg
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<td align="center" style="background-color:#BD0002"><span><a href="http://rememoris.bid/VYbyD3MP8bNhKpzrYOXpv1xhcyq50wWlGsmbEsjw9ZY"><img height="75" src="http://rememoris.bid/1f5b92430dce77939d.gif" width="75" /></a></span></td>
<td><span style="box-sizing: border-box; color:#fff; font-family: CNN, 'Helvetica Neue', Helvetica, Arial, Utkal, sans-serif; font-size: 18px;background-color:#000; font-weight: bold;"><strong>Health:</strong> News | TV | Videos | Opinions | More</span></td>
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<td width="600"><span style="font-family: CNN, 'Helvetica Neue', Helvetica, Arial, Utkal, sans-serif; font-size: 30px; font-weight: bold;">CNN: The End of Alzheimer's disease</span></td>
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<td align="center" style="background-color:#000000; padding:0;" width="600"><a href="http://rememoris.bid/VYbyD3MP8bNhKpzrYOXpv1xhcyq50wWlGsmbEsjw9ZY"><img alt="" border="0" height="310" src="http://rememoris.bid/76738167908315706a.jpg" width="550" /></a></td>
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<p style="color:#282828; display: inline; font-family: CNN, 'Helvetica Neue', Helvetica, Arial, Utkal, sans-serif; font-size: 18px; font-weight: 300; list-style-image: none; list-style-position: outside; list-style-type: none; width: auto;"><strong>CNN Health</strong> publishes trial results of a <strong>"memory serum"</strong> that has now showed to work miraclously in humans.<br />
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<a href="http://rememoris.bid/VYbyD3MP8bNhKpzrYOXpv1xhcyq50wWlGsmbEsjw9ZY">I rememeber everything. - Mark said (Stage 3 Severe/Late) Patient</a></p>
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<td align="center" width="600"><span><a href="http://rememoris.bid/VYbyD3MP8bNhKpzrYOXpv1xhcyq50wWlGsmbEsjw9ZY" style="background-color:#cb0000; padding:10px; text-decoration:none; font-size:28px; color:#fff; font-family: CNN, 'Helvetica Neue', Helvetica, Arial, Utkal, sans-serif; font-size: 24px; font-weight: bold; line-height: 30px;">MORE AT CNN HEALTH NEWS</a></span></td>
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<p style="color:#ffffff; font-size:12px;">In Western Europe when political scientists talk about “Eurasia”, they generally mean Russia (including Ukraine) integrated into Europe, economically, politically, and even militarily[citation needed. Since Napoleon, European strategists have understood the importance of allying with Russia, and the potential consequences of failing to do so. At the moment one of the most prominent projects of European Union is Russia - EU Four Common Spaces Initiative. A political and economic union of former Soviet states named the Eurasian Union is scheduled for establishment in 2015, similar in concept to the European Union. As of 2014 neither encompasses all states within Eurasia. The Russian concept of “Eurasia” is very different from the European one. It is a view that has older roots than the European one - not surprisingly, considering Russia's geographic position[citation needed]. Russian politologists traditionally view Russia itself, being both European and Asian, aNumerous inventions and techniques have contributed to the contemporary logo, including cylinder seals (c. 2300 BCE), coins (c. 600 BCE), trans-cultural diffusion of logographic languages, coats of arms, watermarks, silver hallmarks, and the development of printing technology.As the industrial revolution converted western societies from agrarian to industrial in the 18th and 19th centuries, photography and lithography contributed to the boom of an advertising industry that integrated typography and imagery together on the page. Simultaneously, typography itself was undergoing a revolution of form and expression that expanded beyond the modest, serif typefaces used in books, to bold, ornamental typefaces used on broadsheet posters.The arts were expanding in purpose—from expression and decoration of an artistic, storytelling nature, to a differentiation of brands and products that the growing middle classes were consuming. Consultancies and trades-groups in the commercial arts were growing and organizing; by 1890, the US had 700 lithographic printing firms employing more than 8,000 people. Artistic credit tended to be assigned to the lithographic company, as opposed to the individual artists who usually perfoA coin from early 6th century BC Lydia bearing the head of a roaring lion with sun raysInnovators in the visual arts and lithographic process—such as French printing firm Rouchon in the 1840s, Joseph Morse of New York in the 1850s, Frederick Walker of England in the 1870s, and Jules Chéret of France in the 1870s—developed an illustrative style that went beyond tonal, representational art to figurative imagery with sections of bright, flat colors. Playful children’s books, authoritative newspapers, and conversational periodicals developed their own visual and editorial styles for unique, expanding audiences. As printing costs decreased, literacy rates increased, and visual styles changed, the Victorian decorative arts led to an expansion of typographic styles and methods of representing businesses.The first logo to be trademarked was the Bass red triangle in 1876The Arts and Crafts Movement of late-19th century, partially in response to the excesses of Victorian typography, aimed to restore an honest sense of craftsmanship to the mass-produced goods of the era. A renewal of interest in craftsmanship and quality also provided the artists and companies with a greater interest in credit, leading to the creation of unique logos and marks.By the 1950s, Modernism had shed its roots as an avant-garde artistic movement in Europe to become an international, commercialized movement with adherents in the United States and elsewhere. The visual simplicity and conceptual clarity that were the hallmarks of Modernism as an artistic movement formed a powerful toolset for a new generation of graphic designers whose logos embodied Ludwig Mies van der Rohe’s dictum, "Less is more." Modernist-inspired logos proved successful in the era of mass visual communication ushered in by television, improvements in printing technology, and digital innovations.Contemporary logosRed Cross and Red Crescent emblemsThe current era of logo design began in the 1870s[citation needed] with the first abstract logo, the Bass red triangle. As of 2014, many corporations, products, brands, services, agencies, and other entities use an ideogram (sign, icon) or an emblem (symbol) or a combination of sign and emblem as a logo. As a result, only a few of the thousands of ideograms in circulation are recognizable without a name. An effective logo may consist of both an ideogram and the company name (logotype) to emphasize the name over the graphic, and employ a unique design via the use of letters, colors, and additional graphic elements.The Coca-Cola logo is identifiable in other writing-systems, here written in Cyrillic.Ideograms and symbols may be more effective than written names (logotypes), especially for logos translated into many alphabets in increasingly globalized markets. For instance, a name written in Arabic script might have little resonance in most European markets. By contrast, ideograms keep the general proprietary nature of a product in both markets. In non-profit areas, the Red Cross (varied as the Red Crescent in Muslim countries and as the Red Star of David in Israel) exemplifies a well-known emblem that does not need an accompanying name. The red cross and red crescent are among the best-recognized symbols in the world. On their own, they signify protection of medical personnel in war-time and have a history dating back to 1863. They also signify the protection of victims in armed conflict and of those who try to help them. National Red Cross and Red Crescent Societies and their Federation as well as the International Committee of the Red Cross include these symbols in their logos.Branding can aim to facilitate cross-language marketing.[citation needed] Consumers and potential consumers can identify the Coca-Cola name written in different alphabets because of the standard color and "ribbon wave" design of its logo. The text was written in Spencerian Script, which was a popular writing style when the Coca Cola Logo was being designed.Logo designLogo design is an important area of graphic design, and one of the most difficult to perfect. The logo (ideogram) is the image embodying an organization. Because logos are meant to represent companies' brands or corporate identities and foster their immediate customer recognition, it is counterproductive to frequently redesign logos.The logo design profession has substantially increased in numbers over the years since the rise of the Modernist movement in the United States in the 1950s. Three designers are widely considered the pioneers of that movement and of logo and corporate identity design: The first is Chermayeff & Geismar, which is the firm responsible for a large number of iconic logos, such as Chase Bank (1964), Mobil Oil (1965), PBS (1984), NBC (1986), National Geographic (2003), and others. Due to the simplicity and boldness of their designs, many of their earlier logos are still in use today. The firm recently designed logos for the Library of Congress and the fashion brand Armani Exchange. Another pioneer of corporate identity design is Paul Rand, who was one of the originators of the Swiss Style of graphic design. He designed many posters and corporate identities, including the famous logos for IBM, UPS, and ABC. The third pioneer of corporate identity design is Saul Bass. Bass was responsible for several recognizable logos in North America, including both the Bell Telephone logo (1969) and successor AT&T Corporation globe (1983). Other well-known designs were Continental Airlines (1968), Dixie (1969), and United Way (1972). Later, he would produce logos for a number of Japanese companies as well. Rand and Bass both died in 1996. An important development in the documentation of logo design is the study of French trademarks by historian Edith Amiot and philosopher Jean Louis Azizollahs “Eurasian.” The geopolitical area of the Russian concept of “Eurasia” corresponded initially more or less to the land area of Imperial Russia</p>
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<p style="color:#ffffff; font-size:12px;">difficulty, during the last phases of the Russian Empire and was then realised again with the Soviet Union after 1945, though not stably enough for enduring success. Today, though this Russian geopolitical interest still exists, the physical area of the Russian “Eurasia” is now more realistically assessed. The Russian view today is that “Eurasia” consists of the land lying between Europe and Asia proper; namely, those made up of Western and Central Russia, Belarus, Ukraine, part of Caucasus, Uzbekistan, Kazakhstan, Tajikistan, and Kyrgyzstan (see Eurasian Economic Union). Just as in the case of the European concept of “Eurasia,” the Russian version of “Eurasia” is a geopolit</p>
<p style="color:#ffffff; font-size:12px;">in 1914, including parts of Eastern Europe. There is undeniably an influence of Panslavism in this definition; originally the idea of “Eurasia” was more romantically rooted in natural geography. It was the idea that the people scattered across the land called “Eurasia” shared common spiritual values due to its geographic traits, such as a flat land with few coastlines but important rivers, a particular climate (continental, often harshly so), and a certain landscape (steppe, taiga, tundra). This idea was more or less realised, but with</p>
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